Products related to Form:
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Comics and Modernism : History, Form, and Culture
Contributions by David M. Ball, Scott Bukatman, Hillary Chute, Jean Lee Cole, Louise Kane, Matthew Levay, Andrei Molotiu, Jonathan Najarian, Katherine Roeder, Noa Saunders, Clémence Sfadj, Nick Sturm, Glenn Willmott, and Daniel Worden Since the early 1990s, cartoonist Art Spiegelman has made the case that comics are the natural inheritor of the aesthetic tradition associated with the modernist movement of the early twentieth century.In recent years, scholars have begun to place greater import on the shared historical circumstances of early comics and literary and artistic modernism.Comics and Modernism: History, Form, and Culture is an interdisciplinary consideration of myriad social, cultural, and aesthetic connections. Filling a gap in current scholarship, an impressively diverse group of scholars approaches the topic from a variety of disciplinary backgrounds and methodologies.Drawing on work in literary studies, art history, film studies, philosophy, and material culture studies, contributors attend to the dynamic relationship between avant-garde art, literature, and comics.Essays by both established and emerging voices examine topics as divergent as early twentieth-century film, museum exhibitions, newspaper journalism, magazine illustration, and transnational literary circulation. In presenting varied critical approaches, this book highlights important interpretive questions for the field.Contributors sometimes arrive at thoughtful consensus and at other times settle on productive disagreements.Ultimately, this collection aims to extend traditional lines of inquiry in both comics studies and modernist studies and to reveal overlaps between ostensibly disparate artistic practices and movements.
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Film, Form, and Culture
This fifth edition of Film, Form, and Culture offers a lively introduction to both the formal and cultural aspects of film. With extensive analysis of films past and present, this textbook explores how films are constructed from part to whole: from the smallest unit of the shot to the way shots are edited together to create narrative.Robert P. Kolker and Marsha Gordon demystify the technical aspects of filmmaking and demonstrate how fiction and nonfiction films engage with culture.Over 265 images provide a visual index to the films and issues being discussed.This new edition includes: an expanded examination of digital filmmaking and distribution in the age of streaming; attention to superhero films throughout; a significantly longer chapter on global cinema with new or enlarged sections on a variety of national cinemas (including cinema from Nigeria, Senegal, Burkina Faso, South Korea, Japan, India, Belgium, and Iran); new or expanded discussions of directors, including Alice Guy-Blaché, Lois Weber, Oscar Micheaux, Agnès Varda, Spike Lee, Julie Dash, Jafar Panahi, Ava DuVernay, Jane Campion, Jean-Pierre and Luc Dardenne and Penny Lane; and new, in-depth explorations of films, including Within Our Gates (1919), Black Girl (1966), Creed (2015), Moonlight (2016), Wonder Woman (2017), Get Out (2017), Black Panther (2018), Parasite (2019), Da 5 Bloods (2020), The French Dispatch (2021), The Power of the Dog (2021), RRR (2022), and Tár (2022). This textbook is an invaluable and exciting resource for students beginning film studies at undergraduate level. Additional resources for students and teachers can be found on the eResource, which includes case studies, discussion questions, and links to useful websites.
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Filmed Thought : Cinema as Reflective Form
With the rise of review sites and social media, films today, as soon as they are shown, immediately become the topic of debates on their merits not only as entertainment, but also as serious forms of artistic expression.Philosopher Robert B. Pippin, however, wants us to consider a more radical proposition: film as thought, as a reflective form.Pippin explores this idea through a series of perceptive analyses of cinematic masterpieces, revealing how films can illuminate, in a concrete manner, core features and problems of shared human life. Filmed Thought examines questions of morality in Almod var's Talk to Her, goodness and naivete in Hitchcock's Shadow of a Doubt, love and fantasy in Sirk's All that Heaven Allows, politics and society in Polanski's Chinatown and Malick's The Thin Red Line, and self-understanding and understanding others in Nicholas Ray's In a Lonely Place and in the Dardennes' oeuvre.In each reading, Pippin pays close attention to what makes these films exceptional as technical works of art (paying special attention to the role of cinematic irony) and as intellectual and philosophical achievements.Throughout, he shows how films offer a view of basic problems of human agency from the inside and allow viewers to think with and through them.Captivating and insightful, Filmed Thought shows us what it means to take cinema seriously not just as art, but as thought, and how this medium provides a singular form of reflection on what it is to be human.
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Capoeira: A Brazilian Art Form : History, Philosophy, and Practice
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Is culture a form of nature?
Culture is not a form of nature, but rather a product of human society. While culture can be influenced by nature and the environment, it is distinct in that it is created, shared, and passed down through generations by humans. Nature refers to the physical world and natural phenomena, while culture encompasses the beliefs, customs, arts, and social behaviors of a particular group of people.
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What is an art form?
An art form is a specific medium or technique through which an artist expresses their creativity and ideas. It can encompass a wide range of disciplines, including visual arts, performing arts, literature, music, and more. Each art form has its own unique set of principles, methods, and conventions that artists use to create their work. Art forms are a way for individuals to communicate, evoke emotions, and explore the human experience through various creative outlets.
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Is makeup a form of art?
Yes, makeup can be considered a form of art. Just like painting or sculpting, applying makeup involves creativity, skill, and the use of various colors and techniques to create a desired look. Makeup artists often use their knowledge of color theory, facial anatomy, and different makeup products to transform a person's appearance, much like an artist uses a canvas to create a painting. Additionally, makeup can be used to express individuality, enhance features, and evoke emotions, making it a form of artistic expression.
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Which art form is the noblest?
The idea of which art form is the noblest is subjective and varies from person to person. Some may argue that classical music is the noblest art form due to its complexity and emotional depth, while others may believe that literature holds this title because of its ability to convey profound ideas and emotions. Visual arts, such as painting and sculpture, are also often considered noble due to their ability to capture the beauty of the world. Ultimately, the noblest art form is a matter of personal preference and the impact it has on the individual.
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Japanese Tattoo: The History and Evolution of an Art Form
This book presents tattoos in Japan with all their astounding richness and sophistication.The history of this unique folk art, its meaning, social background, and evolution as well as a collection of rare interviews with master tattooists made over the past thirty years. In the world of tattoo art, few traditions can rival the elaborate and refined artistry of Japanese tattoos.In this richly illustrated book, The Tattooed Body by the French historian and journalist who specialises in Japan and Korea Phillipe Pons, readers will find a wealth of detailed information about the history of this unique folk art, its relation to literature and art plus great colour photographs of their work.Remarkable for the richness of their iconography, the balance of their compositions, and their refinement in details, Japanese tattoos have seduced since the fifteenth century Western travellers, merchants and later, in the 18th and 19th century sailors, soldiers, eccentrics and artists such as Degas, Monet, and Toulouse-Lautrec.Yet, despite its cultural significance and aesthetic beauty, while recognised worldwide, tattoos don't share in Japan itself the status and official recognition and support of other traditional art forms such as 'the way of tea', the flower arrangement (Ikebana), or Kabuki theatre.The book explains why and shows the historical influence of Japanese tattooing on the worldwide tattoo community and its integration into the modern global cultural landscape.Readers will learn about the shift from 'brocade skins' covering the entire body to the current Japanese tattoo renaissance where 'one-point' tattoos are favoured by young people which combine ancient motifs and anime, to the point where traditionalists are wondering if the 'tattoo' is losing its authenticity.With over 270 illustrations, this book is a powerful tribute to the artistry, skill, and enduring charm of Japanese tattooing.Perfect for tattoo enthusiasts, this comprehensive and visually stunning book is a must-have also for East Asian art lovers and those with an appreciation for cultural traditions. AUTHOR: Philippe Pons (10 August 1942) is a French historian, specialist in Japan and Korea, and the Tokyo correspondent for the daily Le Monde, covering current events in the Far East.Along with Christian Sautter, in 1973 he co-founded the Centre for Research on Japan (CRJ), a research institute dedicated to contemporary Japan, now part of the prestigious French National Centre for Scientific Research (CNRS), and served as its co-director.His first articles for Le Monde date from 1974. In 1976, he became the daily's correspondent in Japan, from where he also covered the Philippines, South Korea and North Korea, countries which he visited twenty times between 1979 and 2020.As a specialist he is the author of many books and articles on the history, culture and politics of Japan and North Korea, and with the historian Pierre François Souyri, of a volume about the history of sexuality and eroticism in Japan (all publications in French).Aside from five years spent in Rome, he has lived in Tokyo since the late 1970s.
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Seeing Comics through Art History : Alternative Approaches to the Form
This book explores what the methodologies of Art History might offer Comics Studies, in terms of addressing overlooked aspects of aesthetics, form, materiality, perception and visual style.As well as considering what Art History proposes of comic scholarship, including the questioning of some of its deep-rooted categories and procedures, it also appraises what comics and Comics Studies afford and ask of Art History.This book draws together the work of international scholars applying art-historical methodologies to the study of a range of comic strips, books, cartoons, graphic novels and manga, who, as well as being researchers, are also educators, artists, designers, curators, producers, librarians, editors, and writers, with some undertaking practice-based research.Many are trained art historians, but others come from, have migrated into, or straddle other disciplines, such as Comparative Literature, American Literature, Cultural Studies, Visual Studies, and a rangeof subjects within Art & Design practice. Featuring an award-winning chapter by Bruce Mutard (Martin Schüwer Publication Prize for Outstanding Comics Research), 'From Giotto to Drnaso: The Common Well of Pictorial Schema in ‘High’ Art and ‘Low’ Comics'.
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The Cinema of Yorgos Lanthimos : Films, Form, Philosophy
From the critical and commercial fanfare his films generate, it is largely understood that Yorgos Lanthimos is one of the more interesting filmmakers to have emerged out of the new century.A markedly transnational filmmaker, between Dogtooth and The Favourite Lanthimos has managed to traverse the gap between the art-house and mainstream while not once sacrificing his unique style and worldview.His films, while often difficult, showcase his talents as a filmmaker, collaborator, and commentator on the human condition.Accompanied by a trademark acerbic wit, Lanthimos's films take aim at humanity's more contemptible and absurd designs as he explores a thematic preoccupation with, among other things, power, trauma, isolation, sex, and violence. This edited collection covers everything from an early career that was marked by experimentation with a range of different media to international festival hits including Dogtooth, The Lobster, The Killing of a Sacred Deer, and the Academy Award-winning "historical" epic The Favourite, Lanthimos's most successful feature to date.All his work demonstrates a fascinating contravention of aesthetic, thematic, and generic boundaries that forms the basis of some of the analyses to be found here.Featuring a roster of talented scholars, both new and established, The Cinema of Yorgos Lanthimos: Films, Form, Philosophy provides a timely compendium of critical approaches to one of the most distinct voices in contemporary film.
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Form
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Is warfare a form of art?
Warfare can be considered a form of art in the sense that it involves strategy, tactics, and creativity. Just like art, warfare requires careful planning, skillful execution, and the ability to adapt to changing circumstances. Military leaders and strategists often use their creativity and ingenuity to outmaneuver their opponents and achieve their objectives. However, it's important to recognize that warfare also involves destruction and loss, which sets it apart from traditional forms of art.
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What kind of art form is this?
This is a digital art form, specifically a digital painting. It was created using digital tools such as a drawing tablet and software like Adobe Photoshop or Procreate. The artist used these tools to create a painting with a realistic and detailed style, showcasing their skill in digital art.
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What is the consent form for the cinema?
The consent form for the cinema is a document that patrons are required to sign before entering the cinema premises. It typically includes terms and conditions related to the cinema's policies, such as not recording the movie, not causing disruptions, and agreeing to follow the cinema's code of conduct. By signing the consent form, patrons are acknowledging their agreement to abide by these rules and regulations while on the cinema premises.
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Can you help me with the art, culture, and history exam?
Of course! I can help you with the art, culture, and history exam by providing information, explanations, and answering any specific questions you may have. I can also assist in reviewing key concepts, important figures, and significant events related to these subjects. Feel free to ask me anything you need help with, and I'll do my best to assist you in preparing for your exam.
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