Pregledni rad
https://doi.org/10.32728/mo.05.2.2010.05
ARNHEIM'S THEORY OF AESTHETICS AND FIGURES OF SPEECH
Dario Saftich
; Edit, Rijek
Sažetak
Upon its publication in 1932, German scientist Rudolph Arnheim's work “Film as Art“represented a significant contribution to the theoretical debate regarding film as an art. Arnheim himself was one of the first to open the debate: he opposed the accepted exclusion of film from the domain of the arts. According to Arnheim, there are great differences between the perception of reality and the perception of its reproduction upon a film screen, and it is within these very differences that one should seek out the artistic possibilities available to film. In this context, Rudolph Arnheim doesn't refer to film figures, but does however anatomize theoretical assumptions and examples in film, which he then lists as attributes to the theory of film as art. Literary figures, Arnheim additionally explains, cannot be mechanically transferred into film figures. However, the director can become an artist who will depict to us the world not as it objectively looks, but subjectively as well: he is in a position to create new realities, evoke magical worlds, and build symbolic bridges between facts and things that lack any direct ties in real life. Rudolph Arnheim transferred the notion of Gestalt, as developed by Gestalt psychology, to aesthetics.
Ključne riječi
film; art; reality; perception; reproduction; film figures; literary figures; aesthetics
Hrčak ID:
66112
URI
Datum izdavanja:
15.11.2010.
Posjeta: 9.050 *