Article

Eisenstein's "Ivan the Terrible."

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... Todorov aparece como uma figura associada tanto à apresentação do Formalismo russo ao Ocidente na década de 60, dando continuidade aos estudos de Jakobson (erlich, 1973Jakobson (erlich, , 1993 Na década de 80, Thompson (1981Thompson ( , 1988 não podem ser adequadamente expressas por palavras, mas por sua subversão visual ou uma expansão de seus significados através de justaposição. ...
... Assim, ele enxerga seu processo como um movimento "para frente e para trás" trabalhando em contos e quadros, testando diferentes versões. Na maior parte do tempo, ele firma que são "exageradamente excêntricas ou óbvias" Thompson (1981Thompson ( , 1988 adotou o sistema teórico do Formalismo russo como uma base a partir da qual derivou um método de análise cinematográfica, por considerá-lo mais bem-sucedido no todo (thompson, 1981). ...
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This graduate thesis aims to identify the artistic devices and their relations on Shaun Tan's picturebooks which are directed to cause estrangement. Thus, by drawing theoretical and methodological relations with Literature and Art, we propose to expand research on the concept of estrangement within the field of Design, broadening its scope on the collaboration of discussions regarding artistic devices in general. Besides, it supports picturebooks studies by an aesthetic approach and conveying autonomy as a mode of pictorial and narrative experimentations for illustrators, artists and authors. To answer our research problem, on the first chapter, we aim to particularize the meaning of estrangement by establishing a genealogy of concepts and authors related to the cognitive phenomenon of estranging. Next, we delve into the main modern aesthetic currents and their concepts: alienation, the uncanny and ostrane-nie. Specifically, we look over Viktor Shklovsky's recent readings that emphasize the concept's ethical and political implications as opposed to prevailing structuralist readings up to the end of the 20th century. Then, we begin the second chapter by discussing the concept of medium and follow Russian For-malism's meaning in order to argue for the idea that picturebooks and comics are categories that operate according to the parameters of graphic narratives. Then, we establish the properties of the medium aiming to expound their devices on the analyses. On the third chapter, we present Shaun Tan in order to consider the ways that his works relate life and art. Through his artistic path, we understand the circumstances and personal motivations, and by exploring his pictorial techniques and his imagery, we visualize his aesthetic motivations that develop images that comprehend worldviews. At last, we analyze three picturebooks according to their relations between picture and text: The Red Tree (2001), The Arrival, (2006) and Tales from Outer Suburbia (2008). Underlying their specificities, Shaun Tan's picturebooks display devices of estrange-ment for they are able to realize the fantastic and estrange the mundane, allowing the reader to "trans-live" the experience through the poetic perception unlocked by the work of art.
... Following Kristin Thompson's neoformalist analysis of Ivan, it has become customary to see Eisenstein's stylistic experiments in the film as aimed at the creation of excess-all the elements that are not necessary for the articulation and progression of the story but that on the contrary destabilize and complicate narrative at every turn. 43 Indeed, they abounded in Ivan: the rich ornamental interiors, the biblical frescoes, and the religious symbolism as well as the more formal elements such as the shadows, the contrast between light and dark, the juxtaposition of close-ups and long plane, the tense, tight framing, and the contrapuntal use of sound. For Eisenstein himself, however, the key issue of style in relation to Ivan was not excess but ekstasis, the heightened and self-amplifying emotional effect of the work of art exemplified by the finale of Part II. ...
... [35] categories: construction, household economy, industry, manufacturing political economy." [36] In MMC, in addition to the characters embodied in a number of different entities, which is common to other "city symphonies" too, there are three characters who exhibit "the highest degree of structural importance" [37] and qualify as protagonists: the movie -"Fragments from the Diary of a Cameraman" -suggest that audiences follow the story of a cameraman and his movie camera; [38] (b) all three appear in a considerable number of shots (Kaufman: 215, 12.65 percent; Svilova: 100, 5.88 percent; movie camera: 231, 13.59 percent); (c) there are hardly any parts of the story without at least one of them punctuating, triggering or bookending segments of the plot; and (d) they perform distinct and crucial functions that propel the story by recording and deciphering everyday life in the Soviet city. One feels inclined to note that the movie camera and the various cameramen could be regarded as displaying similar semes and, therefore, might be considered as a single character, whose function is shared between its animate and inanimate counterparts, a hybrid organism consisting recording apparatus. ...
Article
This article proposes a way for producing cinematic representations of contemporary urban environments based on the close study of Dziga Vertov’s mechanisms for story and plot development as instantiated in Man with a Movie Camera. Our investigation of screen cities and the way the image of the modern metropolis is constructed in cinema focuses on the examination of, and the experimentation with, the screen language of the “city symphony” film genre. This is pursued in two parts that tackle distinct ‐ but to a certain extent complementary ‐ aspects of the research. The first part of the article ‐ the analytical segment‐ summarizes the results of the shot-by-shot formal analysis and the statistical processing of the accumulated metadata for Vertov’s cinematic text with the aim of mining relevant concepts for an informed discussion on aspects of film form and style for “city symphonies.” The second part of the article ‐ the experimental one ‐ attempts to transliterate the results of our analysis into the novel language of nonlinearity for the digital, interactive screen. This is deemed particularly important because, as this article suggests, a better understanding of the “city symphony” form will enable the production of more immersive filmic constructs about current urban phenomena.
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