Tag : cinema

Provenance

Jean-Honoré Fragonard, Les hasards heureux de l’escarpolette (detail), 1767-68, Wallace Collection, London, photo Alonso de Mendoza   The provenance of an author’s language, from a previous tradition, is therefore part of the dynamics of normalization (a process whereby an innovative or exceptional phenomenon, over several decades, spreads in the popular imagination), although it does not deprive it of the research content that instead continues. He takes up a discourse that comes to him from afar. He discovers that he is […]

Provenienza

Jean-Honoré Fragonard, Les hasards heureux de l’escarpolette (dettaglio), 1767-68, Wallace Collection, Londra, foto Alonso de Mendoza   La provenienza del linguaggio di un autore, da una precedente tradizione, rientra nella dinamica della normalizzazione (processo per il quale un fenomeno innovativo o eccezionale, nel corso di alcuni decenni, si diffonde nell’immaginario popolare), seppure egli non la priva del contenuto di ricerca che invece prosegue. Egli riprende un discorso che gli giunge da lontano. Si scopre figlio di una discendenza alla quale […]

Framing

Caspar David Friedrich, Der Mönch am Meer, 1808-09   If the composition concerns the course of an image (horizontal, vertical, diagonal ascending / descending), the framing determines the point of view that the author has assigned to the viewer’s gaze, demonstrating that the image is designed specifically for him, for his involvement. The choice of the framing is therefore essential for the conveyance of the message, being able to place the viewer in a dominant or inferior position, protagonist or […]

L’inquadratura

Caspar David Friedrich, Der Mönch am Meer, 1808-09   Se la composizione concerne l’andamento di un’immagine (orizzontale, verticale, diagonale ascendente/discendente), l’inquadratura determina il punto di vista che l’autore ha assegnato allo sguardo dello spettatore, a testimonianza che quell’immagine è pensata proprio per lui, per il suo coinvolgimento. La scelta dell’inquadratura è quindi essenziale per la veicolazione del messaggio, potendo porre lo spettatore in posizione dominante o succube, protagonista o esterno. Portiamo subito degli esempi del suo impiego nell’area pubblicitaria. Le […]

Ecology of the imaginary

Muntaka Chasant, Burning sheathed cables to recover copper at the Agbogbloshie e-waste landfill near the center of Accra, Ghana’s capital city (detail)   After this long summer break I would like to resume from the central theme of this blog. That is, from that discourse already undertaken around the images and the impact they have on the constitution of our imagery and, therefore, of our experience, determining many of our points of view and the “form” of our thinking itself. […]

Ecologia dell’immaginario

Muntaka Chasant, Burning sheathed cables to recover copper at the Agbogbloshie e-waste landfill near the center of Accra, Ghana’s capital city (detail)   Dopo questa lunga pausa estiva vorrei riprendere dal tema centrale di questo blog. Ossia da quel discorso già intrapreso attorno alle immagini e all’impatto che esse hanno nella costituzione del nostro immaginario e, dunque, del nostro vissuto, determinando molti dei nostri punti di vista e la “forma” del nostro pensare stesso. Avevo già scritto di come la […]

Manipulating Falsehood

Hannah Höch, Cut with the Kitchen Knife Dada through the Beer-Belly of the Weimar Republic (particolare), 1919, collage of pasted papers, 90 x 144 cm, Staatliche Museen, Berlin   In 1916, in Zurich, Dadaism was born, a current that belongs to the group of the so-called historical avant-gardes that marked and revolutionized the artistic scene of the first thirty years of the twentieth century. Certainly Dada, as the name already testifies, with its strong playful component and dubious origin, is […]

Manipolare la falsità

Hannah Höch, Cut with the Kitchen Knife Dada through the Beer-Belly of the Weimar Republic (particolare), 1919, collage of pasted papers, 90 x 144 cm, Staatliche Museen, Berlin   Nel 1916, a Zurigo, nasce il dadaismo, corrente che appartiene al gruppo delle cosiddette avanguardie storiche che segnarono e rivoluzionario il panorama artistico dei primi trent’anni del Novecento. Certamente il Dada, come già testimonia il nome dalla forte componente ludica e dalla dubbia origine, è tra le avanguardie artistiche del Novecento […]

Spatial-temporal use of light

Caravaggio, Flagellation of Christ, detail, 1607   Light can suggest the volumetric spatiality of subjects, animated or inanimate, and a lasting or temporary temporality of events. Throughout the history of art, geographical productions have been marked by different types of representation that, from time to time, underwent declinations according to the ages. We would like to compare three of these different typologies in order to differentiate the three different ways of understanding representation, space and time. If we examine a […]

Response to Moebius

This intervention was triggered by the reading of Jean Giraud – Moebius Histoire de mon double, passed to me by Marco Bianchini, a talented Italian cartoonist on the breach for many years now. Some passages of the text have struck me particularly and I would like to give them an answer. In particular, Moebius insists on some linguistic aspects that are particularly important to him in the chapter Questions of style. In the text, the great French cartoonist tends to […]