It is impossible to think of artistic works as aesthetically driven forms filled with no sense and connection to cultural and social issues. In order to conceive these new dimensions, artists often resort to changing patterns of representation, using different artistic practices.
The truth is that, though being disguised by artistic judgment, artworks have always served as the guardians of important historic, political, and social events and, therefore, ongoing shifts introduced to this sphere are inevitable. Relying heavily on Bourriaud’s vision of culture and contemporary artistic practice, the artist can be perceived as the tenant of culture being always on guard changing patterns in culture and society.
In particular, the author supports the idea that artistic works no longer serve for re-creating fiction and imaginary, but for forming the veritable modes of living within the current realistic model. Indeed, reality presents specific circumstances and conditions an artist should adjust to and understand so as to adapt the existing environment to his worldview.
Bourriaud’s outlook on art and culture can recognized as a paradigmatic one because all artistic forms serve as relational forms to interpret the existing reality. In this case, artistic conception, that was initially understood as a source of aesthetics and inspiration, is now more congruent with ideological spirits aimed at representing historical and social backgrounds.
Even abstractionist forms of representation point out either past outlook on reality or future perspectives, as proposed by Bishop: “Bourriaud seeks to offer new criteria by which to approach these often rather opaque works of art while also claiming that they are no less politicized than their sixties precursors”(53).
The writer particularly refers to Bourriaud’s argument concerning the art of 1990s whose theoretical context is closely associated with social interactions and political underpinnings rather than symbolic and utopian representation of symbolic space.
Interpreting this, the art should be relationally represented and delivered in a wider artistic context; artistic and cultural activities should largely depend on social conditions and audience that is perceived as a community, but not as a set of individuals. Therefore, there should be a strong connection between the relational art and social entity applying to artistic representation to understand the reality.
While analyzing modernist influences, it is not surprising that Berriaud reduces twentieth century art disclosing rational ideology and artists’ desire to improving social conditions in the context of economic crisis. Modernity, therefore, is more committed to experimenting and criticizing the reality to inform the audience about the actual state of affairs.
With regard to this, the modern art cannot be simply considered as a form of interactive art; rather, Bourriaud refers to it as a tool of locating contemporary empirical practice within a larger cultural context. In other words, the audience contemplating modern art can see it a response to the ongoing changes of economic and political infrastructures.
In addition, the existing artistic form can be seen as a reaction to virtual connection between the globalization process and online technologies leading to a people’s growing desire to resort a face-to-face communication. As a result, Bishop’s suggest that relational art can also serve as a precursor of a sequence of events in future; it dictates future actions and makes people understand what problems they may encounter while living in a globalized community.
While discussing the artist’s destination as the tenant of culture, but not as the creator, Bishops interprets it in more socially predetermined way. Specifically, the writer states, instead of “utopian” agenda, today’s artists seek only to find provision solutions in the here and now; instead of trying to change their environment, artist today are simply “learning to inhabit the world in a better way”; instead of looking forward to future utopia, this art set up functioning “microtopias” in the present (54).
In this respect, Bourriaud concludes that today’s relational aesthetics consists in enhancing political and historical significance of certain phenomena, objects and figures. Pragmatism and rationalism, hence, are the main pillars that the Bourriaud makes use of to involve the audience and make it understand the essence of today’s artistic movement.
What is more important, realistic representation can also be viewed from ideological perspective because each form of representation is the artists’ attempt to fight for changes and for promoting modernity. Artists’ aspiration to create is not premised on their desire to propagandize aesthetic concepts, but to involve the audience into their day-to-day practice.
While making the audience understand reality, the artist can be acknowledged as the bearer of existing realistic and practical notes. Therefore, contemporary artists are more attached to functional rather aesthetic representation because the latter does not infuse any pragmatic importance.
They are now more concerned with developing new cultural and social framework and inventing new reality with the audience involved in art creation. Bourriaud, hence, states that elucidating politics and culture from art is absurd because these two spheres have always been interacted with other. Just as modernity relies on the development of new artistic concepts, the art itself relies heavily to social and working conditions under which particular cultural objects are created.
Finally, relational art serves as a reason for and underpinning of immediate discussion, interaction, and debates among the audience involved into contemplation of a particular artistic form. People should themselves as a part of this art so that they should be able to recognize the problem, to discuss the opportunities and introduce possible solutions.
In this respect, Bourriaud perceives artists as cultural dictators, but not as the aesthetic creators that make the viewers encounter the way they imagine reality. Within this arguments in mind, Bishop underscores that relational aesthetic can be evaluated only with the presence of the audience. With no viewers contemplating, the artistic forms created are a bulk of meaningless objects.
In conclusion, it should be stated that Bourriaud’s outlook on art as a cultural determinant and as precursor of social and political changes is quite understandable in the light of changing artistic patterns. Modernity, therefore, seeks to present reality as it is, with no reference to utopian and imaginary representation.
In fact reality reflects particular social and historical situations and the artist’s tasks is make this reality closer to the audience. More importantly, being deprived of aesthetic judgment, they are more inclined to produce objects and concept that can be understood only when interacting with the viewers.
Hence, relational form serves, first of all, as the indicator of changes that need to be introduced. Second, it seeks to involve the audience into solving existing social and political problems. Finally, it establishes new, more realistic forms of representing modernity.
Works Cited
Bishop, Claire. Antagonism and Relational Aesthetics, 2004. Web.
Bourriaud, Nicolas. Relational Form. Relational Aesthetics. Dijon: Les presses du réel, 1998. Print.
Art has been there since history. In the past, it was preserved as sacred but physical and could only be made by painting. Later on, it became social and could describe one’s class and was mostly meant for the rich.
Today, visual art has become easy to make, available and cheaper because of the invention of a camera. This has raised the issue of ownership and copyright.
Education level has been seen to have an influence on the people interested in arts. Advancement in education has an effect of increasing arts interest. Perception of an idea from an image may differ from one person to another as well as from time to time.
What people see is determined by what they believe in. Eyes are a powerful instrument of a human being. Sight is incomparable to anything else and it is a unique gift from God. Their complexity allows them to do what nothing else can do.
Eyes have no limit and never get tired of seeing. Image is therefore quicker to communicate than words. In the past images were only made of non-existent things. Later on the idea of image changed to existing things.
After this, an image could be explained and expressed by how another person had seen it. This has been the development in art and design. Images therefore form a great part of communication.
Creativity of an artist enables him to communicate a lot on his imagination. People’s perception on an image is affected by several factors that the viewers know and think about art. This includes the magnificence, the reality, and development of the viewers.
Past knowledge helps us to improve creativity in the present. That is why history is always related to the present. Present art and design will help the future generation to have easier work while studying their history.
Hals was the earliest painter who specialized in portraits expressing people’s characters which came as a result of capitalism. Hals lived as a very poor man who was always in debts.
He benefited from charity. The criticism of his paintings was that he did so with sullenness but the author of his publications disagreed by saying that his work was excellently creative and the appearance of a painting could not judge one’s mood at the time of painting.
The rhythm and the harmony of art work contribute greatly to the supremacy of an image. Qualities such harmony, brightness and contrast can bring out an idea so clearly if used appropriately.
Hal’s paintings of his sisters could lead one to conclude about their characters. Why? Because from the facial expressions one could relate them to how he saw people behave while in different situations e.g., happy or sad.
The suggestions of the author on Hal’s paintings went further explaining that the people at that time had a fashion of wearing hats. The paintings could have many conclusions from one image as one idea leads to another.
The perception of the past is different from what we see today. Invention of a camera changed people’s thoughts. The images became subject to time and space. The cubists also came with the idea of describing an image from all views taken around it.
The camera’s uniqueness was that the image was transferable to many places. Television views became available to millions of people around the world who could watch one image.
Each person or family received it and interpreted it in a different way. This was not the case for paintings. Paintings were unique in that they were only found at one place with no other copy completely similar to them.
The present view of originality of images is perhaps led by the issue of its scarcity. Paintings can be changed to the painter’s interest while a film is accurate with succession.
Paintings, however, cannot have a succession of events and most information is not usually included. Words included in a picture determine how a person interprets and bring out an argument.
The national gallery was believed to have original paintings. Virgins of Rocks by Leonardo da Vinci were one of the famous paintings in the gallery. The greatest sales of Leonard’s cartoon were made because of their fame which came as a result of one American who wanted to buy them for two and a half million pounds.
Art is an interesting subject to all age groups. People hang and pin paintings, letters, and snapshots has a way of appreciating art. Art gives the artist room and freedom of creativity.
Art could be referred as an expression of individual experience, the way world is understood, valued, observed and celebrated. The traditional method of classifying art has mostly been based on the products.
Artworks are identified in terms of inherent features found in them either as phenomena or objects. That approach leads to generic categorizations which are observed in drama centre, conservatorium, and art schools. Whatever is referred as ‘the arts’ currently, sometimes back they were essential part of daily life (Freeland 2002:8).
Freeland has analyzed various philosophers and there contribution to different forms of art through their theories. His work focuses on history of art when it had no value until currently.
His work therefore focuses the value of art and attempts to answer the ambiguous question what art is and its meaning. In different dialects, no word could be used to collectively explain the range of creative activities. As a result of specialization this led to division of labor during industrial revolution, as a result, there was a specified time when one could identify that the arts were professional undertakings.
The art was separated from the other life activities and became significant to some people. There are many critics involved in this field in an attempt to analyze the real value of art.
Plato who was a known philosopher was among the first to explore the field of art. His work criticized poetry particularly focusing poets originating from his city.
Plato viewed poetry and arts negatively as opposed to Aristotle who developed a theory on aesthetic basing his arguments on Plato’s ideas. Aristotle concurs with Plato that art had a deep impact on someone’s emotions.
Plato argued that the fears and passions which are experienced by audiences during dreadful performances could affect their personality. On the other, hand Aristotle claims that such emotions never corrupt but they cleanse. Therefore, the view of Plato on poetry is a contrast of Aristotle’s concept. Platonic concept has a noticeable influence on Western civilization.
Mainly it has focused on certain era in history, in an attempt to introduce some cultural strategies to transform cultural policy. His work challenges the Puritan attack around 1642 together with theatre prohibition in England.
His work is diversified; Plato also caused a great impact on the understanding of poetry in the Western. This was when Plato invented the theory of poetical inspiration which brought about an outstanding change (Belfiore 2006:231).
Belfiore has been involved in art work for a long time being the head of international cultural policy. Her work discusses on social impact of arts and its position in the cultural policy. In addition, her work challenges the claims which had been made earlier concerning the effect of art on the society and individual.
Therefore, her work remains important until today because it explains the power of art and fights for its success. There are other theorists who also explored the function of art for instance, Carey who was a professor of art and also depicted as a critic.
His work argues that Literature is superior as compared to other arts. His work criticizes some sources of art and challenges their contribution to the modern society.
His work also challenges some literary sources because they appear to be vague and insignificant.Carey claims that literature does not entail just a feeling of pleasure as in painting or music which does not portray the difficult part of art. Further argues that it’s only literature which can instill good morals.
However Carey to some extent values art and reports that it expresses emotions such as anger, fear and desire (Carey 2005: 36). Hence there are different views on the function of arts as discussed by critics from the past decades until presently. The paper focuses on the power of art by assessing the function of art in the society.
Background
Creative arts (arts and media) consist of various sectors which were initially called cultural industries. These sectors include literature, visual arts and those arts which are performed.
There has been drastic change in the government in terms of their attitude towards culture and creativity. Creative industry is a term which has been commonly used as a form of rebranding culture. Cultural industry was originally used to mean commercial entertainment such as recorded music, film, and publishing (Garnham 2005:19).
Intellectual property enables people to appreciate the products from their own creativity. This ensures that one has some goods or products to sell which enables one to exercise moral and economic rights over those products.
Garnham reports that in United Kingdom, copyright is currently regarded as the major organizing principle in creative industries and it defines the cultural industries.
Various types of creative activities such as engineering, academia and science generate intellectual property. Policy discourse includes copyright industries, knowledge industries and intellectual property industries.
The policy discourse covers the media and the arts which are referred as the creative industries. The policy issues involved in this research were established several centuries in the disciplines of art and media. In the past, there was an obvious demarcation between arts policy and arts and commerce, and policy related to mass media (Garnham 2005:19).
Thus there was provision of popular or mass culture, and the main issues were pluralism and press freedom, security of national film industry, and the management and provision of public service broadcasting.
In United Kingdom, there was division of responsibility of the policy between Press industry and Department of Trade. Concerning the broadcasting and press policy, the development involved several Royal Commissions for Public Inquiries and press broadcasting. Mobilization of the term cultural industries to creative industries led to redrawing of various boundaries (Selwood 2000: 59).
They included redefinitions of the foundations, instruments and purposes of the policy. Those changes caused economic arguments which are related to dynamics and the structure of the industries, their position and comparative weight within the economy, and so the relationship between industrial and economic policy and cultural policy.
The shift of creative industry from culture industry was motivated by certain political context which remains to be historical. In addition, it led to different focuses concerning the policy issue during early 1980s.
This involved a shift from state to the industry with extensive assortment of public provision. That describes the reinforcement and the shift to managerial and economic patterns and language of thought in media and cultural policy (Garnham 2005:22).
Great art discloses the importance of age in terms of, who produced the art and when. Hence it is essential to consider who initiated the creativity art and when in order to understand how it influenced the form.
For instance, Mona Lisa which portrays the creativity and beauty of art was produced by Leonardo. This depicts the value placed on beauty and grace by Italians during Renaissance. It’s evident that Leonardo was a scientific observer mainly the nature, self-directed thinker, imaginative pioneer and more so brilliant artist.
Most importantly, his work illustrated important concept of Renaissance which yielded to the current perception of individualism. To some extent, the charisma of Leonardo art indicates that it was produced by one of the pioneer who was regarded as creative genius in relation to contemporary sense.
Leonardo sacrificed a lot of time working on the art; it took many decades to finish despite the fact that it was carried everywhere. No wonder it had the same fascination to many viewers and finally was placed in Paris museum. Finally it was recognized as part of French and Italian culture (Lewis 2008:5).
Women’s images were omnipresent in America during the past century, everything was decorated. This was done through sculptures and paintings; they were involved in extensive and diverse activities which showed different identities.
This depicted how they developed from symbolic and mythical nature to contemporary. Around 1870s, they painted nude women and others such as Ariadne who was acting a certain myth. In 1880s there were more poetic materials which predominated for instance, popular evidence is the book called ‘American Figure Painters’ (Hook 1996:1).
Most of those paintings displayed woman as allegorical subjects and the titles used were evocative to show how women occupied an ideal or symbolic realm. The arts represented the feminine gender and how they were viewed by American society during 19th century.
Idealized women paintings acted as sites of several interconnected artistic, historical, societal and cultural discourses. Those images could satisfy the artist’s meaning for art, and none of the other subjects could since their female complement were viewed to occupy a position which was similar to art itself (Hook 1996:7).
Functions of Art in the society
Cultural Industries (Arts and media) and Culture
The idea of culture industry was first observed in academic, later in policy and political discourse around 1960s. That return originated from a resurgence of Western Marxism which concentrated on hegemony and ideology, and the reinstitution of Frankfurt School and generally cultural turn.
Sociologically, that shifted concentration from assessment of class divisions and social structure to cultural analysis. Social cohesion was by then described according to common belief systems, social domination according to cultural supremacy and social struggles were never associated with economic power and material allocation, but was viewed as struggle between identity groups and sub cultures for legitimation and recognition.
Nevertheless, the term cultural industry which was applied by that time did not signify replay of Frankfurt School. This was because it did not reflect the superior, cultural pessimism observed in Frankfurt School or even the unique version of Marxist economics which underpinned it.
Moreover, there was replacement of traditional working class politics which were founded on production with cultural politics. Oppositional political practice also shifted from trade unions, factories and political parties to the rock concert, the home and mainly the classrooms.
To some extent, that position was connected to decisive rejection of cultural pessimism of Frankfurt School and commercial social democratic critique.
That was mostly in American commercial, culture which favored positive revaluation, popular culture and treasonable decoding authority of audience.
In addition, cultural industries led to emergence of a rival school dealing with analysis, it was later called political economy school. Those analysts originated from media studies and individuals who had participated in assessment of social democratic policy of film, the press and broadcasting industries (Galloway and Dunlop 2007:20).
Creative arts have mainly caused a difference on cultural practices. It has eliminated class divisions and social organizations which brought divisions. As a result, social cohesion has been achieved through common cultural beliefs and distribution of resources hence more understanding and growth.
Effects on Political Economy
Concerning political economy, cultural industries emphasized on the unique nature of dynamics and economic structure of the cultural sector. This originated from immaterial or symbolic nature of the products associated with cultural sector.
That assessment has been very significant during 1980s to 1990s when the liberalizing, deregulatory wave affected the British media sector.
This led to some pertinence in a motion about broadcasting regulation and public service broadcasting defense which led to approval of Broadcasting Act in 2003 and instituting of regulatory body Ofcom.
As a result, cultural industries or sector were characterized by increased costs of production which were fixed and minimal to almost zero marginal costs of distribution and reproduction (Myerscough 1988:87). This favored audience maximization, economies of scale, and horizontal and vertical concentration.
In, addition, the demand was unpredictable because the information had to be new to maintain value, hence the consumers and producers could not foretell what they wanted.
The large corporations were favored since they had enough money to operate through economies of scale. Moreover, the cost of marketing increased in proportion to total cost (Howkins 2001:91).
The market strategies which were developed to control the endemic problem focused on; the structure, and regulation of the entire sector and most significant indirect funding through advertisement.
Therefore the debate of state intervention, privatization and regulation of cultural sector, price mechanism strategies could not apply. In addition, the issue of intellectual property and copyright industry (the other alternative of creative industries) also arise concurrently. Therefore, art brought significant difference on the economy which in turn affected the political stability allover.
Creative Industries and Information Society
The term creative has been used rather than cultural to indicate an effort of cultural policy and the cultural sector to share their ideas with the government, and the presentation of policy in the media and its attachment to information society.
One major concept shared between information society and cultural turn school is the stressed issue on significance of cultural or symbolic production, commonly called knowledge or information according to capitalist economies.
The extensive emphasis contains different analyses within it which focuses on the nature of that developing importance and various economic forms associated with it.
Those different analyses lead to various assessments on significance of cultural sector in the area of media and arts, and nature and function of information work and workers.
The concept of knowledge or information has led to industrial revolution which has brought significant cultural and social changes as justified by the term information society (Garnham 2005:27).
Consequently creative art has had noticeable effects on information society through creating awareness and understanding. This is reflected in the media and visual art which have brought self realization.
Function of art as aesthetic and expressing emotions
According to philosophers, art expresses aesthetic concept because it copies nature hence it describes appearance. The discernment world seems to be unreal; however through appearance some reality is expressed.
However, the world of art is described through the appearance itself. Thus the aesthetic experience is expressed through imaginations and the objects portrayed are the images.
Plato acknowledged poetry and the significant identity depicted in painting. Plato uses such arts to describe beauty. On the other hand, Socrates describes art as beauty, and further claims that it’s an exercise of emotions.
The philosophers argue that the emotionality of art is created through imagination. The imaginative idea is expressed as real through a symbol (Collingwood 2011:163).
The emotional art tends to be formed in the mind and then through symbolism it’s what one observes as the image. Therefore art is significant in creating such images which expresses beauty.
Creative art has caused great impact on imagery through use of symbolism which expresses emotions. Also art expresses beauty from the images formed in the mind they become real through art. Hence art helps one to express beauty and emotions in various forms.
Conclusion
Some few centuries back, art was not regarded as important and was not recognized in the society. In fact, art was not even referred as part of the professionals that existed and there were no experts were associated with this field.
As a result of industrial revolution, there was specialization which led to division of labor. This led to awareness of art and more experts started coming up. Art is an important tool in the society because it communicates societal values.
Artists borrow their ideas from their society therefore artworks portray diversity of values and beliefs in different cultures. As portrayed in the paper, creative industry refers to media and arts which were initially called cultural industries.
This department did not exist earlier since there were no approved policies to support it. Creative industry was disregarded and it required powerful critics to stand firm and fight for its approval.
Nevertheless, there were policies which were later approved and the department became recognized. This brought many changes both socially, culturally and economically.
Reference List
Belfiore, E. 2006. The unacknowledged legacy Plato, the republic and cultural policy. International Journal of Cultural Policy, Vol. 12, No. 2, 229-244.
Carey, J. 2005. What Good are the arts? London: Faber
Collingwood, R. 2011.Plato’s Philosophy of Art. Retrieved from mind. oxford journals.org. London: metropolitan University
Freeland, C. 2002. But is it Art? An Introduction to Art Theory. Oxford: Oxford University Press.
Galloway, S., & Dunlop, S. 2007.A critique of definitions of cultural and creative industries in public policy. International Journal of Cultural Policy, Vol. 13, No. 1. Web.
Garnham, N. 2005.From Cultural to Creative Industries. International Journal of Cultural Policy, Vol. 11, No. 1. Web.
Hook, B. 1996. Angels of art: women and art in American society, 1876-1914. Pennsylvania: Penn State Press.
Howkins, J. 2001. The Creative Economy. London: Penguin
Lewis, R., & Lewis, S. 2008.The Power of Art. New Mexico: Cengage Learning.
Myerscough, J. 1988. The Economic Importance of the Arts in Great Britain. London: Policy Studies Institute
Selwood, S. 2000. The UK Cultural Sector. London: Policy Studies Institute
The movie, When Harry met Sally, initially presents audiences with a premise that focuses on the inability of men and women to form platonic relationships since sex gets in the way (Bennett, 24).
This is one of the driving aspects of the film and is somewhat confirmed in the end when Harry and Sally do in deed have sex which does result in an initial lasting awkwardness and distance in the relationship yet culminates towards the end with the two of them getting married.
It must be stated though that the premise is wholly wrong and is in no way an accurate depiction of the relationships between men and women.
Arguments against the Movie’s Premise
Evolution and Personal Experiences
The first and main premise given by the movie is the fact that men and women cannot be friends due to the possibility of sexual tension getting in the way of the friendship. This particular line of reasoning neglects to take into account that humanity has already evolved to a point wherein the primal instinct to have sex can be overcome.
The premise posits the idea that men and women only get together for the act of sex without taking into account the fact that men and women befriend each other for other reasons. This can range from similar interests, to particular hobbies or merely enjoying each others company.
The fact remains that based on my own personal experience I have had friendships with many other members of the opposite sex with sexual desire never getting in the way of the friendship. It is due to these experiences that I can safely say that the initial premise of the movie is wholly inaccurate and in need of changing in order to accommodate real life social situations.
Boundaries in Social Relationships
All relationships whether based on passion or mutual friendship have certain barriers that are upheld at all times. In fact, all good working relationships have set boundaries clearly set that determine the type of relationship people have and the types of behaviors allowed.
Within the movie the concept of relationship barriers is never fully explored and thus allows for the character of Harry to make his unsubstantiated conclusion regarding the impossibility of friendship between men and women.
In most real life situations it is the barriers that have been set up beforehand in order to properly guide a relationship that helps to prevent any adverse sexual interaction from occurring. As such based on this premise it can be seen that the movie lacks any true adherence to the concept of friendly relationships and is in fact existing in a world where there are no such things as boundaries.
Conclusion
Based on what I saw in the movie I can say for certain that its views are so far removed from reality that they are in fact implausible to accept. Men and women can easily become friends when they choose to without concepts such as sex and intimacy getting in the way.
In fact in most cases when people become friends they no longer look at the other person as a sexual object but rather as another facet of their life. It is due to this that I can say that while I somewhat enjoyed the movie I can never truly accept the premise behind its plot line.
Work Cited
Bennett, Ray. “‘When Harry Met Sally’.” Hollywood Reporter — International Edition 382.42 (2004): 24. MasterFILE Premier. EBSCO. Web.
The essay is a comparison of two major films, ‘The Story of Qin Ju’ released back in 1992 and ‘Ermo’ released in 1994. It is worth noting that both the films are of Chinese background. The two are under the genre comedy drama films directed Zhang Yimou (The story of Qin Ju) and Zhou Xiaowen (Ermo).
The two films have two female protagonists developing different themes as well as other characters. Concerning ‘The story of Qin Ju’, the main actress Qin Ju although she is expectant and she was in her last trimester could not burry her head in the sand after seeing her husband kicked several times in the groin.
She decided to visit the town and face the bureaucratic system of justice in her city. Through several appeal, Qin Ju secured justice. However, when she was about to deliver, she experienced some complication.
Her husbands went ahead to wake the village head who later saved her life as Qin Ju was taken to the hospital and safely delivered a baby boy. Officials came to the village and took an x-ray of Qin Ju husband which later showed that he had a broken rib. The headman was taken to jail for a period of fifteen days. Her efforts of trying to block this did not yield any fruit.
Ermo on the other hand is about a Chinese woman, Ermo who is hard working. Since her husband who was a chief suffers from a health complication that prevent him from undertaking any meaningful duties, she is responsible for taking care of him and their child by selling noodles.
However Ermo is in some sort of competition and jealous with her neighbour who has a television set although no child. This means that every other child including Ermo’s son would wish to be in that family.
For this reason she went an extra mile working outside her village so that she could afford the biggest television set ever seen in the village. Her quest of owning such a TV has ruined her family. Ideally, the culture of Chinese people is being washed away by westernization.
Similarities between the protagonists
A critical analysis of these two films clearly leaves the viewer with some incidences that are similar to both the protagonists; Qin Ju and Ermo. First and foremost, both the actresses are fully performing the duties of a woman based on the Chinese culture.
We are told for instance from the onset that Qin Ju was not only living with her husband and their father but also with her sister. This is a clear indication that she performed her duties as a woman to ensure that the bond between family members is strong.
Additionally, it is evident enough that she is performing her duties as a woman when she was pregnant for her husband. Similarly, Ermo acts on the similar position as Qin Ju. This is exemplified by the fact that since her husband who was a village head got sick and could not do any meaningful work, she took the mantle and engaged herself in selling noodles so that she could take care of her family.
Her family constituted the ailing husband and their only son. According to Chinese culture, it is rare to see a woman buying medicine for her husband which Ermo does. This depicts the love and care she has to her family.
The same is also the case with Qin Ju who went to the bitter end trying to ensure that her husband’s case is satisfactorily handled. However it is quite odd for the women to take roles that are reserved for men for instance providing and taking care of the family (Ermo) and fighting for justice as in the case of Qin Ju.
In my view, both female protagonists depict the new phase of China. Although both are women who are supposed to assume duties and responsibilities that opt to fit their gender, they went and extra mile in ensuring that justice is served and the family acquires material things; that is for Qin Ju and Ermo respectively.
We see that Qin Ju struggled so much to ensure that justice is done for her husband who was kicked mercilessly on the groin by the village headman. She was determined to take the pain and scolding provided her husband’s case is treated to her satisfaction; this is despite the fact that she was pregnant and was about to deliver.
Ermo reflects the new China depicted by the financial independence and empowerment she has this fills the role of old China which is represented by her ailing husband who was once a chief. The bottom line when considering these two characters is that they are determined and are very hard working.
Additionally the two protagonists come from a poor background. This I mean in terms of finances. For instance when Qin Ju was travelling to the city she had to sell on several occasion dried hot pepper so that they could raise bus fare. Similarly, Ermo who was obsessed with the desire to buy a big TV had no money and she was compelled to continue selling her noodles outside her village.
I can also say that the two women exhibited high standards of morality. There is no incident that Qin Ju has been shown to engage in extra marital affairs or disrespect her husband.
On the same note, although Ermo husband was impotent due to sickness, she did not give in to the sexual advances she received from the ‘Blind man’. Ideally the two female protagonists are vehicle of change (political, cultural and social) that China will experience in future.
Differences between the protagonists
Although there are similarities between the two main actresses of the films; there are some differences between them. One such difference is with regards to what drove their action. For Ermo, it is evident that it was jealous that drove her to acquire a television set that is huge and very expensive for her family.
Viewers understand that her quest to buy a TV is purely as a result of her neighbour acquiring one. This leaves Ermo to be seen as a materialist and jealous person. This leaves her to be branded a greedy person since it is rumoured that the TV she wants to buy is so expensive that even the country leader cannot afford.
On the other hand, Qin Ju fight for justice is purely guided by injustice done to her husband by the village headman. She considers this to be uncouth and against fundamental human rights and she believes that if nothing is done then the same will repeat itself in future.
Similarly, it is worth noting that the actions of the two lead to different outcomes. For instance, the desire of Ermo to go to the city and engage in activities that will earn her more money has jeopardized her relationship with her family.
On the other hand, the relationship between Qin Ju and her family has indeed grown stronger. This is because her husband has realized that she cares for him so much that she sought justice for him through the right path.
It is worth mentioning that while Ermo did not get the satisfaction she desired Qin Ju was at the end of the day satisfied. However, she was unable to prevent the police from taking the village head to jail for fifteen days as she believed he was the one who saved her life that fateful night when she was in labour pains.
There are several differences between these female protagonists in the films, from my own analysis the character Qiu Ju from the film The Story of Qiu Ju, is tolerant and very persistent, while Ermo, from the film Ermo is not tolerant but hasty and over ambitious.
The tolerant nature of Qiu Ju is portrayed in the film from the moment her husband was injured by the political leader. She opts to follow her heart thus ensure that her demands are taken care of thus providing her ailing husband with the proper treatment that she would ever offer to him, this is when she swore to the politician that she will take him to court for his action.
While Ermo is intolerant when she conducts her activities as a result of competition and pride, this is when she said to Blindman that she will buy a bigger TV set than his and it will be the envy of the village.
Conclusion
From the review of the two films; the story of Qin Ju and Ermo, it is evident that they are Chinese comedy drama films. The story line is about Chinese women who are striving to make the lives of their families’ better one by fighting for justice while the other aimed at acquiring material things, TV set.
It is worth noting that the two female protagonists have a lot in common for instance they are hard-working, determined as well as being the face of change in China.
However, they do exhibit differences for instance Ermo is materialistic while Qin Ju is not, the driving force for their actions are totally different as Ermo is driven by jealousy and greed while Qin Ju is driven by the desire to fight for justice.
Works Cited
Ermo. Dir. Zhou Xiaown. Prod. Chen Kunming & Jimmy Tan. DVD. Sony Pictures Classics, 1994.
The Story of Qin Ju. Dir. Yimou Zhang. Prod. Yiting Feng & Kwok ma Fung. DVD. Sony Pictures Classics, 1992.
Visual arts have been used to record, expand, reflect and communicate ideas to enhance people’s surrounding. Historical events are illustrated by the use of visual arts such as plagues, battles and celebrations are depicted in painting and drawing.
Although the better the illustration might appear to be, it is hard to bring out the perspective viewer without engagement of the critical thinking.
Colin Ives in his digital arts has engaged an interactive aspect in digital arts where here he has used presentations and explanations to make easier for a layman to understand the art work in digital world.
Although on my side I do understand and entertain to go through digital arts, great number of population pay less attentions to search items for what is regarded as technical aspect of artwork. Colin has used performance to simplify what appears to be ambiguity in the world of art making it more interesting article creating more attentions.
The most significant sculpture in Colin’s work as far as am concerned was one which presented a Nocturne media installation focusing on animals like mice and opossums that finds successful niches within urban and suburban landscape.
It’s a contrast to see a fully occupied city with human nature small, minute animals finds its way in its landscapes and managing to survive to its best (Jeremijenko).
Collin uses video, live traps and surveillance equipments to capture the footage of these animals. LCD screens or projections are used in the gallery to play captured videos by displaying the actual size of the creatures.
The used videos respond to the actions and presences of the viewer logging into the gallery bringing a mediated swap between the co-inhabitants of urban areas.
Collin’s major intention in the project is not only to acknowledge personal lives of the animals presented but also to bring out the idea that they have a significant presence in our contemporary urban spaces bringing the sense that the boundary that lay in between artificial objects and natural ones remains permeable (Jeremijenko).
Comparably to the work of Collin, Natalie Jeremijenko shows simple attention grabbing methods of changing your mind into an environmental caring and friendly perspective by relating daily life with eco lab.
Being guided by the fact that new technology are opportunity for social transformation Natalie come up with a Lab Environmental Health Clinic which is just a twist on health.
To improve environmental health one just needs to walk into an environmental health clinic with an environmental concern where s/he will get the best prescription. She argues that we as the people have what it takes to redefine what health is.
According to a study by Philip Landrigan most medical practitioners spend most of their time 80-90% in treating asthma, developmental delays, childhood cancer, child hood obesity and diabetes related issues. She says that ones you treat a contaminated air or water you don’t just saves your life but even the life of all those you share that commodity with them (Jeremijenko).
In this lab instead of presenting urine sample a impatient is required to submit mice sample which she refer it to be most quintessential organism to share cohabit with.
They share almost every thing that human being is exposed to but they are more environmental friendly for they occupy limited geographical space than we occupy. This reminds us that in order to maintain environmental health every person must participate in environmental friendly activities.
Works Cited
Jeremijenko, Natalie. The Art of the Eco-Mindshift. Sweet Speeches alpha, 1 Oct. 2009. Web.
Pre-historic Greek artworks have influenced cultures and arts in many countries around the globe, especially in the sculptural and architectural arts. Right from the Roman Empire in the West to the Far East including Japan, ancient Greek artworks are a source of inspiration (O’Kelly 1982, p. 88).
The Greek architecture left a lasting impression in the architectural design of public buildings. Contemporary buildings and the ancient Roman arts copied a lot of things from the Greek. This paper compares the Parthenon, a well known surviving building of ancient Greek with the War Memorial Opera House in San Francisco, which is a piece of contemporary architectural artwork.
The Parthenon building on the Acropolis, in 5th BC to replace an old temple destroyed during an invasion (Beard 2010, p.12). The temple building in Athens and it acted as a sign of Athenian dominance in the Greek Peninsula.
The War Memorial Opera House located in San Francisco on Van Ness Avenue opposite the City Hall opened its gate to the public in 1932 (Couret 1998, para. 2). The building was among the last main American building built in the Beaux-arts style. This style of art borrowed a lot from the ancient Greek and Roman architectures.
The Parthenon (Neils 2005, p. 3)
The War Memorial Opera House (SFWMPAC Online n.d, n.p)
The Parthenon building to served as a temple for one of the goddesses of Athens. It was built to offer thanks to Athena the goddess for their success and victory in the war. In fact, the name originated from a cultic statue housed in one of the rooms, in the temple.
The building later invaded and turned into a church in honor of the Virgin Mary. On the other hand, the War Memorial Opera House was built to commemorate the people who died during the World War I. It also served to host the San Francisco War Memorial and Performing Arts Center since 1932 when it opened its doors (‘Parthenon, Lovell Minnick and Fisher Lynch Conclude Acquisition of H.D. Vest Financial Services’ 2011, para. 2).
Classical Doric order or style, which, is normally calm and sturdy was used in building both buildings (Michos 2002, para. 7). The Parthenon, credited as one of the perfect Doric temple ever built in the world while the War memorial Opera House constructed using paired columns, an application of Doric order (‘The Webby Awards 2001(R) Will Take the Stage at San Francisco’s War Memorial Opera House’ 2001, n.p).
Doric style applied the directly standing columns on flat pavements known as stylobates and alternated metopes a feature common with the two architectural works under consideration. Ionic columns were also clearly used in both buildings.
The materials used to make the two pieces of architecture were different mainly because of the different in their respective location. Wooden roofs, marble tiles and marble statues made up the Parthenon’s interior. Other materials used in the building were ivory and gold, and it stood on a limestone rock.
Coffered ceiling; large aluminum and glass paneled chandelier made up the War Memorial Opera house’s interior. Sculptures are a common occurrence in the two buildings despite the difference in age (Clark 1997, para 5).
An explosion destroyed the Parthenon, but the War Memorial Opera house in San Francisco continues to stand. It maintains a lasting impression of the ancient Greek architectural designs, and buildings (Kaldor 2010, p 23). Technologically, the building has advanced, but it refuses to let go of its ancient world’s ‘theater feeling’.
Until late 20th century, the Parthenon laid destroyed, but the Greek government set out to revive the ancient building. Now it is meant to become a museum, but unfortunately, the original design cannot be recovered. Only an impression of it is possible.
References
Beard, M., 2010. The Parthenon, Profile Books.
Clark, A., 1997. After the quake: Andrew Clark attends the re-opening of San Francisco’s refurbished War Memorial Opera House Financial Times, pp. 08-08.
Couret, C., 1998. San Francisco’s historic opera house re-opens, The American City & County, 113(9), pp. 28-28.
Kaldor, A., 2010. Great opera houses: masterpiece of architecture Masterpieces of Architecture Series. Antique Collectors’ Club, the University of Michigan.
Michos, I., 2002. The enduring question about the Parthenon, Financial Times, , pp. 06-06.
Neils, J., 2005. The Parthenon: from antiquity to the present. Cambridge University Press.
O’Kelly, M., 1982. Newgrange: Archaeology, Art and Legend, London: Thames and Hudson.
Parthenon, Lovell Minnick and Fisher Lynch Conclude Acquisition of H.D. Vest Financial Services, 2011. Entertainment Close – Up, , pp. n/a.
The Webby Awards 2001(R) Will Take the Stage at San Francisco’s War Memorial Opera House, 2001. United States, New York: PR Newswire Association LLC.
SFWMPAC Online, n.d., San Francisco War Memorial & Performing Center. Web.
Just like every other area in life that has movements which advocates for the rights of people who have subscribed to the movement, the concept of art also has its own movement which is known as the aesthetic movement.
The core values that govern this movement have no strict definition with the movement encompassing the various art fields like metalwork, woodwork, fine art, literature and textiles.
The argument that was fronted by this movement was that art was not established or did not come into being for the purpose of being useful in the practical perception but instead was meant to be an independent or autonomous part of human life which ought to be allowed to exist independently as such.
The cult of beauty on the other hand is an exhibition that is one of its kind which hopes to showcase the various types of artistic nature in various parts of the world and also seeks to show that art is a part and parcel of the day-to-day life. This discussion takes an in-depth look at this exhibition while it is analyzing its form and content.
Key Characters of the Aesthetic Movement
According to pioneers of the aesthetic movement art needed not be didactic. This means that art need not serve any particular purpose but it only needs to be beautiful. There was a lot of emphasis as far as feminine beauty is concerned. The art from Japan is said to have greatly influenced the movement of aestheticism.
The cult of beauty was therefore a concept that was developed by aesthetes who saw beauty as the basic element in art. The key characteristics of the aesthetic movement include:
Using symbols massively
Making suggestions rather than making statements
Sensuality
Ensuring that there is rhyme between colour, words and music.
Looking at various pieces that have been made by various artists, they are inspired by various themes which include literature, influence from Japan, wood that has been ebonized, porcelain and earthenware. The aesthetic movement greatly influenced dress, decoration and what is considered as lifestyle today. Aslin (1981) indicates:
“Artists and writers of the Aesthetic movement period maintained the belief that art should provide refined sensuous pleasure, rather than convey moral or sentimental messages. They believed that art did not have any didactic purpose; it need only be beautiful.”
This exhibition also helps us appreciate the fact that art has come a long way back in the days when not so many people really understood what art was about until the present when exhibitions such as this can now be held.
The exhibition has actually been divided into four different phases to show how art has undergone metamorphosis over the years to get to where it is today.
This exhibition therefore gives a true historical perspective of the kind of growth that art has undergone. Art and its growth has influenced and been influenced by various aspects of life including politics.
This exhibition seeks to recognize those who have been instrumental in bring changes in the country through their political will to cause changes in the perception that people had previously about art (Wilson 1989).
Recognition must also be given to the fact that the Royal Academy back in the 1800s contributed largely to the growth of art by encouraging people to express their ideas through art. Culturally, this exhibition helps people appreciate the various cultures that the world embraces and the uniqueness of each culture.
It is without a doubt that each culture has something to showcase and this can best be done through art. It is also a learning experience for many people who get to experience fast hand the culture of other people.
The culture of beauty began regaining recognition in the mid 1800s with pioneers such as Gabriel Rosetti, James McNeil and Edward Burne exploring all ideas and concepts that surrounded the beauty of a woman.
Later, the idea of beauty was to be extended beyond that of a woman and this saw the culture of beauty grow into interior design and architecture. This saw a collaborations between experts in these two fields.
Whistler who was an architect and Godwin who was designer collaborate in the design of the present day White House as well as furniture which was used back in the days and today as well (Thackara 1988).
It is after this that those who were good in painting and combing painting and decoration of houses brought out a perfect outcome which attracted a large number of people including those who were initially opposed to the idea (Zukowski 2006).
These people were on great demand at the time as the wealthy who wanted to have their houses decorates always engaged their services at a hefty cost. Companies in the manufacture of furniture at the time realized that they could make a kill by hiring this people and by then art had already gained wide recognition.
It is during the final reign of Queen Victoria that the aesthetic movement gained yet another feather on its cap. This is when drawings were also included to become part of the great works of arts. While great progress has been made since the aesthetic movement was first established, it must recognized that the growth of this movement was not without its fair share of challenges.
The various periods that exhibition is divided onto based on chronology is a clear indication that it has not always been a smooth ride for this movement that is now recognized as one of the greatest movements of the time.
Images to be displayed
Every year the culture of beauty showcases various images and this year is no different. One of the images is ‘Bocca Baciata’ Dante Gabriel Rossetti which is one of the greatest works of art ever done by Dante Gabriel Rosette. Rosetti was one of the pioneers of art and brought a whole new meaning to painting which was not only provocative but sensuous as well.
This great piece of art was done back in 1859 in London. It will be a perfect way to compare where art came from and how it has advanced over the years. (Laumbrone 1996; Parker and Pollock 1981).
‘Bocca Baciata’ Dante Gabriel Rossetti London 1859 Oil on panel Museum of Fine Arts, Boston
Call I follow, let me die is yet another image that will be showcased in cult of beauty. This image was done by Julia Margaret Cameron back in the year 1867 in London. It is a portrait that is unconventional which shows Mary Hiller who was a maid of a parlor in Cameron.
Mary Hiller is shown as heroine who attained her status tragically belonging to the legend of Arthurian. The title of this portrait is drawn from the poem of Tennyson, Idylls of the King.
With the display of this images people will have an opportunity to reflect the varying practices and principles that guides the schools that train in art. They will also be in a better position to make comparisons on the various changes that drawing has undergone from the 19th century to present day (Aslin 1981).
“Call, I follow, I follow, let me die!’ Julia Margaret Cameron London 1867
Conclusion
Art has come quite a long way. It may not appear so today, but the pioneers of what we are proud of as art fought great battles to bring art to where it is today. It was not easy but it was about convincing the rest of the world that it was something worth paying attention.
The organization of the cult of beauty is great indication of the great steps that art as an aspect has made to come this far. It is thus important for those who are able to attend this exhibition to do so this and each and every year.
There is always something new and unique and this gives people an opportunity to learn what they did not know and also give an insight to new ideas that people had not thought of. The aesthetic movement was a great idea and the cult of beauty was an even greater idea whose timing was perfect.
It would have not come at a better time. With the culture of beauty people are now able to gain an in-depth understanding where the various types of beauty that women adorn originated from. From ornaments, to their kind of dressing to how they wear their hair all can be traced back to the pioneers of the aesthetic movement. This exhibition also recognizes the great efforts of those who have brought art to where it is now.
References
Aslin, E. (1981) The aesthetic movement: prelude to Art Nouveau. California: Excalibur Books.
Laumbrone, L. (1996) The Aesthetic Movement. Michigan, Phaidon. Parker, R. and Pollock, G. (1981). Old Mistresses: Women, Art and Ideology. London: Routledge & Kegan Paul.
Thackara, J. (1988) Introduction Design After Modernism London: Thames and Hudson.
Wilson, E. (1989) Through The Looking Glass: A History of Dress from 1860- present. London: BBC Book.
Zukowski, K. (2006) Creating the artful home: the aesthetic movement. New York: Gibbs Smith.
One of the foremost features of realist editing in cinema is directors’ utilization of particularly long takes, which are meant to ensure the spatio-temporal unity of the explored themes and motifs.
Apparently, by choosing in favor of long takes, as the integral element of realist movies’ spatio-temporal structure, directors are able to achieve a number of aesthetic objectives, such as ensuring the plausibility of movies’ semantic content, providing viewers with the in-depth insight into the workings of characters’ psyche, and allowing viewers to gain a better understanding of the explored themes and motifs’ significance.
Moreover, according to Bazin, viewers’ exposure to the realistically edited movies, which feature an abundance of long takes, helps them to address their innermost psychological anxieties, concerned with viewers’ strive to preserve the spatial three-dimensionality of existence.1
As it was noted by Nitzan, ‘The long deep-focused take, enhancing … three-dimensionality of objects shot in close-up… satisfies spectators’ craving for the mummification of being while positioning them in such a way that they could aesthetically experience the flowing passage of objective time’2 In this paper, I will aim to explore the validity of an earlier suggestion at length, while analyzing what appears to be the significance of utilization of long takes in Hou’s 2001 film Millennium mambo.
The foremost aspect of how Hou went about providing the in-depth portrayal of film’s characters is the fact that, in Millennium mambo he refrained from emphasizing these characters’ singled-out psychological traits, while allowing viewers the liberty of interpreting them on their own, within the context of how the characters are being shown in the process of tackling life’s challenges.
In its turn, this endows Millennium mambo with the spirit of intellectual honesty. After all, unlike what it is being the case with formalist/expressionist directors, in this particular movie Hou had made a point in treating audience’s members as such that are being fully capable of defining the semiotic significance of film’s themes and motifs, without a director needing to actively ‘assist’ them, in this respect.
In its turn, this leaves very little doubt as to the fact that the specifics of Hou film’s editing are indeed being consistent with Bazin’s idea as to what accounts for the extent of a particular cinematographic work’s spatio-temporal unity, which according to this French movie-critic is being reflective of the extent of director’s willingness to treat viewers as ‘existential sovereigns’, fully capable of relying on their own sense of rationale, when it comes to defining the essentials of film’s aesthetic/semiotic appeal.
This, of course, reveals Hou as a devotee of realist editing, concerned with the absence of ‘expressionist tricks’, such as back-in-time flashbacks, the presence of abstractionist close-ups, and the deliberately undermined integrity of film’s temporal spatiality.
As Totaro pointed it out, ‘Expressive editing invents meaning through juxtaposition of the images…This is trickery; it removes the freedom on the part of the spectator… If the scene has only one simple meaning why insult the audience’s intelligence with needless and obvious close-ups?
Contrarily, if the scene is complex why presuppose only one meaning?’3 Nevertheless, even though there are no traces of expressionist editing in Millennium mambo, in this film Huo did succeed with revealing the whole scope of characters’ psychological traits – mainly, by the mean of ensuring the spatio-temporal soundness of characters’ ‘in-action’ representation.
For example, the beginning of the movie features a rather prolonged take of Vicky walking down the sidewalk (00.02.06 – 00.04.37). Yet, despite the fact that this take is not being formally concerned with director’s intention to provide viewers with the better understanding of Vicky, as a character, by being exposed to the earlier mentioned scene spectators do in fact gain a certain insight into Vicky’s psychological constitution.
The reason for this is simple – the manner in which Vicky walks (with the cigarette in her hand) implies her being a rather spontaneous person, who take life as it comes, while trying to enjoy it to the best of her ability.
The watching of movie’s consequential parts does confirm the soundness of the initial insight into the essence of Vicky’s existential mode, provided by this particular scene. After all, throughout movie’s entirety, Vicky never ceases to position herself as an easy-going individual, who is being quick enough to forgive her boyfriend’s (Hao-Hao) verbal and physical abuses.
As it was mentioned earlier, the realist editing, closely associated with directors’ willingness to utilize long takes, often results in endowing realistic movies with the spirit of perceptional authenticity/genuineness. The reason for this is apparent – by representing characters’ act in a spatially prolonged manner, directors encourage viewers to draw parallels between the ‘cinematographic reality’ on the screen and the reality of their every-day living.
Given the fact that the reality of people’s every-day living often appears rather unsightly, in aesthetical sense of this word, it does not come as a particular surprise that many of realistically edited movies’ long takes represent reality ‘as it is’, even if such reality’s cinematographic representation appears to be detached from movie’s main idea.
The scene, in which Vicky and her friends socialize in the bar (00.04.49-00.10.07), illustrates the legitimacy of an earlier suggestion. After all, the main feature of this scene is that the conversations, which take place between the partying individuals, do overlap to the point of being unintelligible to the viewers.
This, however, does not lessen scene’s cinematographic appeal because, by being exposed to this particular take, viewers do get the genuine sensation of how they would feel, had they found themselves among the partying young people.
Just as it is being the case in Orson Welles’s film Citizen Kane, which contains a number of spatially prolonged scenes, in which characters’ conversations can hardly be heard, due to the loudly played music in the background, the ‘bar scene’ in Millennium mambo cannot be referred to as being particularly appealing, if assessed through the lenses of classical editing-methodology.
As Martin suggested, ‘Hou films his dinner-table or restaurant scenes (and bar scenes, we may add) with a kind of maximum suppression of expository, explanatory information, and by the same token a maximum openness to all the instant possibilities of interrelation, of reshuffling of intersubjective identities’.4
Yet, when analyzed within the context of what represents this film’s overall semiotic significance, the spatially prolonged take of Vicky and her friends being shown in the bar appears indispensible, as it does provide audiences with a comprehensible insight into characters’ positioning in life.
Moreover, viewers’ exposure to this particular take does convince them (on unconscious level) that, unlike what it is being often the case with expressionist directors, the ideologically-charged manipulation with the specifics of their psyche’s functioning never accounted for Hou’s subtle agenda.
In the earlier mentioned take, director had left it for the audience’s members to define their own attitude to what they get to see on the screen – those who are being no strangers to socializing in the bar will be most likely to find the spirit, emanated by this take, appealing. Alternatively, moralistically minded viewers will be most likely to find the ‘bar scene’ as an implicit proof of characters’ moral depravity. However, the earlier outlined different categories of viewers will still find the ‘bar scene’ representationally honest.
Apparently, Hou never ceased being aware of the foremost principle of realist editing, which presupposes the full appropriateness of cinematographic representation of reality proper. As it was noted by Wilson, ‘There is no reason why film presentation should not reflect certain aspects of the normal perceptual position.
This alternative style would respect the complexity of the purely spatio-temporal integration of a field of action while being willing to leave, e.g., the psychological and causal integration of the action less articulated’.5 In Millennium mambo, the ‘actual reality’ appears to be the focal point of director’s attention – in full accordance with Wilson’s suggestion.
The soundness of this suggestion can also be illustrated in regards to the film’s scene in which Vicky comes homes, undresses, spends some time in the shower, lights up a cigarette and ends up being annoyed by Hao-Hao’s trying to have sex with her (00.10.54-00.16.25).
The whole earlier mentioned plot’s developments take place in a clearly consequential manner, with no montage cutting being applied, whatsoever. Moreover, while shooting this particular take, Hou had made a point in applying the ‘perceptually deep’ shooting-technique, made possible by director’s choosing in favor of using the camera with deep-focus lenses.
In its turn, this allowed Hou to provide a clearly defined aura of three-dimensionality to the scene – even though that for duration of this scene, Hao-Hao mostly remains in Vicky’s background (in another room), viewers get to perceive him in a manner as if they happened to be physically present in Vicky’s apartment.
This, of course, does add to the extent of take’s authenticity rather immensely. The same can be said about this scene’s sheer duration (6 minutes), which emphasizes the spatial particulars of a continually deteriorating relationship between Vicky and Hao-Hao. After all, as it appears from Millennium mambo, there were no many objective reasons for both characters to decide in favor of breaking up with each other for good (this is why the off-screen narrator tells that it has never taken too long for Vicky and Hao-Hao to reconcile, after having had a particular break-up).
Yet, it also appears that the idea of breaking up with each other never ceased affecting both characters’ existential modes. The reason for this is simple – just as it is being shown in the earlier mentioned take, both: Vicky and Hao-Hao continued to co-exist in the state of an extreme psychological tension.
And, it was namely by exposing viewers to the long take of Vicky and Hao-Hao dealing with their mutual annoyance of each other that the director was able to provide watching audiences with the clue as to where this tension had originated out of, in the first place.
There can be little doubt as to the fact that, had Hou resorted to the classical or the expressionist editing-methodology, while striving to reveal the hidden roots of psychological incompatibility between Vicky and Hao-Hao, he would not be able to achieve the same effect. The reason for this is quite apparent – it is only when the essence of a relationship between both characters is being revealed to the viewers in a spatially plausible manner, that they can grasp what amounted to the objective preconditions for this relationship to begin deteriorating.
A good illustration to the legitimacy of an earlier statement can also serve the long-take scene in which Hao-Hao begins to grub in Vicky’s wallet and finds a long-distance calling bill, which in turn causes him to suspect her of having some affair on a side (00.33.15-00.37.38).
Even though that, throughout this scene’s entirety, Hao-Hao continues to act as nothing short of a mentally deranged individual, viewers do not find Hao-Hao’s act as being utterly implausible, simply because scene’s spatio-temporal unity does help to accurately portray the subtleties of a process of an individual becoming gradually filled with the irrational anger.
The foremost aspect of this process can be defined within what represents the conceptual framework of cause-effect dialectics, when one thing leads to another. After having found a long-distance calling bill in Vicky’s wallet, Hao-Hao begins to grow ever more suspectful of his girlfriend – yet, there is a whole spectrum of emotions to this process.
As it can be seen in this particular scene, Hao-Hao does try to prevent his irrational anger from taking over his rational being. However, at the scene’s conclusion, he fails at that rather miserably, while becoming enraged to the point of being ready to hit Vicky with his fist.
The conversation that takes place between the two characters, heard in the scene, is helping to facilitate the extent of scene’s authenticity even further, ‘Hao-Hao: Who were you calling? Vicky: I told you, I called home! Hao-Hao: Who did you call? Vicky: I said, I called home… Hao-Hao: You’d better not be lying…Vicky: Crazy! Why would I lie to you? Hao-Hao: I’ll fucking beat you, you know’ (00.35.48).
It is needless to mention, of course, that Hou’s utilization of a continuous take (in this scene) was dialectically predetermined, as it was the main contributing factor to ensuring scene’s spatio-temporal unity – hence, the heightened measure of this scene’s overall semiotic credibility.
Nevertheless, it would be quite inappropriate to refer to Hou’s tendency to take advantage of long takes in Millennium mambo as such that is being solely concerned with director’s strive to emphasize the spatial realness of the explored themes and motifs. It appears that, by having an abundance of long takes in this particular movie, Hou also aimed to highlight the metaphysical significance of a theme of existential alienation, which is being integrally interwoven into plot’s very unraveling.
There is a memorable scene in the movie, formatted as a single take, when Vicky is being shown sitting in front of the window, with viewers being exposed to the sight of passing trains outside (01.33.36 – 01.35.30).
While referring to the significance of this particular scene, Hasumi states, ’All that is visible is a constant stream of trains passing back and forth outside the window by which she (Vicky) stands. Nothing tells her where he has gone. All she can grasp for in this foreign city is the absent shadow of his (Jack’s) treasured presence, but it has vanished into the distance’.6
It is understood, of course, that just as it is being the case with the earlier discussed movie’s scenes that feature a clearly defined spatio-temporal integrity, this particular one does help viewers to gain a better insight into Vicky’s state of mind. This, however, is not only the scene’s purpose.
Apparently, while focusing camera on hotel’s window, so that viewers would get to see passing-by trains, Hou wanted to emphasize that the very passage of time results in ‘objectualization’ of people’s subjective desires and anxieties. Hence, tragic undertones to this particular scene – the passage of time remains irrespective of how people position themselves within the reality’s spatial framework.
Therefore, it will only be logical to assume that there is also a symbolical quality to how Hou went about incorporating long takes in Millennium mambo. The validity of this suggestion can be illustrated in regards to the movie’s final scene, which features a prolonged take of Yubari’s snowy street (01.38.36 – 01.39.42).
Even though that there is no cinematographic action can be seen in this particular scene, it does convey the idea that the very subtleties of time’s passing naturally predispose people to continually revise their emotionally-charged attitudes towards the surrounding reality. In its turn, this idea correlates with the spirit of spontaneity, emanated by Hou’s film.
The fact that Hou’s movie Millennium mambo appears to be extremely realistic may very well have to do with the particulars of director’s ethno-cultural affiliation. After all, Confucian (Apollonian) tradition does encourage its affiliates to reflect upon reality’s ‘vanishing’ emanations, as opposed to be contemplating upon how these emanations reveal the essence of some fixed ‘metaphysical’ reality, as it is being the case with Christian (Faustian) tradition, for example.
Nevertheless, it would be much more appropriate to discus Hou’s cinematographic realism as such that is being reflective of his endowment of intellectual honesty and of his innate dislike of artificially sophisticate pretentiousness (the foremost feature of avant-gardist/formalist movies).
In Millennium mambo, Hou positioned himself as an individual who firmly believes that, regardless of what accounts for the ethical undertones of objective reality’s manifestations, these manifestations represent the aesthetic value of ‘thing in itself’.
Such Hou’s cinematographic positioning, of course, is being fully consistent with Bazin’s belief that the actual purpose of a cinematographic art is to help people to realize the full extent of reality’s aesthetic beauty ‘as it is’, without depriving this reality of its spatio-temporal unity, ‘A film form… permits everything to be said without chopping the world up into little fragments that would reveal the hidden meanings in people and things… without disturbing the unity natural to them’.7
Thus, it would only be logical, on my part, to conclude this paper by reinstating once again that it is namely the fact that in Millennium mambo, Hou succeeded rather marvelously in ensuring a spatial integrity of the explored themes and motifs, which accounts for this movie’s foremost aesthetic value.
I believe that this conclusion is being fully consistent with paper’s initial thesis. Moreover, I believe that is namely the realist methodology of film editing, which will be increasingly resorted to by movie-directors in the future. The fact that, as of today, the genre of ‘auteur film’ (associated with directors’ utilization of the expressionist editing-methodology) continues to fall out of favor with the majority of moviegoers, leaves very little doubt as to the full validity of this suggestion.
Reference List
Adrian, M, ‘What’s happening? Story, scene and sound in Hou Hsiao-Hsien’, Inter-Asia Cultural Studies, vol. 9, no. 2, 2008, pp. 258-270.
Bazin, A, ‘The evolution of the language of cinema’, in What is cinema?, University of California Press, Berkley,1967, pp. 23-40.
Hasumi, S, ‘The eloquence of the taciturn: An essay on Hou Hsiao-Hsien’, Inter – Asia Cultural Studies, vol. 9, no. 2, 2008, pp. 184-194.
Millenium mambo, [film], Palm Pictures, New York/Taipei, 2001.
The article relates the shaman transformation pose and the leadership in societies where shamanism is practiced. The shaman transformation pose portrait involves the Olmec style. Olmec is an art style that was used back in early Pre-Columbian period. It is also an archaeological culture.
In the Kent article the shaman in transformation pose, the Olmec art style has mainly been employed. The Olmec culture was found in southern Mexico in the Mesoamerican prehistory. However, it was found to be more popular in Heartland.
The art was indicated in various objects linked with formative period society members. This indicates that, it was employed as a charter for leadership. The art was displayed on rulers’ images in a specific pattern which allowed easy interpretation of the rulers’ source of supernatural power.
Discussion
The article highlights the relation of the shaman transformation pose to leadership in the middle formative period. Transformation was involved with shamanistic activities which included rituals. The presence of the art in ruler’s grave highly suggests that, the art which pointed some transformation was linked with the leadership of the then formative period complex.
This has been brought out clearly using the description of the shaman portrait. The shaman transformation pose is a portrait which is believed to be found in Heartland, southern Mexico.
The portrait is described as an unclothed, kneeling man who from the view of the muscle tension and relaxation shows he is about to rise. The facial expression of the man in the portrait seems charismatic. The individuals who practiced shamanistic powers according to the article got the power from the personal charisma.
Posture of the portrait is significant in the transformation process. The head features are more emphasized than those of other areas. The head is shaved where the scalp hair is partitioned into two layers. The naked parts indicate some transformation process where the person skin is peeled off to reveal an underlying supernatural creature.
The same part of the head is used as a poster to show symbolic evidence (9). In the shaman transformation pose portrait, a toad with a protruding tongue is the symbolic information. The toad according to researches has been indicated to be Bufo marinus which is believed to be important in shamanistic activities due to its pharmacological substances.
Hallucinogenic substances from the toad have been indicated to be used in transformation rites. Kent goes ahead and describes several portrait of the toad which holds other meanings. However, the toads including the one on the portrait have a distinct stripe on the back. The stripe later splits during transformation which is shown as elongated diamond elements on the portrait.
When the portrait is aligned together with other four transformation portraits, the shaman pose portrait is shown to be still in the initial changes of transformation to a jaguar. Other portraits have different postures and features which show different stages of transformation.
They have some similar features which include shaving and red cinnabar traces (16). In relation to leadership, the transformation figures in sequence symbolize the various stages in a ritual act while the toad signified zoomorphic supernatural. It was also used to locate place and action.
The presence of red cinnabar on the statuettes signified their use as grave equipment or their use in burial rituals where they were left on the grave. After a thorough research, the red cinnabar was shown to be used to differentiate the tombs of the rulers in the formative period. The transformation ritual was significant since the rituals including communication with the ancestors and sacrifice supported the ruler’s office.
Olmec culture is an intriguing culture which has stimulated researchers to find its relevance. Many writers have come up with articles explaining the culture but Reilly brings out the picture more clearly than any other.
He is a renowned author of great art articles. In the shaman in transformation pose article, Kent employs simple language which makes it easier for one to understand the article though some terms are complex. The description of the shaman in transformation pose in a simple language also facilitates understanding of its theme. The format employed is excellent as it allows free flow of the various descriptions in the article.
Employment of pictures to illustrate the descriptions in the article makes it even simpler to understand. Moreover, the pictures used in a given page are relevant to the content of that particular page. For example, the description of the toad on the portrait head is excellent as he involves a picture to demonstrate it and further uses other art on the same to describe it.
This makes it easy to understand the symbol. He expresses his suggestions openly and gives substantial discussion which proves the point. This is evident when he suggests that, the naked part of the shaved hair also is a platform to show hidden symbols. In this case, he brings out the feature of the toad on the head which he readily proves and gives even more additional information like the name of the toad and how it is associated with shamanism.
At the beginning of the article he provides definition of Olmec term which is related to the topic and is used in the article content. This is important as it makes one understand the content of the article and its main theme. Furthermore, it eases the understanding of the article making it convenient to read without any guidance.
Incorporation of other people suggestions on the same topic helps one to get more information on the discussed topic. The article explains several aspects separately after which they are combined to prove the topic of the article. This enhances the understanding of the article subject.
The article is basically correct as it provides substantial information about the relation between the transformation rituals which involve the Olmec art and leadership in the then formative period.
Though there is some background information about the shaman in transformation pose, the format used does not bring out the information clearly making it hard to have a good flow of the information ( Klein et al 398). The article however is up to date as it has cited some recent researches on the same hence reliable. Different points of view are adequately presented however some are extensively presented which make it inconsistent. The reference citation is properly done.
Conclusion
For the provision of knowledge on different cultures including Olmec culture, Reilly work on the same is effective. This is because it is fully detailed, thus, enhancing understanding as well as giving more knowledge on the subject. The presentation style used makes it even more interesting and easy to understand. This makes it an article of choice that should be incorporated in everyone’s library.
Works Cited
Klein, Eulogio Guzmán, Elisa C. Mandell, and Maya Stanfield-Mazzi. “The Role of Shamanism in Mesoamerican Art: A Reassessment.” Current Anthropology (2002): 383-419. Print.
Reilly, F. Kent III. “The Shaman in Transformation Pose: A Study of the Theme of Rulership in Olmec Art.” Record of the Art Museum, Princeton University (1989): 4-21. Print.
