Download Cinema e pittura (Art dossier Giunti) by Pier Marco De Santi PDF

By Pier Marco De Santi

During this e-book is an research of the connection among cinema and the visible arts. in most cases we will be able to say that the movie, considering that its inception, has additionally produced a few of his maximum pictorial iconography of the entire background of paintings, however the box of research is very extensive.

Sommario:

IL CINEMA MUTO
Cinema d artista e artisti di cinema
Film storico e kolossal storico-religioso
Il "tableau vivant" nel cinema italiano
IL CINEMA SONORO
Europa: l'estetica del "divertimento"
Russia: ~jzenstejn e eleven tesoro della cultura popolare
Giappone: una rigorosa tradizione nazionale
Italia: il senso della pittura
Stati Uniti: il tabù dell'arte (Giorgio Vitale)
La cultura planetaria degli apolidi: Kubrick
CONCLUSIONI
FlLMOGRAFTA ESSENZIALE
Bibliografia

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Extra info for Cinema e pittura (Art dossier Giunti)

Example text

17 and 18 ) we are dealing with. The imaginary picture plane should cut through one’s angle of vision in a perpendicular manner, at a 90 degree angle. It is good practice to set up your drawing surface at a 45 degree angle to 27 the object being drawn so that you can both see what you are drawing and maintain a 90 degree angle of vision toward your drawing ( Fig. 1 ). Maintaining this orientation keeps one aware of the difference between information obtained from the picture plane and the use of that information in the drawing.

Make a tonal statement maintaining the local color of the objects, the light cylinder and dark ball. Theory of relative values Fig. 24 The use of tone by the draughtsman is acknowledged to be a complex activity, one that requires more than the usual skill and sensitivity. Many terms are used to explain the function of tone in a drawing. Such terms as CHIAROSCURO, TENEBRISM, NOTAN, SFUMATO, VIGNETTE and LIGHT AND DARK suggest a multiplicity of possibilities in the application of tone. The theory of relative values does not propose to change the poetic and provocative response to vision that the these terms suggest, but is concerned with what these terms refer to, 49 concerning tone.

And so, an analysis of the terms used when discussing tonal aspects of drawing should be useful, but only, it appears, if the aim of the analysis is comprehensive. The terms would then reveal the scope of the use of tone, useful when referring to the practical aspects of seeing as well as to the interpretive needs as found in perceptual drawing. Whatever insight is gained should be used in not only making more responsive representations of what is seen, but also in gaining a better handling of tone in the actual drawing itself.

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