Art is a visual expression of creative skills or imagination that viewers appreciate for its beauty. People also appreciate art, such as sculptures, paintings, murals, architectural art, or drawings, for their emotional power or aesthetics (Alle, 2012). Public art is a form of art displayed in physical public domains. The public nature of the art means that anyone can access it freely. According to Alle (2012), public art with a greater sense of identity creates memorable experiences. For instance, the Death of Cleopatra by Edmonia Lewis fulfils the definition of art. Edmonia Lewis creates a sculpture with expressive and emotional power.
The over-size representation of the ancient Egyptian queen depicts the memorable moment when Cleopatra let a poisonous asp bite her (Gold, 2012). The Queen chose death over humiliation in the hands of the Roman conquerors. The sculpture of Cleopatra is an art by Edmonia Lewis, an artist among the first professional African-American female sculptors. She learnt her style, of sculpturing Greco-Roman art from various renowned sculptures. She is well known not only in her motherland, but also abroad. Her artistic career serves as an example of how to overcome obstacles on the way to success and respect.
How the art serves the needs of the community
Public art heightens the awareness of a viewer, whatever the meaning it tries to instill. The Death of Cleopatra is a good public art, because it meets the subject, style, and medium associated with public art. The art is a representation of nineteenth century Victorian standards that shaped the view of public art in history (Gold, 2012). In relation to identity, the art meets the criteria through its display of the historical circumstances surrounding the end of the reconstruction era. The centurial context of Edmonias sculpture illuminates on the national ideologies and creoles of the nineteenth century. The art also reflects the ideas of the period, by conveying an undeniable majesty in the life and death of the queen (Gold, 2012). The pastiche with Greco-Roman details is an ambitious undertaking of an illustrious public art. Edmonias sculpture definitely meets the definition of public art.
How the public art is practical and challenging
Public art engages the community beyond permanence to serve its present needs (Fleming, 2007). Depicting the art as part of a community brings it to life. Artists and viewers appreciate Edmonias work for its direct attention in its own space. The art is imbued with deeper meaning that gives viewers new cultural knowledge. Fleming (2007) asserts that relating the art to the culture of the people gives a meaning that enhances the underlying identity of individuals. The sculpture depicts a sense of space that has evolved over time and reflects the social values that the community holds. The community character of the centurial era is a narrative of the Greco-Roman emperor. This narrative is further expressed by its historic and cultural context. Humes (1757) work supports that public art should create a harmony between the culture of the community at the present and before.
Harmonizing space and the subject
The death of Cleopatra balances conflicts between values and cultures of the past and future communities. The vision of the sculpture embraces the evolving culture of Egypt. The art challenges the local identity through its uniqueness, and requires a reflection upon the communal character represented in the art (Flemming & Goldman, 2005). How the art helps the community understand its historic and cultural context adds value to the development of a sense of place. Edmonia makes an art that serves the viewers cultural and historical needs. The public art expresses social ideals that symbolize a communal identity, which transforms individual relationships with the society. The art presents the cultural fascination of European and American countries with ancient Egypt.
Conclusion
The relation between the content and audience defines the ability of the art to respond to a place where a community resides. The art may be created to reflect the ideas of the period in which it was created. In the current study, the culture around the sculpture is intrinsically aesthetic as the art has closer ties with the community. Visitors to the site get the opportunity to interact with the culture and history of the community. Edmonia mixes the twist of fate with a curatorial concern that brings out an art that embodies beautiful expressions. The subject fulfills the definitions of art, making it a good public art. The space and subject harmoniously reflect the historic and cultural needs of the society. The representation makes the art practical and challenging.
References
Alle, E. (2012). Spatial, Temporal, and Social Dimensions of the Landscape Influenced By Contemporary Art. Science-Future of Lithuania, 4(2), 176-18.
Fleming, R. (2007). The Art of Placemaking: Interpreting community through public art and urban design. London: Merrell.
Flemming R. L., & Goldman, M T. (2005). Public art for the public. Public Interest, 159, 55-78.
Gold, S, W. (2012). The Death of Cleopatra / the Birth of Freedom: Edmonia Lewis at the New Worlds Fair. Web.
The painting is one of the most famous artworks of Guo Xi. It is an excellent example of the landscape tradition that is common for Chinese art, both prehistoric and modern. Here, Guo Xi uses the method of multiple perspectives known as the angle of totality (The University of Washington, n.d.). Such three-dimensional forms, build with strokes, are common for paintings of the Song Dynasty, and therefore were selected for the display.
Name: Ma Yuan
Title: Scholar viewing a waterfall (ØëÀ Š y,)
Date: late 12thearly 13th century
Materials used: album leaf, ink, and color on silk
Current location: The Metropolitan Museum of Art, New York.
Scholar viewing a waterfall is another representative of the landscape tradition. This painting is an example of the art created during the Southern Song dynasty (The Metropolitan Museum, n.d.). Chinese arts uniqueness is in its use of ink (instead of oil) that creates calligraphy-like paintings. Together with the previous piece, the object emphasizes the importance of nature in Chinese art and therefore was chosen for the display.
Japan
Name: Unknown, Japanese culture
Title: FudM MyMM (Achala-vidyrja)
Date: 12th century
Materials used: Wood, traces of color and gold
Current location: The Metropolitan Museum of Art, New York.
FudM MyMM is a Buddhist deity, one of the Kings of Brightness. He uses his sword to overcome ignorance (The Metropolitan Museum, n.d.). The relationship between Japanese culture and Buddhism was not always easy, but the religion itself has still practiced actively in the country and has a significant influence on societal rules. The Japanese culture in this exhibition will be represented through objects dedicated to Buddhism; that is why this object was selected.
Name: Unknown, Japanese culture
Title: Devadatta, Chapter 12 of the Lotus Sutra
Date: 12th century
Materials used: Handscroll, gold, silver, paper
Current location: The Metropolitan Museum of Art, New York.
The object depicts one of the chapters of the Lotus Sutra, one of the Buddhist scriptures. In this chapter, Buddha teaches his followers that anyone can reach enlightenment, a concept essential both for Buddhism and Japanese culture. Handscroll paintings are highly common for Japanese art and usually illustrate narratives. This object was chosen to further emphasize the importance of enlightenment in Japanese art.
Africa
Name: Unknown, Djenné peoples
Title: Seated Figure
Date: 13th century
Materials used: terracotta (clay)
Current location: The Metropolitan Museum of Art, New York.
The seated figure is believed to represent a mourning person. Its pose might show ritual methods of expressing grief overpassed loved ones (The Metropolitan Museum, n.d.). The use of clay and/or other organic materials was common for African art. This and the other object will represent sculptures related to funeral rites.
Name: Unknown, Tellem peoples
Title: Vessel: Footed Base
Date: 13th century
Materials used: terracotta (clay)
Current location: The Metropolitan Museum of Art, New York.
Footed bowls and vessels were not unique for Tellem peoples; they can be found across different African cultures. It is assumed that such bowls were used for funerary purposes only (The Metropolitan Museum, n.d.). Objects made of clay, such as masks, bowls, vessels, were used by African peoples in different rituals but their similarity indicates the mutual influence of peoples on each other. The object is a good example of footed vessels made in West Africa.
The Americas
Name: Unknown, Maya culture
Title: Head of a Rain God
Date: 10-11th century
Materials used: Fossiliferous limestone
Current location: The Metropolitan Museum of Art, New York.
The god of rain was among primary Mesoamerican gods and often depicted with staring large eyes (The Metropolitan Museum, n.d.). Mayas figure has skeletal features and a beaded headband (Alamy, 2017). Rain God was frequently depicted by different Mesoamerican peoples and highly valued as he was controlling rain, and, therefore, the harvest. The object was chosen as it represents the unique, somewhat ominous, view of the Maya of the Rain God.
Name: Unknown, Mixtec culture
Title: Rain God Mask
Date: 13-14th century
Materials used: Serpentine
Current location: The Metropolitan Museum of Art, New York.
Bared teeth and large, goggle-like eyes are seen in this depiction of Rain God as well. It could be used during funerals or rituals (The Metropolitan Museum, n.d.). This representation of the Rain God has no evident skeletal features. It was selected as a comparison to the Mayan view of the god.
Islam
Name: Unknown, Uzbekistan culture
Title: Bowl with Arabic Inscription
Date: late 10-11th century
Materials used: Earthenware, glaze
Current location: The Metropolitan Museum of Art, New York.
Ceramic bowls with calligraphic inscriptions were standard during that time. These often included aphorisms, advice, or religious references (The Metropolitan Museum, n.d.). Interlacing straps are typical for Islamic art created in Samarkand as they can be seen there on other objects (e.g., architecture) too. The object is a good example of Islamic art that was used daily or could be purchased as a present.
Name: Unknown, Iranian culture
Title: Strand of Beads
Date: 9-12th century
Materials used: Carnelian
Current location: The Metropolitan Museum of Art, New York.
Religious references on everyday objects are seen in this example of Islamic art. Prayer beads have thirty-three or ninety-nine beads used for reciting the names of God. These were not unique to Iran; they represent a substantial layer of Islamic art that still exists (Al Hassani, 2015). This piece of jewelry appears to be modern although it is several decades old and was chosen for the exhibit due to this unique agelessness.
The Madwoman of Chaillot is a satirical play by Jean Giraudoux. It was written in 1943 and tells the tale of an eccentric Parisian woman and her friends who foil a plan to drill for oil in Paris. The play was adapted by Maurice Valency and directed by Stephanie Shroyer ( The madwoman of Chaillot, 2017). This paper will provide a critique of the play, its world, theme, acting, directing as well as my opinion on the production.
The World of the Play
The play takes place in Paris at an unspecified date. Characters clothes and professions suggest that the play is set in the 1930s. However, the date is kept vague on purpose, likely to make the play timeless because otherwise, it would have to be set during the Nazi occupation of France. The play starts with a nefarious plot by unnamed industrialists who are referred to as The President, The Prospector, The Broker, and The Baron.
They create a plan to drill for oil in Paris, with no regard for the environment of the city, its cultural importance, or even the safety of citizens. In opposition to them, stands an eccentric Countess Aurelia, also known as The Madwoman of Chaillot. Despite her eccentric outlook on life, she is concerned with the state of the city and its citizens. She has a circle of friends and like-minded people who help her foil the plans of the industrialists by leading them into a bottomless pit.
Her friends are also eccentric and provide different outlooks on life that help her achieve success. One of the more important characters is referred to as The Rag Picker. He provides worldly knowledge about corruption that the antagonists of the play have created in almost every aspect of life. The primary conflict of the play is between the greed of the antagonists and the care and goodness of the protagonists, with the Countess taking on a role of an unlikely paragon of justice against the egotistical and cynical industrialists.
The Theme of the Play
The theme of the play is relatively simple: greed can corrupt and ruin everything and therefore it has to be opposed. The choice of the opponent, however, is very deliberate. The majority of the characters who oppose the plan are outcasts, eccentrics, and artists who find themselves at odds with the world they live in. This is not just a subversion of the traditional image of heroes but a part of the message that the playwright was trying to deliver through the play.
The industrialists, despite their ludicrous and nefarious plan, are seen as respected people in a position of power that allows them to do anything without citizens going against them. They have already established themselves in the world, and their actions have made it a worse place to live. However, they are completely normal people in the sense that their behavior is not seen as out of the ordinary by society at large. On the other hand, the protagonists of the play are shunned, mocked, and feared by the world, despite their inherent goodness.
It is important to consider that the play was written in 1943 when the world was thrown into the worst war in history by people who were respected in their countries despite the terrible policies of genocide and discrimination that they promoted. The author warns viewers that they should not respect people just because they have a higher status in life, especially when their primary motivation is greed.
Acting and Directing
Countess Aurelia was portrayed by Deborah Strang and performs in an energetic and charming manner. Her interactions with the cast appear effortless and natural, with no hint of insincerity. The comedic scenes elicited a powerful reaction from the crowd, and the dramatic ones felt insightful and relevant to the modern age. The supporting cast was just as engaging, with George Villas Rag Picker featuring in some of the best scenes of the play. The performance of the industrialists by Michael Sturgis, Armin Shimerman, Wesley Mann, and Apollo Dukakis deserves additional praise for the cartoonish menace that they portrayed through exaggerated movements.
The play was well directed, with no part of the production standing out in a negative light. The costumes, in particular, were carefully selected and perfectly reflected in their characters. The madwomen wore old-fashioned frilly dresses with complicated hats that showed signs of game, while the industrialists wore brand new suits of the era.
My Opinion
I was pleasantly surprised by this play. This was the first time I have seen it, and I was not sure what to expect. However, the charming production and the engaging performances left me with a positive impression at the end of the night. The optimistic conclusion of the play, unfortunately, seems a bit naïve in the current political climate, but it could be seen as a sign of hope for the future. After all, the play was written in much more desperate and difficult times than now. I would definitely recommend the play to people who enjoy comedic and satirical theatre.
Conclusion
The Madwoman of Chaillot is an entertaining production. Its themes are simple, but they are performed well and directed with attention to detail. It is a play that I can recommend to most people.
The Birth of Eve is an artwork created by Judith Schaechter in 2013. There are many critiques of this piece of art as the style of the author is uncommon and unique. However, many people like the specific style the creator presents as it combines old techniques and new approaches. The Birth of Eve created by Judith Schaechter in 2013 from the material of colored glass is a controversial artwork that depicts a girl against a black background and flowers below that symbolize the infant in her mothers womb and the joyful life that she is about to face.
The Author and Her Ideas
To start the discussion of the picture named The Birth of Eve, it would be proper to discuss the artist and her inspiration that gave her the idea to create this controversial artwork. Judith Schaechter from Philadelphia is one of the most popular American artists nowadays as she is always invited to various events dedicated to professional painting ( Bio and CV ). This person is also known for the style of her creations. There are two categories of individuals who criticize Schaechters works. Some people from the community of artists claim that the compositions of their colleagues creations are new to the industry. Therefore, she brings innovations in the world of art by developing her style (Park). However, there is another category of the audience that is always dissatisfied with the authors creations. Some of these people say that Judith Schaechters works are blasphemous because she misrepresents some biblical characters. Moreover, the shapes of peoples bodies in her pictures are always unnatural.
Judith Schaechter explained that The Birth of Eve was a spontaneous creation as she just decided to represent a girl in an awkward position. To continue the picture, the author made the main character falling. Also, the artist did not give an appropriate explanation of the person depicted in the artwork (Park). Hence, no one knows whether she made a prototype of Eve who was described in the book of Genesis that is included in the Holy Bible or not.
It would be proper to mention that the social status of Judith Schaechter is unknown to the public and mass media. Nevertheless, it is possible to see that the persons artworks are sold at high prices (Bitts-Jackson). Sometimes, it is essential to be aware of an individuals income to claim whether he or she is involved in the industry of art due to the lack of money or not. Usually, people who have comfortable incomes are more likely to create some valuable and interesting works as they are not concerned about earning finances, whereas developing artists seek inspiration for the opposite purposes (to become successful and popular in certain circles of interest).
Nowadays, the author of The Birth of Eve occupies the position of an Adjunct Professor at The University of Arts (crafts department), which is situated in the city of Philadelphia. Also, she works as an Adjunct Faculty at the New York Academy of Art. In the previous century, the artist worked with musicians and had a chance to design one of Andy Prieboys albums that were released in 1991.
Description of the Picture
To analyze The Birth of Eve, it is necessary to discuss the texture of the picture before evaluating the main premise of the work. Such an approach to the assessment of any artwork gives the audience more idea of all the efforts made by the author to complete the given picture. Sometimes people cannot even define the materials used in the creation process.
The first interesting factor that must be mentioned in the discussion is the fact that the picture is made mostly of colored glass (Stipanov). When looking at the composition of The Birth of Eve, one cannot tell the differences between this technique and other pictures drawn with paint. The colors of the work seem to be mixed in some spots. For instance, when the audience looks at the bottom part of the object, it is hard for people to imagine how much work is required to make every piece of the picture from multiple pieces of colored glass (Stipanov). As it is mentioned above, the given technique is old and not popular among modern artists. Moreover, Judith Schaechter tried to place every element of this picture at different angles (Butler). This method allowed the artwork to remain bright and saturated under specific lighting. The Birth of Eve was brought to the authors exhibits several times, it was always supported with specific lamps and projectors that allowed clients to experience the best view of the picture.
It would be proper to mention that The Birth of Eve also has a golden frame around the main scene depicted in the artwork. This element remains the most chaotic part of the work as its pieces are of different sizes. Some people claim that this frame is intended to add more contrast to the creation. Indeed, other objects represented in the picture are not as bright as the golden frame. Moreover, this element makes the entire composition look more colorful.
As it is said above, the type of material (glass) is unusual for modern art (Stipanov). However, the author used all its advantages to reach the desired result. The picture looks attractive due to the effects that every piece of glass makes on a persons eye. It appears that glass looks more colorful and sharp in comparison with soft or liquid paints that dry for several days. Also, glass has accurate edges that make the entire artwork look even more accurate and professional (Stipanov). Although some elements of this work are not perfect (due to the diversity of their shapes created by the author on purpose), they look more interesting in the combination that Judith Schaechter reproduced.
The Audiences Attitudes Towards the Picture
As stated above, The Birth of Eve is a controversial piece of art because it represents a biblical character (Eve). The color of the girls skin is grey, which makes her look ill and sad at the same moment. Moreover, the technique of making pictures of colored glass was originally invented by orthodox Christians, which associates it with an icon (Stipanov). The majority of people who see this artwork think that the author humiliates and neglects the first woman on Earth by demonstrating her creation in public. Nevertheless, Judith Schaechter is a professional artist. Therefore, many individuals support her thoughts and like the style she uses for producing her works. It would be proper to mention that The Birth of Eve is not the first artwork by Judith Schaechter that depicts people with various body defects or illnesses.
Reviewers and critics claim that the discussed piece or art does not represent any of modern styles (Murphy). Moreover, historians cannot assess the date of the pictures creation as it does not relate to any of the popular genres. According to this fact, The Birth of Eve is an original creation that does not copy other styles and techniques. Despite the authors unique approach, the picture does not seem to be culturally or ethically valuable.
The Birth of Eve will not remain popular in several decades, unlike the creations of some other contemporary authors. The main purpose of any art is to demonstrate realia that are present at the time of its creators existence. Due to this tendency, children are given a chance to learn and understand the lives, concerns, goals, and values of people who used to live in the ancient epoch and medieval Europe. Unfortunately, the analyzed picture does not seem to be describing the authors thoughts or prevalent issues of the contemporary world. Indeed, The Birth of Eve had its fifteen minutes of fame. However, it is unlikely to be mentioned in the future by individuals who strive to understand the thoughts of people from the 2010s.
The motivation of an author to create a particular artwork is a critical factor. Any work in the world of art is made due to the various goals of an author. Some people draw their pictures because they want to contribute to the worlds history, whereas others make their living by selling their creations. Judith Schaechter made The Birth of Eve to sell it later. Although this might seem to be a merchant motivation, artists cannot be judged for making money on their works as they invest their valuable time in them. Moreover, pictures created by people who treat this industry as a business are mostly unpopular and not valuable.
Symbolism in The Birth of Eve
As it is discussed above, Judith Schaechter included a biblical character in The Birth of Eve. However, this is not the only element that can be associated with the topic of religion and other signs with certain meanings. In particular, the black sphere that surrounds the girl in the picture, and her position reminds the audience of the infant that remains in her mothers womb (Park). If one looks from another perspective, it possible to see that the main character is falling from the sky into a garden overwhelmed with flowers. Usually, people from religious communities dislike this association as Lucifer was the first one to fall from heaven in the Bible.
The flowers on the lower part of the artwork are often seen as a life full of bright colors and joy that is waiting for the girl that is above it. There is also a golden frame that creates a sense of limitation as a part of the entire composition. This element shows that peoples lives can circulate only in a particular enclosed space. Also, it might be perceived as an element of orthodox icons that are not popular in the United States of America. Nevertheless, many people from Europe are familiar with this religion and always associate this shiny golden edging with that of religious artworks.
Conclusion
The Birth of Eve is a picture by Judith Schaechter that is made of glass in 2013. There are many controversies as to the artworks context as critics do not see any cultural value in the given creation. Judith Schaechter made this picture to sell it at one of her exhibits. It would be proper to mention that the composition contains much symbolism in what it depicts.
Yellow Jellies by Ciemon Frank Caballes is an underwater photo of a snorkeler surrounded by jellyfish. The photo was taken in Jellyfish Lake on Eil Malk. The photographer took the shot near the surface of the water during the day in the natural light. The snorkeler, a woman, is the position in the center of the photo. She has brown hair and is wearing a black outfit with blue flippers. The snorkeler is wearing a mask and is looking at the camera.
The woman is shown floating amidst a large population of yellow jellyfish which comprise most of the photos. The jellyfish has a circular shape and are shown flowing in different directions. Most of them are at a distance from the camera, except for one jellyfish in the top left corner. The woman is holding some device, possibly a camera, in her left hand. Her skin is very pale. Another figure is seen in the background, but it is unclear what or who it is.
The water in the photo is green and gets darker at the bottom of the image. The bottom of the lake is not visible. The photo is distorted at the corners due to a wide field of view, which suggests that Caballes used a wide-angle lens.
Subjective Description
A National Geographic Photo of the Day, Yellow Jellies by Ciemon Frank Caballes is a breathtaking underwater photo of a snorkeler floating amidst hundreds of beautiful golden jellyfish. The photo was taken at the edge of the water surface in the natural light. In the center of the photo, we see a young woman wearing a mask and a black snorkeler outfit. The photographer positioned her in such a way as to explore the dynamic nature of diagonals: her legs are closer to the bottom left corner of the image, and her head is closer to the top right corner. The womans hair has the color of dark chocolate and is flowing in the other direction.
The pose of the woman seems effortless and dynamic, but it is likely she was deliberately positioned in such a way to achieve a good composition. There is no doubt that it took the photographer many attempts to achieve this shot. All around the woman, there are countless jellyfish flowing sporadically. The photo color palette is warm and is dominated by the warm yellow color of jellyfish and olive color of the water. Against the green background of water, the shape of the golden jellyfish makes them look almost like flowers. The reflective nature of jellyfish allows them to bounce back the light coming from above, and as a result, they look like they are shining from the insight.
This gives the photo a dreamy quality as if the woman is flowing amidst dozens of tiny suns. The fantasy-like atmosphere is further emphasized by the fact that the photo has no edges: there is a reflective water surface on top, the seemingly bottomless lake at the bottom, and countless jellyfish in either direction. The photo has a very wide field of view, to the point of distortion at the corners, which suggests the photographer used a wide-angle lens. Such an all-encompassing view helps emphasize the scale of the scene and takes the viewers breath away. In his photo, Ciemon Frank Caballes succeeded in capturing a dreamy, fantasy-like atmosphere of the scene.
Introduction: Juan OGorman, an Innovator and the Proponent of Artistic Synthesis
Born in Mexico and now quite famous due to his accomplishments in architecture, Juan OGorman created numerous art pieces packed with symbolism. As his father was a painter, OGorman had been exposed to art since childhood. This artist promoted the concept of utility and function when it was unconventional and innovative; therefore, considering that he introduced groundbreaking ideas to the artistic world, his art pieces speak to me on a personal level and inspire me to use my art to address challenging ideas that are not typically discussed.1
OGorman should be credited specifically for introducing the principle of functionalism into the realm of Mexican art. While the latter had previously relied on the concept of traditional, vernacular imagery and symbols, OGorman suggested that, apart from stressing the significance of the form, one should place an equally strong emphasis on the function of art. Thus, as OGorman began to explore the possibilities that the concept of artistic fusion opened, the principles of functionalism were introduced into the world of Mexican art.
Reasons for Personal Interest: What Made Him Unique
While OGormans technique is admittedly impressive and worthy of a detailed analysis, it is the underlying philosophy that attracts me most and affects me as an artist. Furthermore, being Mexican, I can relate to his art on a cultural level. In particular, the artists propensity for combining the elements of different cultures that might seem incompatible at first is the characteristic of his art that I consider by far the most impressive.2
A closer look at the distinct style that made OGorman instantly recognizable will reveal that it represents a combination of the authors unique stance regarding the use of artistic forms and many elements borrowed from Le Corbusier, a famous French architect.3 The fact that the artist managed to create a fusion of styles that include not only the vernacular motifs of his own culture but also the distinct elements of others, the French example being a case in point, leads me to admire his works. The idea of fusing different cultures into a fascinating mixture that represents several philosophies and viewpoints on art as a concept is what makes OGormans works both enthralling and mysterious to me.
Frida Kahlo and Diego Riveras Studio: Obvious yet Touching Symbolism
Talking about Kahlo and Riveras studios without addressing the conflict that initially surrounded them is scarcely possible. OGormans endeavor to blend the functional and formal elements into a single, harmonious entity was considered a bold move at the time. As a result, the studio became one of the best-known cultural landmarks of Mexico, as well as the herald of the Modernism movement in Mexican art. For instance, the use of construction materials as the foundation for developing the design of the house should be mentioned as the crucial characteristic of the art piece. The identified element stands in stark contrast to the intense red and blue colors, which are supposed to represent Mexican vernacular art.
It should be borne in mind, though, that OGormans successful attempt at combining the traditional Mexican style with functionalism led to less-than-enthusiastic reviews from critics at the time. The organic Mexican architecture, with its vivacity and simplicity, was considered to be incompatible with the cold and detached nature of functionalism. Therefore, OGormans approach to combining traditional vernacular patterns with uncompromising functionalism was viewed as revolutionary and nearly aesthetically unacceptable. The boldness with which OGorman faced critical responses and pursued his concept of perfection also fills me with equal parts of fascination and the desire to find the unique style that will help me stand out as an artist.4
The entire house can be viewed as a metaphor for the union between and artistic independence of Frida Kahlo and Diego Rivera. While using a bridge as a metaphor might seem to be lacking in originality, the choice of the identified metaphor is justified by the rough functionality of the rest of the studio. The material economy, the fact that every single element, from elevators to green areas around the houses, has a distinct purpose, shows that the synthesis between the artwork and the use of traditional Mexican patterns is, in fact, a successful marriage of functionalism and Mexican vernacular art. The idea of introducing the elements of functionalism into architecture at a time when such a thing would have been considered beyond unconventional speaks to me on a very deep and personal level since I believe that architectural designs must be based on the concepts of utility, beauty, and harmony. At this point, it may be necessary to clarify that harmony was not the focus of OGormans artworks; instead, he shocked his viewers into paying attention and, thus, pointed to topical societal, political, and cultural issues with his art. However, a closer look at the studio will show that there is an intrinsic tendency to promote the concept of harmony in its design. The artist might not give an account of the characteristic of his art that is under discussion, yet the propensity to balance out the functionalist elements that were considered outrageous and were supposed to point to societal issues against the elements of traditional Mexican culture could be viewed as a compromise between form and function. Thus, the concept of harmony, while intrinsic and implied, for the most part, was still an integral part of the studio design.
Central Library (UNAM): Bringing Two Cultures Together
While in the case of Kahlo and Riveras studios, the emphasis on the artistic union between the two is very obvious, this factor is much subtler in the Central Library fresco. Furthermore, in contrast to the studio, where the emphasis was obviously on the functional side of the artwork, the UNAM architectural choices tend to lean heavily toward the use of traditional Mexican artistry. For instance, the exterior of the library features a mural that incorporates patterns representing Mexican culture. Particularly, OGorman used his artistic talent and vision to provide a retrospective glance of the past of Mexico, as well as the history of its cultural development.
While Kahlo and Riveras studio charmed me with its simplicity, the UNAM murals have an impact on me as an artist with their grandeur and scale reflecting the authors intent. The idea of telling a story through a series of visuals resonates with me as an artist, yet painting the entire history of Mexico, even on a canvas as big as the murals of UNAM, might seem scarcely possible. Nevertheless, OGorman handled the task, and he did so in a manner so unique and original that the mural remains one of the landmarks of the city to this day.5
I find the charm and appeal of the UNAM mural in the harmonic way in which the functional elements blend with the magnificent decorations that represent the elements of the Mexican pre-Hispanic cultures. Remarkably, the structural simplicity serves a distinct esthetic purpose in this case; to be more specific, the use of volcanic rock as the foundation for the building helps both to make the structure more stable and at the same time to represent a symbol of the origins of Mexican history. The delicate balance in which functionalism and the traditional elements of Mexican culture exist in the UNAM mural is especially appealing to me since it helps me develop a unique perspective on how form and function can be represented in an artwork. Furthermore, the art piece under consideration can be viewed as a prime example of how contemporary artistic tendencies can be compatible with those of the past. The continuity of the culture and how new trends, whether they try to subvert the old ones or have been spawned by previous artistic traditions, can be linked to the old ones is the idea that makes the mural an especially important artistic influence on me and my work. Furthermore, the use of color in creating the UNAM mural can be considered an interesting technique that has also had an impact on me as an artist. Remarkably, OGorman maintains the same color scheme through the entire work yet manages to define a very distinct line between the past and the present of Mexican art and culture.6
What I treasure the most about OGormans art, in general, and the UNAM mural, in particular, is how he creates beautiful yet simple structures that portray more than just a building and mean more than what one can physically see. Indeed, while the design of the decorations might seem complex, a closer look at the patterns will reveal that they are, in fact, simplistic, yet they still have a unique charm that creates a unique and unforgettable atmosphere. OGormans art has influenced me greatly, and the idea of bringing together several art genres in a fusion so that something new and meaningful could be produced has become a part of my artistic philosophy.
Conclusion: The Artist That Made a Difference
One of the greatest artists of the 20th century, without a doubt, Juan OGorman fascinates me as an architect and an innovator who managed to promote the idea of blending several art forms into a single art piece. His art helps me realize that it is important to understand the connection between different cultures, as well as different art styles and even art forms. OGorman reinvented the very concept of Mexican art by suggesting that the principles of fusion should be introduced into it and that the elements of different art genres and types could be combined to create something new and extraordinary.
OGormans two major works, i.e., the house that he designed for Kahlo and Rivera and the UNAM mural, can be viewed as prime examples of why the artist made such a significant difference in the realm of architecture. Combining the elements of traditional Mexican art with the essential concepts of functionalism, he created masterpieces that will inspire millions of artists and the opportunities that his concept of fusion opens remain the reason why OGormans art has had such a tremendous impact on me.
Bibliography
Condello, Annette. Studies in the History of Gardens & Designed Landscapes. An International Quarterly 34, no. 4 (2015): 339-351.
Fraser, Valerie. Review: Latin America in Construction: Architecture 19551980, by Valerie Fraser. Journal of the Society of Architectural Historians 74, no. 4 (2015): 515-516.
Made of rock crystal and copper, the Lothair Crystal is a vivid representative of the Early Middle Ages (see Figure 1). Its author is unknown, and it was created between 855-869.
Figure 1. The Lothair Crystal.
The Lothair Crystal is a gem representing the biblical story of Susanna, the first girl who was falsely abused. There are eight scenes describing the story. Considering that biblical legends were at the center of the Middle Ages, this piece of art is rather important to understand that life and people ( The Lothair Crystal, n.d.). It is supposed that the Lothair Crystal was given to kings to show it as a symbol of power at the court.
Another significant art representing the Early Middle Ages is the sixth-century Byzantine-style mosaic representing Jesus (see Figure 2). Located at SantApollinare Nuovo, Ravenna, and made of fabric and glass, this mosaic refers to Roman-Byzantine Christian art. The author is unknown. The key features that reflect characteristics of that time are brick exterior, glittering gold, and naturalistic portraiture. It is culturally significant as it reveals the religious expression and translates theology into art.
Carving from Maria Laach Abbey, Eifel, Rhineland represent the scenes of a mans creation and fall (see Figure 3). This piece of art was made of the wooden crucifix by Master Hugo in the tenth century.
Figure 3. Carving from Maria Laach Abbey.
This piece represents the power of the Roman Empire, and it is notable for acanthus-leaf decoration. It is culturally significant as it reveals the historical and social continuity in a coherent style. Abbeys were extremely important as well as their design. When towns were destroyed, churches remained unbroken.
Figure 4. The tympanum of Vézelay Abbey.
Created in the 1130s by an unknown author, stone tympanum of Vézelay Abbey, Burgundy, France is characterized by decorative spiral details and imagery ornaments ( Vézelay Abbey, n.d.). Designed over the doorway, it was rather important for churches as if protecting them. Historically and culturally, this art shows Christian art and its role in that time. Today it helps to become closer to the Middle Ages.
Gothic Art
The Western (Royal) Portal at Chartres Cathedral (ca. 1145) by an unknown author is the first piece of art that made a revolution in the Gothic style (see Figure 5). Built of stones, it is characterized by columnar elongation, jambs, and archivolts specific to this art. It focuses on the themes of humility and passion. It runs across the portal zone and calls people to a righteous life, thus integrating history and culture.
Figure 5. The Western (Royal) Portal at Chartres Cathedral.
French ivory Virgin and Child sculpture designed of ivory by an unknown author are dated by the 13th century (see Figure 6).
Figure 6. French ivory Virgin and Child.
Located at Louvre, Paris, this statuette depicts the Virgin Mary and baby Jesus. The robe of the woman is decorated with gold. It serves as a vivid representation of Jesus childhood and his mother. Since religious motives and especially Jesus life and role were of great importance, this piece reflects the ideals of that time ( Gothic Art, n.d.). It helps modern people to realize the role of religion in Gothic art.
Overview
From the described travel, it is possible to note that the Middle Ages present important and interesting pieces of art. Among the key similarities, there are religious themes and materials such as stone and ivory. The differences involve such details as to size, style, and ornaments. The medieval artists integrated their knowledge and skills to reveal cultural and historical contexts for future generations. This travel helps to understand what was important for that epoch. It promotes the connection of art throughout history.
The paintings sent by Don Manuel de Amat y Junyet in 1770 to the king of Spain belonged to a genre known as casta paintings. This artistic category strived to catalogue the diverse populations living in the colonial world, and thus it can be argued that casta paintings suggest a visual descriptive taxonomy of it. The purpose of this paper is to analyze whether the paintings in Amats collection effectively and accurately reproduce the various racial groups of the New World at the end of the eighteenth century.
Background
Amats collection of paintings has provoked a lively debate over societys structure. To be more precise, experts have argued over whether society at that time was based on class or race. Nonetheless, this category of paintings represents racial mixing within the scope of social control. According to researchers, casta paintings of this epoch display the desire and readiness of Spain to attain its authority (Earle 427).
The paintings intended to further this goal by reviewing the human power and environment of the Spanish Americas for the countrys economic benefit. Katzew stresses that the intensified concern in this type of painting is connected with a need for commercial expansion (148). She states that the classification of social race served as a way of representing the unrepresentable; an attempt to quantify, and thus control, the fallibility of colonial social rigor (Katzew 151). In this way, the primary intention of the country was to use this rigid social construct to pursue its economic purposes.
Effectiveness
Interestingly, Amats collection of paintings vividly displays the multiplicity of racial groups that lived in the viceroyaltys jurisdiction at that time. Nevertheless, the paintings also represent the fixation of Spaniards on racial genealogy. Indeed, they express the desire of the nobility to oppose the intrusion on their heritage and wealth through a rigid classification based on race (Katzew 151).
To be more precise, casta paintings assisted in forming the racial identity of the colonial population, displaying the results of racial mixing and the governments attempt to manage miscegenation. The portrayals show the racial combinations that emerged from marriages between such races as Spaniards, Indians, Blacks, mulatos, and mestizos. Although the mixing of cultures was moderately fluid in the colonies at that time, it was still held to a rather stiff legal construct.
The paintings in Amats collection do effectively reproduce the racial groups of the New World at the end of the eighteenth century. These works of art, which depict miscegenated populations and colonial differences, intend to imply that the diverse population was effectively managed under the skillful leadership of the Spanish. The pictures show a father, a mother, and a child in their natural environment; importantly, the child is often seated between the two parents, implying that he or she is breaking the circular activity (Majluf).
Nonetheless, the way the family members lean towards each other and the abundance of physical contact signify that they are a uniform social entity in which everyone has his or her own place, which further carries the propagandistic message in New Spain. In other words, the racial stratifications in the colonial population did not hinder the establishment of unity between family members.
It is crucial to emphasize that the Amats series has a strict order or representation determined by race. Notably, Spanish males were placed at the top of the hierarchy, while the further succession would display the moral degeneration of the colonial population. Afro-Mexicans or Negroes closed this devolution, which allowed the Spanish to form a hierarchy of authority and prestige. In that matter, it is significant to outline the pyramid of power as displayed by the series. The Spanish topped the series, after which came the indigenous people, followed by Africans who closed the stratification (Majluf). Apart from the levels of authority granted to representatives of various races, this hierarchy also evidences the color continuum of husbands who were most or least suitable for females.
Accuracy
In general, casta paintings emphasize that the child belongs to a different classification than the parents; they idealize interracial interactions and stratify races through poses, clothing, and other aspects to intensify the differences between them. Nonetheless, this official artistic representation of society is not accurate enough in terms of official categories of the colonial population (Hernández Cuevas 138). For instance, an Española could be called a mestiza or, if her appearance did not signify her race precisely, economic or social markers could serve to stratify the person. Thus, it can be stated that the official representation carried an inconsistent system of classification.
Cartographic imagery was an instrument used to distinguish the indigenous populations of the colonies. Nonetheless, although the applied terminology precisely specified the social groups of the Americas, it did not concentrate on differentiating between the native peoples. For example, the Spaniards disregarded the differences between creoles and indigenous peoples, which brought confusion to this form of stratification. Indeed, it became impossible to differentiate between Spaniards and Spaniards of American origin, which further complicated the racial organization. Apart from that, the term Indiano was used to refer to two dissimilar cultural groups as well.
This confusion resulted in the emergence of the term Criollo, which was initially used for slaves originating from the colonies and then was later applied to distinguish Spaniards inhabiting the colony from those residing there temporarily. The bewilderment brought a strong negative connotation to the term (Hernández Cuevas 125). The ambiguous use of terms pushed creoles to distinguish themselves from the native population and claim their supremacy.
Conclusion
Overall, it can be concluded that casta paintings encouraged a highly regulated imagery of the colonial space. This incentive was linked to the desire of the colonial elite to delineate themselves from the castas who posed a threat to their wealth. Although the paintings demonstrate aspects of colonial society, they are ineffective and inaccurate in representing the varied background of colonies, which resulted in growing confusion regarding social classification.
Works Cited
Earle, Rebecca. The Pleasures of Taxonomy: Casta Paintings, Classification, and Colonialism. The William and Mary Quarterly, vol. 73, no. 3, 2016, pp. 427-466.
Hernández Cuevas, Marco. The Mexican Colonial Term Chino Is a Referent of Afrodescendant. The Journal of Pan African Studies, vol. 5, no. 5, 2012, pp. 124-143.
Katzew, Ilona. Casta Painting: Images of Race in Eighteenth-Century Mexico. Yale University Press, 2004.
Majluf, Natalia, editor. Los Cuadros del Mestizaje del Virrey Amat: La Representación Etnográfica en el Perú Colonial. 1999. Power Point presentation.
This paper primarily delves into an examination of the film Meeks Cutoff and examines is thematic elements, cinematography and how certain scenes can be interpreted and how they help to influence the entire film. Aside from this, paper delves deeply into the concept of the western shootout scene, its relevance and how its use differs in this film as compared to others.
Relevance
The much used shootout scene is a classic throwback seen in various cowboy movies which normally involve a one on one battle between a good and brave sheriff and a despicable outlaw. From the perspective of Parker (2014), a shootout scene can actually be boiled down to the concept of good versus evil where a hero comes to save the day. Other iterations of this type of scene focus on a more racially oriented version of events wherein a shootout occurs between a white sheriff or even a white deputy and the savage indians that roam the untamed wilderness of the West (Parker, 2014).
It is based on this that when looking at the scene of Meek holding a gun to the head of the indian, it reflects various elements of the classic shootout scene. However, there are various differences to consider, the first is that the concept of justice versus evil in this scene is highly ambiguous since the character of Meek has been portrayed as being contemptuous, unstable and likely does not know what hes doing. On the other hand, while the Indian is originally viewed with a considerable level of caution and uncertainty, he has yet to actually do anything to warrant violent behavior.
As such, in this scene a reversal occurs wherein instead of the white man with the gun being the representation of good and justice, the reverse is actually the case wherein he represents evil and corruption while the Indian is a vague representation of good since he did offer to lead the people to a source of water. It is in this situation that another aspect is introduced in the form of Emily Tetherow who points a gun at Meek in order to prevent him from shooting the Indian.
Discuss on the the conflict between civilized order and the lawless frontier
The concept of a western being a conflict between a civilized order and a lawless frontier is exemplified in the case of the movie Meeks Cutoff when the vestiges of what can be defined as civilized behavior give way to the anarchy that comes about when presented with the harsh reality of existence. First, it is important to develop some context in the standoff scene in order to under the perspective of Bordwell and Thompson. First and foremost is the fact that the prior to the confrontation, the settlers and Meek were subject to a situation where their lives were in danger given their dwindling water supplies.
Over the course of their trip, with little in the way of foreseeable hope, the vestiges of social behavior were slowly giving way to the need to find some way to survive. It is based on this perspective that the perspective of Bordwell and Thompson become all the more apparent as the desire to remain civilized conflicts with the innate desire of the settlers to survive. Manifestations of the uncivilized (or in this case lawless) behavior come in the form of threats of violence, holding a man against his will as well as the potential to be shot to death. These instances are manifestations of how the environment showcased in the film affects people within resulting in the conflict that Bordwell and Thompson mention.
There are examples of this seen in other films depict the old west in the form of a town being situated in the middle of the frontier with outlaws holding more power than the local sheriff due to their numbers resulting in the development of a considerable level of lawlessness which calls into question the stability of the society that is present in the area.
Are there important ways in which the scene defies genre expectations?
One way in which the movie defies genre expectations can be seen in the way in which Emily Tetherow becomes a more central figure in the movie as compared to the men. It is important to note that in most cowboy movies, males are the central figures in the film and act as the means by which either lawlessness or justice is expressed. Women are usually relegated to secondary roles where they either act as damsels in distress or are merely romantic interests. In the case of this film, the men among the settlers are apparently impotent and it takes the actions of a woman (Emily) in order to protect what is apparently their only source of salvation (i.e. the Indian leading them to water).
Another aspect to take into consideration is how there is no clear cut aspect of good and evil in the film. In cowboy movies it is normally seen that there is a villain that the protagonist is up again; however, in the case of this film it is evident that the concept of an antagonist is not so clear cut since the character of Meek is just trying to do his job while it is still uncertain whether the Indian truly means to harm the settlers.
How the filmmaker(s) prepare us for the decisive moment when Emily intervenes between Meek and the Indian
Filmmakers prepare audiences for the eventual confrontation between Meek, Emily and the indian by utilizing a variety of scenes and framing in order to create a sense of hostility between the characters. The first element can be seen in the way in which the camera focuses on Meek staring the Indian with an apprehensive and even hostile expression on his face. The length of time in which Meek and the Indian stare at each other is meant to emphasize some form of hostile animosity between the two that is just bubbling behind the surface.
The same technique can also be seen in the case of Emily and Meek wherein there are numerous instances where the camera pans into the face of Emily and she looks at Meek in a semi-hostile fashion while at the same time has a more hopeful expression whenever she looks at the indian.
This particular instance makes it appear that Emily is more likely to side with the Indian than she is to side with Meek. Aside from this, there are also the performances of the actors to take into consideration. The various scenes involving Meek and the Indian before the confrontation show a considerably level of hostility wherein Meek is emphasizing that the Indian should not be trusted and portrays himself as being incredibly hostile to the Indians presence and actions. From a certain perspective, it can be interpreted that the portrayal is an attempt to showcase the character as fearing that his authority will be usurped within the caravan and that he will be portrayed as not knowing what he is doing since the apparent shortcut that they took resulted in the caravan leaving the safety of well established trails.
Reference
Parker, B. (2014). The western film and psychoanalysis. Film Quarterly, 68(2), 22. Web.
The Modern Monster is a filmmaking course that is planned to take place in October 2019. The three-day event is designed to enable student to get practically involved with the production of horror films. With the help of celebrity instructors, the students will be involved in the actual acting, shooting and editing of the film as an initial step into becoming experts in filmography. According to Benshoff (2017), it is critical to give learners a real-life experience of acting and shooting of videos to help equip them with skills they need when they get into the film industry. While working in a group of five students, it is also possible to get peer review. Students can health each other to identify strengths and weaknesses that need to be addressed to achieve excellence in this field.
The primary audience/client in this event is SFX Design, Inc. The company has a wide variety of products meant for the entertainment industry. The hope of the event planners is to ensure that there will be a lasting relationship between the company and the team to facilitate similar future projects. The Kit Room has offered to sponsor the event. The preferred location for the event is the colleges film studio. This location was chosen because it is convenient for all the stakeholders involved in the project.
The audience will include family members, friends, lecturers in the school of arts and professionals in the film industry. When selecting participants in the project, the team had to eliminate people and entities that failed to meet the set criteria. The team eliminated some of the instructors who either lacked the needed skills for the event or commitment to be part of the process.
Evaluative and Analytical Discussion of the Strategic Significance of the Event
The planned event is meant to enable the students to plunge into the film industry, especially the genre of horror films that is becoming increasingly popular in Europe, the North America and other parts of the world. According to Allen, OToole, Harris and McDonnell (2011), shooting a horror film may not be as easy as shooting a comedy or a documentary. There are specific effects that must be created in horror films that elicit fear among the audience.
It means that more time and resources have to be invested in such a production compared with when one is shooting other forms of films. The event offered students an excellent opportunity to have a firsthand experience of the events that happen in the backstage and what it takes to produce a successful horror film. It is necessary to evaluate and discuss the strategic significance of the event to the client and other strategic stakeholders.
Funding and Sponsorship
One of the first steps that the team must step when planning for this event is to determine the sources of funds for this project. When producing a horror film, the team will need various kits besides the camera and computers to ensure that the right horror effect is created. The team needed to find a sponsor to fund various activities in the project. The Kit Room agreed to be the sponsor of the project. The company will fund most of the activities, especially purchasing of the consumables and hiring of the needed equipment for the project. As such, the following logo of The Kit Room will appear prominently in the film and the entire event as an appreciation for the sponsorship.
Fig. 1. The Kit Room logo (Benshoff 2017, p. 78).
Operational and External Factors Affecting Its Success
When the sponsor and audience of the event are clearly defined, the next step is for the team to ensure that the relevant measures are taken to enhance the success of the project. Different operational and external factors that may have a significant impact on the outcome of the project must be defined in clear terms. The team should then determine how to deal with each of these factors to help achieve goals and objectives of the project.
Design of the event
When it comes to operational factors, the team members (students), working closely with the celebrity instructors, must be committed to producing a masterpiece, a real horror film that will have the right effect on the audience. The students have the right training, and they only need the guidance of these experts to achieve such goals. In this event, everything narrows down to the costumes used, effects created and editing skills to develop the right feeling among the audience (Supovitz 2005).
The Kit Room and SFX Design, Inc. will provide the needed costumes and consumables that will be needed to create the needed effect. The actors will have to appear like monsters or alien creatures capable of eliciting fear among the audience. Figure 2 below shows how pain can be used to transform the face of a beautiful woman into a scary monster.
Fig. 2. Using face paint to create the desired effect (Hubner 2018, p. 97).
It is important to note that in figure 2 above, the audience can easily determine that paint has been used. However, Masterman (2007) advises that when creating a specific effect in a horror film, it is important to make it as real as possible. The monster presented to the audience should have horrific features, which are not easily discernable to the audience. Figure 3 below is an advanced panting, with some computer effects added, to make it a more realistic and scary monster than the one in figure 2 below. It is important to note that while the usage of these costumes is critical, the actor must also make a personal effort to create that effect through facial expression, as shown in the figure below.
Fig. 3. The creation of a horror film (Hubner 2018, p. 98).
Planning is one of the aspects of operational factors that can define success of the project. The team need to have a careful plan that defines what should be done at specific times, who should be involved, the resources needed and the expected outcome. When there are clearly set milestones, it will be easy to determine whether the crew is progressing towards success or if other measures may be necessary to help improve specific issues within the project.
It is equally important to have a proper coordination between all the stakeholders involved. The sponsor should know what the team needs and when they should be delivered. The celebrity instructors need to work closely with the students to ensure that they are always at the right place when needed to avoid time wastage. The responsibility of every team member should be stated in clear terms. It will be important to ensure that a partnership and an association are created between the event brand and the sponsor (Skinner & Rukavina 2003). The goal is to create a long-term relationship with the sponsor to secure funding for future projects.
The proliferation of events as a marketing tool
The success of the project does not only depend on the production of a wonderful piece of horror film but also a proper promotion. The proliferation of the event will be important in increasing the number of those who will watch the film. Other than the friends, family members and industry experts who will be invited when launching the film, it will be equally important to ensure that the film reaches a wider audience in the United Kingdom and other parts of the world.
Immersion and real-time promotion are some of the strategies that the team can embrace. At this initial stage of the production, and with the approval of the sponsor and other authorities in this project, it will be necessary to upload the film on YouTube. This platform will help in increasing the geographic coverage of the audience. It may also help in identifying other partners who may want to work with our team to produce new films.
The development of events
During the development of the events in this project, the team may need to embrace various ways growing popularity of the film within the University and the immediate community. During the period of planning and undertaking various activities in the project, time and resources should be set aside for promotion of the event. Posters and flyers can be used to inform the community about the upcoming event and the need for them to support it (Benshoff 2017).
In the poster, the date of the film production should be stated, its genre defined, and how those who cannot attend the show on the day of production can find the film on YouTube. The local community can help in ensuring that the film goes viral within and outside the United Kingdom.
Evaluation Against Stipulated Outcomes
When undertaking any project, it is always important to ensure that the outcome is in line with the stipulated objectives. Hutchings (2013) explains that any project that involves spending time and money must have clear objectives that should be realised within a given period. The project will only make sense if the team succeeds in achieving specific goals. As such, the project team members had to come up with SMART objectives that would be measured against the outcomes of the project. It will be in the interest of the students, sponsor, client, the college and other stakeholders to ensure that the set goals are achieved. The following objectives will help to determine the success of the project:
To develop a successful horror film that captures the attention of the audience;
To create a lasting business relationship with the current and other possible sponsors to secure funds for similar future projects;
To equip the students with skills needed in the production of horror films and other related genres;
To enable students to interact with industry experts as a way of developing their career in this industry.
Key Themes and Theories to Support the Decisions in the Report
The film will have to capture specific themes, supported with various theories, to come out as a true horror film. According to Hutchings (2013), one of the key themes in a horror film is the fear of death. People fear death, and this should be expressed both psychologically and existentially. When attacked by the monsters, the actor should express the horror that will be translated to the mind of the audience.
Darkness is another theme that should be used to create fear among the audience. The fear is in what the darkness hides other than the darkness itself (Hubner 2018). Disfigurement and dismemberment are ultimate themes of horror films. They help in ensuring that the worst fears of the victims and the audience become true. Suspense is another common and important theme not only in horror films but also in any other film (Benshoff 2017). The anticipation and expectation of what is going to happen next is needed to ensure that there is interest among the audience to follow the flow of the film.
It is equally important to look at theories that can help support themes presented in this film. One of the concepts relevant in this project is Noel Carrolls the Philosophy of Horror (Hutchings 2013). The theory explains how the art of horror is used by characters in define the fear of the monster. It involves creating a threat to normalcy and a breach of peace. Sigmund Freuds The Uncanny is another relevant theory that will help in this project (Hubner 2018). It is used in reference to something that is disturbingly strange. The concepts are often used to emphasise the horror in a given film by creating a form of disturbance in the mind of the audience. The theories and key themes will help achieve enhance success of the project.
Conclusion
Modern monster is a horror film that is planned to be produced in October 2019. It will bring together students, industry experts and sponsors in an effort to produce a successful film that meets all the criteria of a horror film. The team has succeeded in finding a sponsor who will provide the financial resources needed in the project. The team will need to find celebrity instructors who will guide the production process. The goal of the team is to ensure that learners are equipped with skills that needed in the film industry. The event will create a platform where these learners will interact with top players in the film industry as they plan to pursue a career in this field. The team expects that the short horror film will be successful not only within the college community but also at national and international levels.
Reference List
Allen, J, OToole, W, Harris, R & McDonnell, I 2011, Festival and special event management, Wiley, Sydney.
Benshoff, M, Ed., 2017, A Companion to the horror film, Wiley Blackwell, New York, NY.
Hubner, L 2018, Fairytale and gothic horror: uncanny transformations in film, Palgrave Macmillan, London.
Hutchings, P 2013, The horror film, Pearson Education Limited, New York, NY.
Masterman, G 2007, Sponsorship for a return on investment, Elsevier, Amsterdam.
Skinner, B & Rukavina, V 2003, Event sponsorship, Wiley, New Jersey.
Supovitz, F 2005, Sports event management and marketing playbook, Wiley, Hoboken.
