Although the characters are from different walks of life, their live are intersected through suffering. This is an admirable sentiment; however, this idea of universal pain can be problematic. Using the films Crash and Babel as well some of the the films covered in the course, this essay will attempt to argue how the idea of universal pain can be toxic. In order to understand
John Guare is legendary for his exploration on the theory of six degrees of separation: the entire world population is tied in a chain of connection, which everyone is somewhat a friend of a friend. Additionally, Guare provided audiences with another distinctive approach to the study of African Americans during the late twentieth-century, via his 1990 play: “Six Degrees of Separation”. The play revolves around a young black protagonist, Paul, who untruthfully imagined himself as part of the upper socio-economic class. His actions and thoughts are undeniably influenced by the effects of racial discrimination against blacks during his time period that have been rooted for centuries.
He constructed a feminine, eccentric character focused on using his front to transmit his values and beliefs. The postmodern artist focuses on the artificial construction of this image that can continuously change. Therefore, the individual identity blurs the lines between the image it created and reality, with reality often disappearing completely. This existential concern can damage the self, as artists become whatever world they choose, and their subjectivity is altered until they either change their image again or rid themselves of chains surrounding their ambivalence.
In both of these films consist of the battle of the sexes between being friends of a male and female or a marriage that consist of two married lawyers. Yet, in this history of genre, the films were made to find a “means’ to how it produces meaning” (Gant, 32). It also stated that, “deconstruct the mythic codes of cultural text” (Grant, 32). Which the statement means that the ‘mythic codes’ of how the genre in the movies show codes of sex in the film but it lets the audience look for the codes within the films. There is also the idea of representation in both of these films of masculinity, feminist, and the identity of women.
Clement Greenberg declared in his essay “Modernist Painting” that art develops in an unbroken stream of progress. Each new style or movement is a continuation, a reaction, to that which came before. When the new becomes old, it becomes the impulse that drives art into the next step forward. This idea of sequential development in art styles is apparent when comparing the modes and meanings of Abstract Expressionists to the artists that came after. Each succeeding style stemming from that time period was in succinct response to the past.
As I had learned through my interview postmodernism is a rejection of modernism and the strict dichotomy modernism proposes. I figured I would kill two birds with one stone and show rejection of dichotomy and postmodernism in culture all at once. After all, one of the movements in postmodernism is the embracing of popular culture “The postmodernists including their liberal and radical variants condemn the elite and high-brow authority over cultural tastes. The elite culture is replaced by popular culture. Pop music, pictures of gods and deities, calendars of all kinds and pictures of film stars are example of new popular culture (Modal).”
Vincent Van Gogh and Paul Cezanne are just few of the many artists which belonged to the post impressionism movement. This movement I significant to the art history as it rebelled against the traditions of the Impressionist style and took a new and improved approach. I have chosen to focus on this movement as I think it has a big impact on art history and the movement is home to some amazing artists and outstanding art work. My main focuses in this essay is some background on the movement and some if its influences and importance. As well as famous works from various artists and a look into how it was produced etc.
Estrangement, in sociological terms, is a condition in social connections reflected when there exists a low level of mix or normal qualities and a high level of separation or segregation between people, or between an individual and a gathering of individuals in a group. The "separation" specified could either be enthusiastic or physical, or both. Basically, distance is a condition of being the point at which an individual neglects to relate and relate to another individual, a gathering of them, his/her surroundings or lifestyle. This examination paper inspects how the subject of distance shows in Irvine Welsh's Trainspotting. The idea of distance alluded to here is considered concerning, specifically, its cutting edge hypothesis proposed
These are the: “avant-garde, modern, and postmodern” (265). In this categorization, the postmodern is “playful, paratactical and deconstructionist” and it carries the “irreverent spirit of the avant-garde”, while still being “far less aversive to the pop, electronic society of which it is part, and so hospitable to kitsch” (265). Based on these statements Hassan provides a list of schematic difference between modernism and postmodernism as a start for further inquiry. A few of these differences between modern and postmodern are: form (closed) - antiform (open), purpose- play, hierarchy- anarchy, presence-absence, boundary –intertext, selection-combination, reading- misreading.
There are many types and forms of art in this world. Everywhere you look there is art. One of my favorite types of art is abstract expressionism. This art form is a post World War II movement and started in the late 1940s. It was also known as the most important 20th-century American art movements.
The effect and aftermath of World War I sparked new artistic movements such as Dada and Surrealism. Though these two movements employ different artistic styles, they share a similar idea of rejection to modern society’s conventions and anti-bourgeois culture. They both celebrate human’s creativity and challenge one’s ability to break out of the traditional norm to create things beyond the ordinary. André Breton’s First Manifesto of Surrealism and Tristan Tzara’s Dada Manifesto 1918 talks about the impact of barriers of traditional conventions it has on the creative process and why one should remove itself from it to discover new art. Breton believes that art is buried in one’s subconscious mind and advocates that there is a need to break out
Art survives while history dies. For this reason for instance Michael Cunningham’s novel The Hours is a moment of postmodern art more than a copy of earlier art. The novel echoes Woolf’s Mrs. Dalloway, there is the similar cast of characters, and a similar plot, a woman named Clarissa has to buy flowers for her party, but she is Clarissa Vaughan and she lives in New York at the end of the Twentieth century. The devise Cunningham uses, stream of consciousness, time disorder, events unfolding through the prism of one single day, mirrors that of Woolf, but it is the acknowledge of our finitude what most the novel is concern of. We go back to one of the main claim of Postmodernist theory, the death of the subject and the loss of aura called on board by
Analysis Cinematic Space as Representation Space in Film “Kami Histeria” 1. INTRODUCTION Cinematic space is represented or produced space. And if, as Henri Lefebvre argues about space is produced than the ‘object’ of interest must be expected to shift from things in space to the actual production of space. Lefebvre develops space that he calls “a conceptual triad” in explaining how space is produced first is, spatial practice refers to the, “In terms of social space, and of each member of a given society’s relationship to that space, this cohesion implies a guaranteed level of competence and a specific level of performance” it is mean that where applicable activities (The Production of Space, p.33). Representations of space they are refer to
Modernism is a new type and style of artwork. The modernist movement in art history features in the late 19th centuries and early 20th centuries. With Modernist artworks the old traditional styles and past techniques are forgotten about. Instead new styles and methods are used to create these modernist artworks. The process of making modernist artworks is a primary component in the final completed piece.
Baz Luhrmann is widely acknowledged for his Red Curtain Trilogy which are films aimed at heightening an artificial nature and for engaging the audience. Through an examination of the films Romeo + Juliet, Moulin Rouge and The Great Gatsby, the evolution and adaptation of his techniques become evident. Luhrmann’s belief in a ‘theatrical cinema’ can be observed to varying degrees through the three films and his choice to employ cinematic techniques such as self-reflexivity, pastiche and hyperbolic hyperbole. The cinematic technique of self-reflexivity allows a film to draw attention to itself as ‘not about naturalism’ and asks the audience to suspend their disbelief and believe in the fictional construct of the film.
