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51 cards That give creatives power to do goodNo matter whether you’re a photographer, an agency art director, a brand, a freelance graphic prodigy or Don Draper himself, these cards are made for you. They’ll add a whole new layer of meaning to your work, making it matter even more.51 goalsAn updated version of the ten commandmentsThink of the UN’s Sustainable Development Goals as part what to do (or not to do), part moral compass. In straight-forward messages, they spur us on to end poverty, achieve gender equality, combat climate change and get a move on, already.
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592 --- Publicaties onderzoeksinstellingen --- Music --- 13th century --- History and criticism --- 14th century
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kunst --- eenentwintigste eeuw --- Ephameron --- Holvoet-Hanssen Peter --- 7.039 --- 741.5 --- Vranckx Francis --- Vermeren Karen --- Van Gestel Fik --- Timmermans Ante --- Sarah & Charles --- Meuris Wesley --- Karakatsanis Nicolas --- Delrue Ronny --- Claerbout David --- Borremans Michaël --- Benhelima Charif --- Augustijnen Sven --- Vercnocke Wide --- Wortel Maartje --- Verschaffel Martha --- Vranken Stijn --- Ilah --- Temmerman Max --- Vandenabeele Isabelle --- Six Roderik --- Van den Stock Frederik --- Grunberg Arnon --- dementie --- strips --- beeldverhaal --- Cardon Eva --- Exhibitions
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7.047 --- 7.01 --- 75.034(450) --- Thema's in de kunst ; landschappen ; het landschap --- Cultuur ; architectuur ; Renaissance ; Italië --- Iconografie ; landschappen, zeegezichten, panorama's, land-art --- Kunst ; theorie, filosofie, esthetica --- Schilderkunst ; Renaissance. Barok. Roccoco ; Italië --- kunst --- 75.071 VERLAEK --- 75.036/039 --- 75.034 --- 75.047 --- Verlaak Patrick --- iconologie --- iconografie --- landschap --- landschapsschilderkunst --- schilderkunst --- eenentwintigste eeuw --- twintigste eeuw --- renaissance --- België --- ItalIë
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During my five years of film studies I often struggled with the complexity of cinema as a medium. I searched ways of structuring a story within a personal framework and I learned it is not only about what you have to say but how you say it. Throughout the essay I tried to clarify why I see cinema in the first place as a temporal art form. Cinema, I believe, has a very unique and forcing temporality, which should be used as a tool for the filmmaker to build up his cinematographic sentence and signature. As Pudovkin said, a filmmaker should create his own filmic time. I briefly discussed Haneke's Code Inconnu as a case study on this notion of time and narration. The essay continues with introducing the technique of ellipsis as a way of obtaining simplicity and engagement in the process of building a personal cinematographic work. As a conclusion I referred to the working process of my graduation project. As a result the essay also presents a timeline of my uncertainties, thoughts and resolutions. I often mentioned storytelling in the essay. Nonetheless, I tend to believe that story does not exist in cinema. I believe only the storyteller exists. And he is picking moments and parts from an event and he is telling the story from his point of view, leaving out details or parts he finds irrelevant. In other words, the ellipsis is the metaphor for cinema, since everything depends on the filmmaker's decision about what is dramatically important. This allows him to be endlessly personal and effective. It is through this sense of temporality that it is possible for a filmmaker to make artistic statements and to reveal his individuality, his sensibility, his cultural background, etc.
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