Art History for Filmmakers

The Art of Visual Storytelling

Häftad, Engelska, 2019

729 kr

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Since cinema's earliest days, literary adaptation has provided the movies with stories; and so we use literary terms like metaphor, metonymy and synecdoche to describe visual things. But there is another way of looking at film, and that is through its relationship with the visual arts – mainly painting, the oldest of the art forms. Art History for Filmmakers is an inspiring guide to how images from art can be used by filmmakers to establish period detail, and to teach composition, color theory and lighting. The book looks at the key moments in the development of the Western painting, and how these became part of the Western visual culture from which cinema emerges, before exploring how paintings can be representative of different genres, such as horror, sex, violence, realism and fantasy, and how the images in these paintings connect with cinema.Insightful case studies explore the links between art and cinema through the work of seven high-profile filmmakers, including Peter Greenaway, Peter Webber, Jack Cardiff, Martin Scorsese, Guillermo del Toro, Quentin Tarantino and Stan Douglas. A range of practical exercises are included in the text, which can be carried out singly or in small teams.Featuring stunning full-color images, Art History for Filmmakers provides budding filmmakers with a practical guide to how images from art can help to develop their understanding of the visual language of film.

Produktinformation

Utgivningsdatum2019-11-28
Mått208 x 268 x 18 mm
Vikt860 g
FormatHäftad
SpråkEngelska
SerieRequired Reading Range
Antal sidor256
FörlagBloomsbury Publishing Plc
ISBN9781501362309

Tillhör följande kategorier

Film inom Kultur
Medievetenskap inom Samhälle och politik
Television inom Kultur

Gillian McIver studied History at the Universities of British Columbia and Toronto, and studied Film at the University of Westminster.She has curated exhibitions and ran an East London gallery. Her artist films have been screened widely, and she works as a producer and director. She has been a Visiting Lecturer at many institutions, and has taught at Roehampton University and SAE Institute London.

IntroductionWhat is art history and how does it relate to cinema history?; How is art history useful for filmmakers?; Painting as a record of what the past looked like in the imagination of artists; Painting and the use of visual language; A brief linear (traditional) history of art; Towards an “alternative” history of artChapter 1: Visual Culture and StorytellingNarrative and storytelling in art; Narrative in painting and cinema; Case study: William Hogarth's The Rake's Progress,and Darren Aronofsky's Requiem for a Dream; Exercise; Discussion questions Chapter 2: Creating the Visual – Perspective, Colour and LightingA brief history of perspective; Colour theory and colour psychology; How to use light; Case Study: Rembrandt, and Peter Greenaway's The Cook, the Thief, His Wife and Her Lover and Nightwatching; Exercise; Discussion questions Chapter 3: Realism in Visual ArtRealism; What is representation?; Art after photography: Modern conceptions of realism in art; Case study: Johannes Vermeer, and Peter Webber's The Girl with the Pearl Earring (DoP Eduardo Serra); Exercise; Discussion questions Chapter 4: Beyond RealismFantasy worlds in cinema and art; Oneiric: The world of dreams; Surrealism; Going beyond the real; Case study: Jack Cardiff (DoP) and A Matter of Life and Death (dir. Michael Powell and Emeric Pressburger); Exercise; Discussion questions Chapter 5: Sex and ViolenceSex; Violence; Case study: Caravaggio, and Martin Scorsese's Taxi Driver ; Exercise; Discussion questions Chapter 6: Horror From dream to nightmare; Monsters; Case study: Francisco Goya, and Guillermo del Toro's Pan's Labyrinth and Pacific Rim; Exercise; Discussion questions Chapter 7: LandscapeWhat is landscape painting?; The Western; Case study: Albert Beirstadt, Andrew Wyeth, and Ed Harris's Appaloosa. Exercise; Discussion questions Chapter 8: History and HeroismHistory painting: Victory, virtue, and the hero; Case study: Quentin Tarantino's Diango Unchained and Gainsborough's Blue Boy; Exercise; Discussion questions Chapter 9: Modern MovementsExpressionism; Minimalism; Beyond Western culture; Case study: Katsushika Hokusai and Disney; Cinema as contemporary art; Exercise; Discussion questionsChapter 10: Conclusion - Using art history in film-makingFilm-making roles and art; Case study: Terrence Malick, Nestor Almendros and Andrew Wyeth (Days of Heaven); Case study: Conrad Hall, Sam Mendes and Edward Hopper (Road to Perdition); Case study: Wally Pfister, Christopher Nolan and MC Escher (Inception)