university of mindanao department of arts & sciences

UNIVERSITY OF MINDANAO Tagum College

Department of Arts & Sciences Education

Language Discipline

Physically Distanced but Academically Engaged

Self-Instructional Manual (SIM) for Self-Directed Learning (SDL)

Course/Subject: GE 20 - READING VISUAL ARTS

Name of Teacher: Jose Elmer S. Oficiar, PhD Matt C. Astaca-an

THIS SIM/SDL MANUAL IS A DRAFT VERSION ONLY; NOT FOR REPRODUCTION AND DISTRIBUTION OUTSIDE OF ITS INTENDED USE. THIS IS INTENDED ONLY FOR THE USE OF THE STUDENTS WHO ARE

OFFICIALLY ENROLLED IN THE COURSE/SUBJECT. EXPECT REVISIONS OF THE MANUAL.

DEPARTMENT OF ARTS & SCIENCES EDUCATION

Language Discipline Mabini Street, Tagum City Davao del Norte

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Table of Contents

Page

Part 1. Course Outline and Policies ................................................................ 4 Part 2. Instruction Delivery

CC’s Voice ............................................................................…………….. 8 Course Outcomes ..................................................................................... 8

I. Big Picture A

ULOa…………………………………………………………………………………….. 8

Q & A List ……………………………………………………………………………….. 15

Let’s Check ……………………………………………………………………………… 16

Let’s Analyze ……………………………………………………………………………. 17

In a Nutshell …………………………………………………………………………….. 17

II. Big Picture B

ULOa …………………………………………………………………………………….. 18

Q & A List ……………………………………………………………………………….. 27

Let’s Check ……………………………………………………………………………… 27

Let’s Analyze ……………………………………………………………………………. 29

In a Nutshell …………………………………………………………………………….. 30

III. Big Picture C

ULOa …………………………………………………………………………………….. 31

Q & A List ……………………………………………………………………………….. 47

Let’s Check ……………………………………………………………………………… 48

Let’s Analyze ……………………………………………………………………………. 48

In a Nutshell …………………………………………………………………………….. 49

IV. Big Picture D

ULOa …………………………………………………………………………………….. 49

Q & A List ……………………………………………………………………………….. 55

Let’s Check ……………………………………………………………………………… 56

Let’s Analyze ……………………………………………………………………………. 58

In a Nutshell …………………………………………………………………………….. 58



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References……………………………………………………………………………… 59

Appendices………………………………………………………………………….. 60

Part 3. Course Schedule ................................................................................. 62

Online Code of Conduct ...................................................................... 62

Monitoring of OBD and DED.................................................................... 63



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Course Outline: GE 20- Reading Visual Arts

Course Coordinator: Email: Student Consultation: Mobile: Phone: Effectivity Date: Mode of Delivery: Time Frame: Student Workload: Requisites: Credit: Attendance Requirements:

Dr. Jose Elmer Oficiar Matt C. Asytaca-an [email protected] [email protected] By appointment

09397709713 09153900108 N/A August 2020 Blended (On-Line with face to face or virtual sessions) 54 Hours Expected Self-Directed Learning None 3 A minimum of 95% attendance is required at all scheduled Virtual or face to face sessions.

Course Outline Policy

Areas of Concern Details

Contact and Non-contact Hours

This 3-unit course self-instructional manual is designed for blended learning mode of instructional delivery with scheduled face to face or virtual sessions. The expected number of hours will be 54, including the face to face or virtual meetings. A Learning Management System (LMS), Quipper, will be used to facilitate your learning. Other sessions may also be conducted through online communication channels such as Facebook, Messenger, WhatsApp, Viber, E-mail, Line, Zoom, Skype, or any other similar applications. You may also contact the course coordinator through a mobile number or telephone.

Assessment Task Submission

Submission of assessment tasks shall be on the 3rd, 5th, 7th, and 9th week of the term. The assessment paper shall be attached with a cover page indicating the title of the assessment task (if the task is a performance), the name of

mailto:[email protected]



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the course coordinator, date of submission, and the name of the student. The document should be e-mailed to the course coordinator. It is also expected that you already paid your tuition and other fees before the submission of the assessment task. If the assessment task is done in real-time through the features in the Learning Management System, the schedule shall be arranged ahead of time by the course coordinator.

Turnitin submission (if necessary)

To ensure honesty and authenticity, all assessment tasks are required to be submitted through Turnitin with a maximum similarity index of 30% allowed. This means that if your paper goes beyond 30%, the students will either opt to redo her/his paper or explain in writing addressed to the course coordinator the reasons for the similarity. Also, if the document has reached a more than 30% similarity index, the student may be called for disciplinary action following the University’s OPM on Intellectual and Academic Honesty. Please note that academic dishonesty such as cheating and commissioning other students or people to complete the task for you have severe punishments (reprimand, warning, expulsion).

Penalties for Late Assignments / Assessments

The score for an assessment item submitted after the designated time on the due date, without an approved extension of time, will be reduced by 5% of the possible maximum score for that assessment item for each day that the assessment item is late. However, if the late submission of the assessment paper has a valid reason, a letter of explanation should be submitted and approved by the course coordinator. If necessary, you will also be required to present/attach pieces of evidence.

Return of Assignments / Assessments

Assessment tasks will be returned to you within two (2) weeks after the submission. This will be returned through e-mail or via the Quipper. For group assessment tasks, the course coordinator will require some or few of the students for online or virtual sessions to ask clarificatory questions to validate the originality of the assessment task submitted and to ensure that all the group members are involved.



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Assignment Resubmission You should request in writing addressed to the course coordinator your intention to resubmit an assessment task. The resubmission is premised on the student’s failure to comply with the similarity index and other reasonable grounds such as academic literacy three (3) standards or other reasonable circumstances, e.g., illness, accident financial constraints.

Re-marking of Assessment Papers and Appeal

You should request in writing addressed to the course coordinator your intention to appeal or contest the score given to an assessment task. The letter should explicitly explain the reasons/points to contest the grade. The course coordinator shall communicate with you on the approval and disapproval of the request. If disapproved by the course coordinator, you can elevate your case to the program head or the dean with the original letter of request. The final decision will come from the dean of the college.

Grading System Your grades will be based on the following: Examinations First to Third 30% Final 30% = 60% Class Participations Quizzes 10% Assignments 5% Research/Requirements 15% Oral Recitation 10% = 40% Total = 100% Submission of the final grades shall follow the usual University system and procedures.

Preferred Referencing Style Use the general practice of the APA 6th Edition.

Student Communication You are required to have ane-mail account, which is a requirement to access the LMS portal. Then, the course coordinator shall enroll the students to have access to the materials and resources of the course. You may call or send SMS to your course coordinator through his/her phone number. Online communication channels, such as those stated above, may be used.



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You can also meet the course coordinator in person through the scheduled face to face sessions to raise your issues and concerns.

Contact Details of the Dean Dr. Gina Fe G. Israel Dean of College E-mail: [email protected] Phone: 0915 832 5092 / 0909 994 2314 LarcyneilP.Pascual, MAED Assistant Dean E-mail:[email protected] Phone: 09187772524

Contact Details of the Program Head

Dr. Russel A. Aporbo E-mail: [email protected] Phone: 0950 7726196

Students with Special Needs Students with special needs shall communicate with the course coordinator about the nature of his or her special needs. Depending on the nature of the need, the course coordinator with the approval of the program head may provide alternative assessment tasks or extension of the deadline for submission of assessment tasks. However, the alternative assessment tasks should still be in the service of achieving the desired course learning outcomes.

Library Contact Details Clarissa R. Donayre, MSLS E-mail: [email protected] Phone: 0927 395 1639

Well-being Welfare Support Help Desk Contact Details

Rochen D. Yntig, RGC GSTC Head E-mail: [email protected] Phone: 0932 771 7219 Mersun Faith A. Delco, RPm Psychometrician E-mail: [email protected] Phone: 0927 608 6037 Alfred Joshua M. Navarro Facilitator E-mail: [email protected] Phone: 0977 341 6064









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Course Information – see/download course syllabus in the Quipper LMS

CC’s Voice: Hello prospective professionals! Welcome to this course GE 20: Reading

Visual Art. By now, I am confident that you really wanted to become a

professional in your chosen career and you have visualized yourself to

be working in specific field someday. This subject shall use various forms

of visual arts and incorporate different techniques and styles.

CO Before the actual work in your chosen field, you have to appreciate first

the different works of art around the world: This subject gives you the

knowledge and skills to be adept in understanding, analyzing, and

interpreting various forms of visual arts, including films as texts, using

different styles and techniques. Which is the ultimate course outcome

(CO) of this subject. When we talk about visual arts, this includes the

following: painting, drawing, printmaking, sculpture, ceramics,

photography, video, filmmaking, designs, charts, and architecture. Thus,

in this course you are expected to recall your knowledge in GE 7: Arts

Appreciation or read in advance the different masterpieces and works of

art in the different sides of the world and use various techniques to

analyze them.

Let us begin!

Big Picture A

Week 1-2: Unit Learning Outcomes (ULO): At the end of the unit, you are expected to:

a) Review on the different Styles of Painting and understand the meaning of an

artwork through its colors.

Metalanguage

In this section, the most essential terms relevant to the study of the history of the Rizal

law and to demonstrate ULOa will be defined that you can refer to whenever you

encounter these terms as we go through the study of curriculum.

• Visual Arts - "Visual Arts" is a modern but imprecise umbrella term for a broad

category of art which includes a number of artistic disciplines from various sub-

categories. Its wide ambit renders meaningless any attempt at definition, so

Big Picture in Focus: ULOa. Review on the different styles of painting and understand the meaning of an artwork through its colors.



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rather than define or compose some diluted meaning for it, here is a list of its

constituent disciplines.

• Fine Arts- All fine art belongs to the general category of visual arts. These

include activities such as: Drawing, Painting, Printmaking and Sculpture, along

with associated activities like Graphic art, Manuscript Illumination, Book

Illustration, Calligraphy and Architecture.

• Contemporary Arts- The visual arts also include a number of modern art forms,

such as: Assemblage, Collage, Mixed-media, Conceptual

Art, Installation, Happenings and Performance art, along with film-based

disciplines such as Photography, Video Art and Animation, or any combination

thereof. This group of activities also includes high tech disciplines like computer

graphics and giclee prints. Another modern visual art, is the new environmental

or Land art, which also includes transitory forms like ice/snow sculpture, and

(presumably) graffiti art.

• Decorative Arts and Crafts- In addition, the general category of visual arts

encompasses a number of decorative art disciplines and crafts,

including: ceramics and studio pottery, mosaic art, mobiles, tapestry, glass art

(including stained glass), and others.

• Painting – Painting isthe expression of ideas and emotions, with the creation

of certain aesthetic qualities, in a two-dimensional visual language. The

elements of this language—its shapes, lines, colours, tones, and textures—are

used in various ways to produce sensations of volume, space, movement, and

light on a flat surface. These elements are combined into expressive patterns

in order to represent real or supernatural phenomena, to interpret a narrative

theme, or to create wholly abstract visual relationships.

• Artist- An artist is a person engaged in an activity related to creating art,

practicing the arts, or demonstrating an art. The common usage in both

everyday speech and academic discourse is a practitioner in the visual arts

only.

Essential Knowledge REVIEW ON STYLES OF PAINTING Introduction

Part of the joy of painting in the 21st century is the wide range of available forms of expression. The late 19th and 20th centuries saw artists make huge leaps in painting styles. Many of these innovations were influenced by technological advances, such as

http://64.130.23.120/definitions/fine-art.htm

http://64.130.23.120/drawing.htm

http://64.130.23.120/fine-art-painting.htm

http://64.130.23.120/printmaking.htm

http://64.130.23.120/sculpture.htm

http://64.130.23.120/graphic-art.htm

http://64.130.23.120/illustration.htm

http://64.130.23.120/illustration.htm

http://64.130.23.120/assemblage-art.htm

http://64.130.23.120/collage.htm

http://64.130.23.120/conceptual-art.htm

http://64.130.23.120/conceptual-art.htm

http://64.130.23.120/installation-art.htm

http://64.130.23.120/happenings.htm

http://64.130.23.120/performance-art.htm

http://64.130.23.120/fine-art-photography.htm

http://64.130.23.120/video-art.htm

http://64.130.23.120/animation-art.htm

http://64.130.23.120/land-art.htm

http://64.130.23.120/painting/graffiti-art.htm

http://64.130.23.120/definitions/decorative-art.htm

http://64.130.23.120/ceramics.htm

http://64.130.23.120/mosaic-art.htm

http://64.130.23.120/tapestry-art.htm

http://64.130.23.120/stained-glass-art.htm

https://www.merriam-webster.com/dictionary/aesthetic

https://www.britannica.com/topic/language



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the invention of the metal paint tube and the evolution of photography, as well as changes in social conventions, politics, and philosophy, along with world events.

This list outlines eight major styles of art (sometimes referred to as "schools" or "movements"), some much more realistic than others. Although you won't be part of the original movement—the group of artists who generally shared the same painting style and ideas during a specific time in history—you can still paint in the styles they used. By learning about these styles and seeing what the artists working in them created and then experimenting with different approaches yourself, you can begin to develop and nurture your own style.

1. Abstractionism

Jackson Pollock - Full Fathom Five, 1947. Oil on canvas with nails, tacks, buttons, key, coins, cigarettes, matches, etc. 50 7/8 x 30 1/8 in. © 2019 Pollock-Krasner Foundation / Artists Rights Society (ARS), New York

Any art that illustrates anything, but not in the truest of forms, can be classified as abstract art. This is a real product of radical thought.

In abstract paintings, you will never find a man, animal or even any real life object. Every object on the canvas is represented as either colors and or shapes. A simple shape on the painting can do many wonders. The artist might augment the shape with some simple exaggerations. Sometimes, the shape is scaled down to produce the effect the artist wants on the canvas.

The colors on the canvas represent emotions and shapes symbolize objects. In the abstract style paintings of 21st century, anything can happen on the canvas. There is hardly any direction on the abstract paintings of today. Yet, the results are appealing and aesthetically satisfying.

2. Cubism

https://www.thoughtco.com/photography-timeline-1992306



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Portrait of Pablo Picasso by Juan Gris

Cubism, highly influential visual arts style of the 20th century that was created principally by the artists Pablo Picasso and Georges Braque in Paris between 1907 and 1914. The Cubist style emphasized the flat, two-dimensional surface of the picture plane, rejecting the traditional techniques of perspective, foreshortening, modeling, and chiaroscuro, and refuting time-honoured theories that art should imitate nature. Cubist painters were not bound to copying form, texture, colour, and space; instead, they presented a new reality in paintings that depicted radically fragmented objects.

Today, Cubism is another style of abstract art painting. But, Cubism was a strong

presence in the art world even before abstract painting became prevalent. People like Picasso, Braque, Gris etc followed Cubism and made it famous. The world of art painting would have never been the same without contributions from these Cubist artists.

3. Expressionism

From the Vincent van Gogh and Expressionism Exhibition Oskar Kokoschka (1886-1980), Hirsch as an Old Man, 1907. Oil on canvas, 70 x 62.5 cm. Lentos Kunstmuseum Linz.

The abstract style of art takes many forms. Expressionism is one such form. This style of painting is closely related to the emotions and feelings of human heart. This emotional overflow of human heart is illustrated from a subject’s perspective. The expressionist paintings either represents emotional state of the artist or is intended to induce some kind of an emotional echo within the viewer.

Jackson Pollock was one of the biggest names in expressionist art painting. However, in most of his famous creations, he hardly touched the canvas with a brush. Pouring paint onto the canvas was his style of painting. This way he could capture the natural movement of paint too. Another famous expressionist artist is Vincent Van Gogh.

https://www.britannica.com/art/visual-arts

https://www.britannica.com/biography/Pablo-Picasso

https://www.britannica.com/biography/Georges-Braque

https://www.britannica.com/place/Paris

https://www.britannica.com/art/perspective-art

https://www.britannica.com/art/foreshortening

https://www.britannica.com/art/chiaroscuro

https://www.britannica.com/art/painting

http://www.nga.gov/feature/pollock/



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4. Fauvism

Charing Cross Bridge, London (1906) is a painting by French painter and Fauve art movement co-founder Andr Derain

Fauvism, style of painting that flourished in France around the turn of the 20th century. Fauve artists used pure, brilliant colour aggressively applied straight from the paint tubes to create a sense of an explosion on the canvas.

The Fauves painted directly from nature, as the Impressionists had before them, but Fauvist works were invested with a strong expressive reaction to the subjects portrayed.

5. Dadaism

Artist: Marcel Duchamp

Dadaism is an avant-garde intellectual movement that started around World War 1. Although not at first an art movement, it did influence art greatly for a time. The art of the movement spanned visual, literary, and sound media, including collage, sound poetry, cut-up writing, and sculpture.

6. Realism

The Gleaners by Jean-François Millet

https://www.britannica.com/art/Western-painting/Cubism-and-its-consequences#ref583217

https://www.britannica.com/art/Western-painting/Cubism-and-its-consequences#ref583217

https://www.britannica.com/art/painting

https://www.britannica.com/place/France

https://www.britannica.com/art/Impressionism-art

https://www.theartstory.org/artist/duchamp-marcel/

https://www.theartstory.org/artist/millet-jean-francois/



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Realism emerged in France in the 1850s. On the heels of the 1848 Revolution—an event that established the “right to work” in the country—the movement introduced the idea of average, working class people, contemporary settings, and day-to-day scenes as worthy artistic subjects.

Artists working in the Realist style rejected the standards of Romanticism (1800-1850), a genre defined by a heightened sense of emotion. Typically, Romantic paintings feature either mythological figures or sublime scenes of nature. In either case, it glorifies its subjects—a trait that Realist artists directly dismissed.

7. Hyperrealism

Hyperrealism is the young art form of creating illusions by enhancing reality. Artists of this genre take their works beyond purely photographic quality by placing added focus on visual, social, and cultural details of everyday life. They play with colour intensity, lighting, contrast, and sharpness to shape a more vivid depiction of what we can see with the naked eye.

Hyperrealist artists typically choose from drawing, painting and sculpture in their efforts to bring an added dimension of reality to life. Thanks to increased use of technology in the visual arts, they may also use digital illustration techniques or alteration of images transferred onto canvases or molds in their work.

8. Impressionism

The Absinthe Drinker by Edgar Degas

Impressionism is an art movement originated in Paris in late 19th century. Impressionism caught eyes of many critics, but mostly for the wrong reasons. The thin brush strokes, common and ordinary subjects, unusual angles etc are some features of this style of art painting. Outdoor sceneries of landscapes and even streets became settings for impressionist painters.

If you look closely at impressionist paintings, you will find that black is a color that is rarely used. For dark tones, complementary colors were mixed and used. The artists were very keen about making the color and reflection right for every object on the canvas. More importance was given to natural lighting. Impressionist paintings

https://en.wikipedia.org/wiki/Right_to_work



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were even considered as an alternative to photography, which then lacked the luxury of colors.

SYMBOLS OF COLORS

Color have always been recognized for its symbolic power and an appreciation of this reaches back to ancient times. However, the understanding and interpretation of color symbolism has changed over time and varies from culture to country.

Red through its association with fire and blood is used to represent danger, anger and violence. For the same reason it is also associated with affairs of the heart: love and passion.

Orange symbolizes creativity, change, energy and endurance. It is the color that represents Autumn. As a secondary color it combines elements of the colors used to mix it: the creative passion of red with the energy and joy of yellow.

Yellow is the color of the sun - the life support for our planet. As such it has come to represent life, energy, happiness, hope and wisdom.

Green, as the color of plants and grass, is the color of nature and all that is associated with health and growth. However, it is also used to represent more negative traits such as envy and inexperience.

Blue is the coolest and most calming of all the colors. As the color of the sky, it has been used since ancient times to represent heaven. In classical mythology, blue was the color associated with the gods, Venus and Jupiter. In Christianity, it becomes the symbol of the Virgin Mary as Queen of Heaven. As the color of the ocean, it is also suggests qualities like freshness, purity and hygiene.

Purple is the color of royalty, wealth and power. In times past, purple dyes were rare and expensive. Only the rich and powerful could afford to wear clothes of this luxurious color.

Brown is the color of earth, wood and stone. As such, it evokes craftsmanship and the great outdoors. It is also used to represent humility: a down to earth virtue.

Black and its association with darkness is used to represent death, evil, witchcraft, fear and mourning.

Grey is the natural color of some metals and stone, but it also has some negative associations with the weather, boredom, decay and old age. Grey is a mixture of black (death) and white (peace) and is the color of ashes and dust. As such it is also associated with death and mourning.

Self-Help: You can also refer to the sources below to help you

further understand the lesson:

https://www.artyfactory.com/color_theory/color_terms_1.htm



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Boddy- Evans, Marion. “7 Major Painting Styles Ranked Primarily From Most to Least Thought Co, Thought Co, 15 Nov. 2019, www.thoughtco.com/art-styles- explained-realism-to-abstract-2578625 “Post-war & Contemporary Art.” Post-War & Contemporary Art/ Artnet Auctions, www.artnet.com/auctions/post-war-and-contemporary-art “Symbolism of Color: Using Color for Meaning.” Symbolism of Color: Using Color for Meaning, www.Incredibleart.org/lessons/middle/color2.htm

Let’s Check

Instruction: Identify the Style of Painting of the following images. Choose the best answer.

a. High Renaissance a. Fauvism

b. Cubism b. Expressionism

c. Realism c. Realism

d. Fauvism d. Futurism

"Der Blaue Reiter" by Wassily Kandinsky

"Mona Lisa" by Leonardo Da Vinci

a. Impressionism a. Expressionism

b. Realism b. Dadaism

c. Cubism c. Abstractionism

d. Pointism d. Fauvism

"Les Demoiselles d'Avignon" by Pablo Picasso

a. Impressionism

b. Abstractionism

c. Hyperrealism

d. Cubism

A Sunday Afternoon on La Grande Jatte" by Georges Seurat

1..

2..

3..

4..

5..

http://www.thoughtco.com/art-styles-

http://www.thoughtco.com/art-styles-



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Let’s Analyze Color the image based on your preferred colors. Provide a short explanation.

________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

In a Nutshell Knowledge Inventory. List down all the things your learned from this unit. 1. _________________________________________________________________________________________________________________________________________________________________________________________________________ 2. _________________________________________________________________________________________________________________________________________________________________________________________________________



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3. _________________________________________________________________________________________________________________________________________________________________________________________________________ 4. _________________________________________________________________________________________________________________________________________________________________________________________________________ 5. _________________________________________________________________________________________________________________________________________________________________________________________________________

Question & Answer (Q&A) You are free to list down all the emerging questions or issues in the provided spaces below. These questions or concerns may also be raised in the LMS or other modes. You may answer these questions on your own after clarification. The Q&A portion helps in the review of concepts and essential knowledge.

Questions Answers

1.

2.

3.

4.

5.

Keywords Index

• Abstractionism • Expressionism • Dadaism • Hyperrealism

• Cubism • Fauvism • Realism • Impressionism



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Big Picture B

Week 3-4: Unit Learning Outcomes (ULO): At the end of the unit, you are expected to:

a. Analyze a visual art using different approaches.

Metalanguage

• Visual Analysis - A visual analysis addresses an artwork’s formal elements—visual attributes such as color, line, texture, and size. A visual analysis may also include historical context or interpretations of meaning.

• Artwork Criticism- Art criticism is the discussion or evaluation of visual art. Art critics usually criticize art in the context of aesthetics or the theory of beauty.

• Approach- A way of dealing with something.

• Semiotic- Semiotics is the study of sign process, which is any form of

activity, conduct, or any process that involves signs, including the production of meaning. A sign is anything that communicates a meaning, that is not the sign itself, to the interpreter of the sign.

• Context-context refers to those objects or entities which surround a focal

even.

• Image-An image is an artifact that depicts visual perception, such as a photograph or other two-dimensional picture, that resembles a subject—usually a physical object—and thus provides a depiction of it. In the context of signal processing, an image is a distributed amplitude of color.

• Aesthetic-A branch of philosophy that deals with the nature of beauty and taste, as well as the philosophy of art. It examines subjective and sensori-emotional values, or sometimes called judgments of sentiment and taste.

• Subject Matter- The term subjects in art refers to the main idea that is represented in the artwork. The subject in art is basically the essence of the piece.

Essential Knowledge THE FOUR PLANES OF ANALYSIS 1. The Basic Semiotic Plane

Semiotics is the study of "signs"--here the work of art is the iconic or pictorial

sign. A sign consists of a "signifier" or its material/physical aspect and its "signified" or

Big Picture in Focus: ULOa. Analyze a visual art using different approaches.



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non-material aspect as concept and value. Related to these is the "referent" or object as it exists in the real world. A visual work. A visual work, whether it be a two-dimensional pictorial space or a three-dimensional body, is an embodiment of signs in which all physical or material marks and traces, elements, figures, notations are signifiers which bear a semantic or meaning-conveying potential and which in relation to each other convey concepts and values which are their signifieds. Their semantic potential is realized in the analysis or reading of the integral work.

The basic semiotic plane covers the elements and the general technical and

physical aspects of the work with their semantic (meaning-conveying potential). It includes:

1. The visual elements and how they are used: line value, color, texture, shape, composition in space, movement. Each element has a meaning-conveying potential which is realized, confirmed, and verified in relation to the other elements which form the text of the work. While the elements usually reinforce one another, there can also exist contrasting or contradictory relationships which may be part of the meaning of a work. The elements and all material features are thus to be viewed in a highly relational manner and not isolated or compartmentalized. 2. The choice of medium and technique. In contemporary art, medium enters more and more into the meaning of the work. While the European academies or salons of the nineteenth century decreed the choice of medium, today the artist exercises free choice in this respect, a choice determined less by its availability as by its semantic potential. For instance, handmade paper with its organic allure, irregularities of texture, and uneven edges is favored by a number of artists because it bears significations conveying the uniquely personal, human, and intimate, in contrast to mass-produced standard paper. Technique, of course, goes hand in hand with the nature of the medium. Likewise, there are techniques which valorize the values of spontaneity and play of chance and accident, while there are those whch emphasize order and control. 3. The format of the work. The very format of the work participates in its meaning. Again, in contemporary art, format is no longer purely conventional but becomes laden with meaning. For instance, the choice of a square canvas is no longer arbitrary but enters into the meaning of the work as a symbolic element, the square signifying mathematical order and precision. 4. Other physical properties and marks of the work. Notations, traces, textural features, marks, whether random or intentional, are part of the significations of the work. 2. The Iconic Plane or The Image Itself

This is still part of the semiotic approach since it is still based on the signifier-signified relationship. But here it is not that material elements of the work that are dealt with as in the basic semiotic plane, but this has to do with the particular features, aspects, and qualities of the image which are the signifiers. The image is regarded as an "iconic sign" which means, beyond its narrow associations with religious images in the Byzantine style, that it is a unique sign with a unique, particular and highly nuanced meaning, as different from a conventional sign such as a traffic or street sign which has a single literal meaning.

The iconic plane includes the choice of the subject which may bear social and political implications. An example in art history is the French realist artist Gustave



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Courbet's choice of workers and ordinary people in his paintings, instead of the Olympian gods and goddesses or heroes from Greek and Roman antiquity that were the staple of classical and academic art up to the nineteenth century. We can ask the question: Is the subject meaningful in terms of the socio-cultural context, does it reflect or have a bearing on the values and ideologies arising in a particular place and time?

Also part of the iconic plane is the positioning of the figure or figures, whether

frontal, in profile, three-fourths, etc. and the significations that arise from these different presentations. Does the painting show strong central focusing with the principal figure occupying the center space or is it decentered and the painting asymmetrical in composition? How do these presentations contribute to different meanings? Does the subject or subjects have a formal or a casual air? How does one describe the central figure's stance: poised, relaxed, indifferent, provocative, or aloof? How much importance is given to psychological insight into character? to costume and accessories? to the setting, natural, social or domestic? What is the relative scaling of the figures from large to small? What bearing does this have to the meaning of the work? Luna's Tampuhan brings to the fore the artist's sensitivity to body language. How do the postures of the man and the woman convey their emotional attitudes?

In portraits, where is the gaze of the subject directed? This is important not only

in defining the relationship of subject and viewer but also in describing pictorial space. Degas' painting Woman with Chrysanthemums shows a middle-aged woman beside a large vase of flowers. More importantly, her intense and scheming look projects an imaginary line to a figure or figures that are the objects of her gaze outside the pictorial field of the painting into an implied open and expanded space. This work deconstructs the classical conventions of portraiture.

Is there cropping of the figure or figures? What is the significance of the kind of

cropping used? Some kinds of cropping are intended to create a random, arbitrary effect as against the deliberate and controlled. Other kinds isolate a segment of the subject, such as the hand or the feet, in order to draw attention to its physical qualities--when a part stands for the whole, a peasant's bare feet can tell us about an entire life of labor and exploitation. Some artists use cropping as a device to imply the extension of the figure into the viewer's space.

Here one also takes into account the relationship of the figures to one another,

whether massed, isolated, or juxtaposed in terms of affinity or constrast. A painting may expand or multiply its space by having not just one integral image but several sets of images in montage form, from the same or different times and places. These may occur in temporal sequence to constitute a narrative or may take the form of simultaneous facets or aspects of reality. Serial images which show an image multiplied many times, as in Andy Warhol's Marilyn Monroe or Campbell Soup Cans, convey significations arising from the blatant consumerism of the advanced capitalist societies of the First World.

The style of figuration is an important part of the iconic plane. The figurative

style is not mere caprice, passing fashion, or the artist's personal ecriture; beyond these, it implies a particular re-presentation or interpretation of the world, a world view, if not ideology. Classical figuration basically follows the proportion of 7 1/2 to 8 heads to the entire figure in its pursuit of ideal form, as in a formal studio portrait with the subject enhanced by make-up, all imperfections concealed. Realist figuration is based on the keen observation of people, nature, and society in the concern for truth of representation, thus creating true portraits of individuals or exposing the poverty and squalor that arise from social inequities. Impressionist figuration is fluid and informal, often catching the subject unawares like a candid camera. Expressionist figuration follows emotional impulses and drives, thus often involving distortion that comes from strong emotion.

However, the viewer should not be too anxious to find precise stylistic labels,

for contemporary art has seen the development of highly original styles that have gone



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far beyod the School of Paris. It is important to be sensitive to the meaning-conveying potential of highly individual styles. In the basic semiotic plane which deals with the material aspect of the work and in the iconic plane which deals with the features of the image itself, one can see that as the signifier cannot be separated from the signified, concrete fact or material data cannot be divorced from value; in other words, fact is value-laden and value or ideological meaning is derived from material fact.

3. The Contextual Plane

Here one proceeds from the basic semiotic and iconic planes and the knowledge and insights one has gained from these into the social and historical context of the work of art. Resituating the work in its context will bring out the full meaning of the work in terms of its human and social implications. The viewer draws out the dialogic relationship of art and society. Art sources its energy and vitality from its social context and returns to it as a cognitive force and catalyst for change. If one does not view the work in relation to its context, but chooses to confine analysis to the internal structure of the work, one truncates its meaning by refusing to follow the trajectories of the work into the larger reality that surrounds it. One prevents the work from reverberating in the real world.

As has been said earlier, the meaning of a work is a complex that involves

concepts, values, emotions, attitudes, atmospheres, sensory experiences that arise from the three planes. The experience of a work cannot be reduced or paraphrased to a statement, such as a moral lesson or message, but is a total experience involving the faculties of the whole person--not just his eyes or his senses, but his mind and emotions as well. The work of art has its horizon of meaning which is narrower or larger depending on the degree of cultural literacy, cultural breadth, art exposure and training, and intellectual and emotional maturity of the viewer. Art involves cognition or learning; it is an important way of learning about people, life, and society.

A broad knowledge of history and the economic, political and cultural

conditions, past and present, of a society is called upon in the contextual plane. With this comes a knowledge of national and world art and literatures, mythologies, philosophies, and different cultures and world views. The work of art may contain references and allusions, direct or indirect, to historical figures and events, as well as to religious, literary, and philosophical ideas and values which are part of the meaning of the work.

The different symbolic systems which are culture-bound also come into play. Although we have been strongly influenced by western symbolic systems, we have to move towards a greater awareness of our many indigenous and Asian/Southeast Asian, Malay animist and Islamic symbolic systems which must be given even greater value for they are part of our social context. These systems may have to do with color, shape, design, as well as cultural symbols associated with the belief systems of the different ethnic groups. Figures may also bear rich and distinct intellectual and emotional associations built around them during the history of a group.

The contextual plane likewise situates the work in the personal and social

circumstances of its production. The work may contain allusions to personal or public events, conditions, stages, as well as influences, such as persons and literary texts, that have been particularly meaningful to the artist. Themes and sub-themes may be derived from biographical experiences significant to the artist and biographical data may play an important part in understanding the work and its view of reality.

4. The Axiological or Evaluative Plane The axiological plane has to do with analyzing the values of a work. After the

understanding of the work is the difficult task of evaluating it. Often, it is facile to say that evaluation involves the two aspects of form and content. But this division is theoretically conservative because the two are conceptually separated. It is semiotic



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analysis involving the basic semiotic plane, the iconic plane and the contextual plane that shows how meaning is produced through the interrelationship of the signifiers (material features) and signified (concepts, values) in the unique pictorial sign that is the work of art. At all points, meaning is anchored in material form. Again, empirical, physical fact is value-laden, and value ensues from material fact. Thus, the first consideration in evaluating would be to what degree the material basis of the work conveys meaning or intellectual/emotional contents.

. For all visual forms, whether paintings, prints, posters, illustrations, cartoons,

and comics have their standards of technical excellence to which a work may be on par or below par. Understanding and evaluating the technical side of the work requires a familiarity with and sensitivity to the properties of medium. Thus, the viewer/critic should devote time to researching on and observing art-making, even doing exercises of his or her own. At the same time, one makes allowance for the transgressing of conventional processes and norms in the quest for new creative and expressive resources.

As has been stated, the meaning of a work is a complex of concepts, values,

and feelings which derive from reality and have a bearing on it. Because of this, the evaluation of a work necessarily includes the analysis and examination of its axiological content constituted by values which become fully articulated on the contextual plane although these had already been shaping on the basic semiotic and iconic planes. And since values are expressed in the work which holds a dialogic relationship with reality, the assessment of these values is a necessary part of critical evaluation. It then becomes possible that the values of the artist and the viewer do not quite coincide or may even be contradictory. ART CRITICISM: FOUR PRINCIPAL APPROACHES

Every work of art, such as a poem, a novel, an essay, a play, a musical piece, a painting, etc., has four basic relationships: 1. the subject matter 2. the artist 3. the audience and 4. its own form.

These four relationships of a work of art are the bases for the four principal

approaches to art criticism and appreciation. These four approaches are: 1. mimetic (based on the subject matter) 2. expressive (based on the artist) 3. pragmatic (based on the audience) 4. aesthetic or formal (based on the form) 1. Subject Matter

“Art is an imitation of an imitation of reality…” Plato, Greek philosopher “Art is a reflection or a mirror of reality.” Aristotle, Greek philosopher

With respect to subject matter, art is an imitation, depiction or representation of some aspect of nature or life. That which is imitated, depicted or represented in art is its subject matter.

Anything in the universe may serve as the subject of art: aspects of nature such as the sea, the sky, fields, forests, mountains, animals, etc., (often depicted in paintings), human concerns in the realm of the experience, action and deed (as recounted in fiction, narrative poetry and the drama), and emotions and moods (lyric



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poetry) and ideas (the essay), spatial forms (sculpture and architecture), tonal forms (music) and plastic forms in motion in space and time (dance).

According to subject matter, art may be classified into two types:

1) Representational or Objective Art portrays or depicts something other than its own form. Examples are Venus de Milo, Da Vinci’s Monalisa, Prokofiev’s Peter and the Wolf, Tchaikovsky’s ballet Swan Lake. Literature is principally representational.

2) Non-representational or Non-objective Art represents nothing except its own form. Examples: the Pyramids of Egypt, Mondrian’s non-figurative paintings, the symphonies of Mozart. Among the major arts, architecture is most nearly always non-objective. In non-objective art, subject matter and form are one: the form is the subject.

The concept of art as imitation may be traced back to two Greek philosophers, Plato and Aristotle. Plato, the idealist, believes that art is far removed from reality which exists in the realm of Ideals or Universals, of which our world is but an imperfect imitation, and art is, in turn, only an imitation of our world. He places art on the same level as shadows and reflections of things on water – all these being mere illusions of illusions of reality. Aristotle, an empiricist, rejected the belief in the realm of Ideals. He taught that reality exists right in our own world, around us and within us as perceived by our senses. Art is “a mirror of reality” and therefore brings us in contact with it.

The approach to art criticism through the subject matter is called mimetic (derived from the Greek word mimesis, meaning imitation.) The mimetic approach stresses the importance of subject matter or content in art. According to this approach, the merit of a work of art lies in its subject; the beauty of the subject and its significance are the basis for aesthetic judgment. This approach has been discredited by modern critics who assert that the aesthetic quality of a work of art depends not so much on what is depicted (the subject) as on how it is depicted (the form).

To modern critics, therefore, a poem in praise of the splendor of God is not necessarily beautiful than another poem expressing a lover’s complaint about the horrible smell coming from his lady’s armpits, and a painting depicting a lovely woman by the sea does not necessarily have greater aesthetic merit than another painting depicting a drunken old man sprawled beside a huge pile of garbage. What we should appreciate is not the subject but the manner of presentation of the subject

2. The Artist, Writer, or Creator

“He who touches this book, touches the man.” Walt Whitman, an American poet “Leaves of Grass”

From the point of view of the artist (poet, essayist, fiction writer, dramatist, composer, painter, sculptor or architect), art is a means of expression, a medium for communicating an idea, an emotion or some other human experience, an impression of life, a vision of beauty. And because the artist puts something of himself into his art, it becomes an extension of himself, an objectification of some aspect of his personality. Our experience of a work of art, therefore, brings us in contact with the personality of the artist. The individuality of the creator is revealed to us through his creation.



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However, the degree to which the artist has revealed himself varies from one form of art to another, from one particular work of art to another.

The expressive approach to art criticism stresses the relationship of the artwork to

its creator. In this approach, the artist himself becomes the major element generating both the artistic product and the norms by which the work is to be judged. Interpreting art in the light of the knowledge that we have about the artist has some degree of validity: it is an admitted fact that something about the artist, his life-history, his philosophy and beliefs, his character, certain circumstances in his life which may have influenced the creation of the artwork in question, his background, the era during which he lived, and other pertinent information places us in a better position to interpret and evaluate his work. While the possession of such knowledge certainly enhances our appreciation, modern critics assert that it is unnecessary. They question the validity of the expressive approach and insist that an artwork be judged according to its intrinsic qualities and merits and in judging its aesthetic value, we must not take into account its relationship to its creator.

Moreover, in passing judgment on the aesthetic merit of an artwork, we must not be influenced by our personal regard for its creator or his reputation. Hence, we should appreciate a symphony by Mozart, not because this composer is one of the most delightful and admirable personalities in the world of music, but because that symphony has certain aesthetic qualities which make it worthy of appreciation for its own sake, regardless of who composed it or what sort of man he was. Richard Wagner, another composer, was an extremely disagreeable person – selfish, conceited, arrogant – but the fact remains that his music is glorious!

3. Audience or Readers

“Literature, to be of importance, must be simple and direct and must have a clear moral purpose…” Leo Tolstoy, Russian novelist and short story writer “The purpose of literature is to teach, to moralize, to instruct…” George Bernard Shaw, Anglo-Irish wit and playwright

From the viewpoint of the audience (readers in the case of literature, viewers in

the case of the visual arts, and listeners in the case of music), art is experience; for what is a poem unless one can read it; what is a painting unless one can see it, and what is a sonata unless one can hear it? Art always has an audience, even if this audience is none other than the artist himself.

One aspect of art, which is of importance to the audience, is its value, function

or significance. Aside from its essential value (aesthetic), art may have secondary values: religious, philosophical, moral, historical, political, social, scientific, commercial, sentimental, practical, etc.

The approach to art criticism, which emphasizes the value and importance of art to its audience, is known as the pragmatic approach.



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Pragmatic critics attach little importance to the aesthetic value and instead judge art according to how useful it is to the audience. For instance, they are partial to artworks that have moral value – that aim to teach, to instruct, to ennoble, or to mold the moral character of the audience (this view may be traced back to the Romans, Horace, and Cicero), or else they have preference for those for those objects of art that are useful or have practical value. Marxist-Leninist-Maoist critics are classified as pragmatic because they assert that the role of art in the socialist order is to contribute to the fulfillment of the objectives of the state, to serve as a vehicle for propaganda in the people’s struggle against imperialism, etc. Again, modern critics reject the pragmatic approach because they consider all the values of art, aside from the aesthetic value, as merely secondary, therefore incidental, non-essential.

It is the prevailing view in the field of art criticism that the merits of art are found in its own form and that these merits are there regardless of whether they are grasped and appreciated as such by the audience or not; only an enlightened audience can appreciate great art. Pragmatists attack this view on the ground that it is “elitist”—that it confines art to the enjoyment of the favored few and shuts out the great masses of people who are not “enlightened”. The Russian novelist Leo Tolstoy, a pragmatist maintains that a work of art attains more greatness the more it gives moral upliftment and pleasure to the greatest number of people.

Modern critics assert that the aesthetic judgment of the masses is far from reliable, the masses being for the most part uneducated, ignorant; that the greatness of a work of art does not depend on, and cannot be measured by, its popularity with the people; that a gaudy painting of Mayon Volcano from a shop on Mabini Street is not necessarily greater than an abstraction by Picasso simply because it is understood and appreciated by a greater number of people, or that My Way by Frank Sinatra is superior to Mozart’s Symphony No. 40 for the same reason.

4. Form

“There are no moral or immoral books; they are either well-written or badly written.” Oscar Wilde, Anglo-Irish wit and playwright Preface to his book, Picture of Dorian Gray

With respect to form (the manner of imitation, how the subject matter is handled and presented), art is a composition, a whole consisting of various parts or elements; the selection, organization, and integration of these elements according to certain formal principles and employing certain techniques constitute that which we call the form of art. Hence, in poetry, the organization of such expressive elements as imagery, figures of speech, tone, movement, symbols, sound values of words, meter, rhyme, etc., using language as medium, creates poetic form. In music, the integration of such expressive elements as rhythm, melody harmony, tempo, dynamics, and timbre, using tone as medium and following the basic principles of organization – repetition, variation and contrast – results in the creation of musical form. A film in achieving its objective to tell a story (the subject matter), employs and combines many elements: screenplay, acting, direction, cinematography, pacing, editing, set design, background music, costuming, make-up, casting, etc. How the story is presented in terms of these elements constitutes cinematic form.



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Modern critics, advocating the formal and aesthetic approach to art criticism, stress the importance of form in a work or art. They uphold the motto, “Art for art’s sake,” which is attributed to the English playwright, Oscar Wilde. This view seeks to liberate art from the chains of morality, religion, political propaganda, social, reform, etc., and sets up art as something worthy of appreciation for its own sake. The formal approach considers the form as the basis of aesthetic judgment and other considerations are secondary. This approach requires that the audience be knowledgeable, which is the reason why pragmatists charge that it encourages snobbery and elitism. Analyzing the form of a painting (or any work of art for that matter) is an intellectual undertaking that employs a systematic method to arrive at aesthetic judgment.

Every work of art involves an element of choice; certain possibilities have been employed; others have been rejected. It is essential to consider alternatives to see what these choices are and why they occur. One may begin by considering the physical properties – size, shape and medium – of the work of art. How do these affect its immediate personality as an object? One can then explore the more complex qualities of the work. For the sake of convenience, try to isolate factors, but keep in mind that they have an organic or functional relation to other aspects and to the whole.



Guillermo, Allice. “The Four Planes of Art Analysis.” 15 June 2018,http://asymptotik.net/artweb/.reading_the_image_3.html “Four Basic Relationships of a Work of Art (Approaches).” PinoySandbox,www. Pinoysandbox.com/midterm/four-basic-relationships-of-a-work-of-art-approaches/

Let’s Check Activity 1. Analyze each photograph/painting using the Four Planes of Analysis.

http://asymptotik.net/artweb/.reading_the_image_3.html



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Semiotic Plane: Iconic Plane: Contextual Plane: Evaluative Plane:

Semiotic Plane: Iconic Plane: Contextual Plane: Evaluative Plane:



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Let’s Analyze Interpret the images. Choose an approach to justify your interpretation.



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In a Nutshell

Knowledge Inventory. List down all the things your learned from this unit. 1. _________________________________________________________________________________________________________________________________________________________________________________________________________ 2. _________________________________________________________________________________________________________________________________________________________________________________________________________ 3. _________________________________________________________________________________________________________________________________________________________________________________________________________ 4. _________________________________________________________________________________________________________________________________________________________________________________________________________ 5. _________________________________________________________________________________________________________________________________________________________________________________________________________



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Questions Answers

1.

2.

3.

4.

5.

Keywords Index

• Basic Semiotic • Contextual • Principles

• Iconic • Evaluative • Approaches

Big Picture C

Week 5: Unit Learning Outcomes (ULO): At the end of the unit, you are expected to: a. Appreciate a film on tis artistry and features

Metalanguage

In this section, the most essential terms relevant to the study of the history of the Rizal

law and to demonstrate ULOa, will be defined that you can refer to whenever you

encounter these terms as we go through the study of curriculum.

• Film- Film, also called movie, motion picture or moving picture, is a visual art-

form used to simulate experiences that communicate ideas, stories,

perceptions, feelings, beauty, or atmosphere through the use of moving

Big Picture in Focus: ULOa. Appreciate a film on its artistry and features.



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images. These images are generally accompanied by sound, and more rarely,

other sensory stimulations.

Essential Knowledge FILM AS AN ART

The Elements of Film Form To analyze and write or talk about movies, we need to start with a clear understanding of filmic components are used to tell the story. Solets begin by establishing a vocabulary of the five basic elements of film form – literary design, visual design, cinematography, editing, and sound design. 1 - Literary design consists of the story ideas and the script. The story ideas include the characters and their actions in the story, the setting of the story, and any background story or subtext. The script includes the dialog and some broad actions for the characters. (Some may refer to this element as narrative design, a broader term for storytelling. As we will see through closer viewing, however, all the elements of film form are used for storytelling.) Here is a clip from The Social Network. Aaron Sorkin wrote the screenplay based on the book by Ben Mezrich. Take notice of the dialog.pdf of a page from Moonrise Kingdom. Here is a section of the script from Wes Anderson’s Moonrise Kingdom. Notice how the setting and the characters are described. Dialog and character actions are included. As a director, Jarmusch also included elements that are not usually found in a script. One of these is INSERT, a description of a close up shot that will be filmed.



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2 - Visual design consists of what we see on screen/inside the frame, a very broad category of components.

- Performance includes the actor’s mannerisms, expressions, and movement.

- Blockingis the arrangement of actors and props before the camera.

Blocking also includes how the actors move around the set during the scene.

- Lightingincludes the amount of light, the specific areas that are illuminated,

the shadows, and the quality of light as in soft or harsh. The lighting can contribute to perception, meaning, and mood.

- Hair and makeupof the actors adds to the storytelling. This also includes

special effects makeup like wounds, blood or fake teeth. Somebody has to make those zombies look real.

- Costumeis what the actors wear. Period films will try to create the look of

the time with costumes.

- Set designconsists primarily of the how the room or space is set up as well as furniture and props.

* Color is an important factor in lighting, costume, and set design.



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All of these visual components are sometimes referred to as mise-en-scène. (pronounced as mee-zan- sen, French for “put on stage”).

See clip from Heath Ledger’s performance in The Dark Knight http://www.youtube.com/watch?v=u8PxG5zvgOM

Heath Ledger’s performance in The Dark Knight was critically acclaimed. Take note of the expressions, the mannerisms, and the inflection he brings to the scene.

promotional still for Edward Scissorhands (Google.com) In this promotional photograph for Edward Scissorhands, we can see how costume, hair, and makeup are key to the character.

still from 2001: A Space Odyssey (Google.com)



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In this still shot from 2001: A Space Odyssey we see the environment of a spacecraft created through set design. The spacecraft is represented as donut-shaped so the set is built on a curve and the camera is turned sideways to create the illusion the actors move around the outer wall of the ship. 3 - Cinematography deals with the choices that are made for the camera – the placement of the camera, the camera angle toward the subject, the lens choice, and the camera movement. Each of these choices has an affect on the recorded image and how the viewer perceives (consciously or unconsciously) that image.

frame from The Hurt Locker (Google.com) In this frame from a shot in The Hurt Locker the cinematographer used a wide angle lens for the shot. The wide angle lens shows more of the cereal aisle in the background and more of it is in focus. This lens choice accentuates the main character’s abrupt transition from a war zone with life and death decisions to civilian life with a multitude of trivial decisions.

See clip from Goodfellas http://www.youtube.com/watch?v=3Sr-vxVaY_M This is a single shot from Goodfellas using a steadicam to allow the camera to move along with the characters through the scene. It creates a feeling that the viewer is moving with the characters and emphasizes the privileged aspect of the main character. 4 - Editing is the sequencing of the shots in the film. Editors decide on the order and the duration of shots, the visual transitions from scene to scene, and visual effects. The editors have two major contributions to the story. The first is the sequencing of shots in terms of how the audience “reads” the film. Cutting from an actor delivering a line of dialog to another actor reacting to what was said. The second is the pacing of the film which helps establish the overall feeling or mood. For example, fast cuts from one shot to another create excitement or tension. Longer duration shots allow the audience to take in more of the visual detail. clip from Battleship Potempkin http://www.youtube.com/watch?v=DLEE2UL_N7Q This is a clip from SergiEisenstien’s 1925 film Battleship Potempkin is referred to as the Odessa Steps sequence. Eisenstein was an early Russian filmmaker most famous for his montage theory of editing. This approach holds that the “collision” between different shots is an illustration of the idea of thesis and antithesis. In other words showing the contrast between two opposing views.



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5 - Sound design deals with the sound components, what we hear in the film. Dialog editing, sound effects, and music contribute to the story. Mood, environment, character, time and place are just a few of the story aspects that can be established or emphasized with sound. mini-documentary about The Hobbitthttp://soundworkscollection.com/videos/hobbit mini-documentary about The Hobbitthttp://soundworkscollection.com/videos/hobbit

This short describes many of the aspects that went into the creation of the sound track for The Hobbitt. Notice how the creative process is collaborative and involves a variety of sound specialists. ELEMENTS of MISE-EN-SCENE By Gail Lathrop and David O. Sutton Mise-en-scene, a French term meaning “place on stage,” refers to all the visual elements of a theatrical production within th e space provided by the stage itself. Film makers have borrowed the term and have extended the meaning to suggest the control the director has over the visual elements within the film image. Four aspects of mise-en-scene which overlap the physical ar t of the theatre are setting, costume, lighting and movement of figures . Control of these elements provides the director an opportunity to stage events. Using these elements, the film director stages the event for the camera to provide his audience with vivid, sharp memories. Directors and film scholars alike recognize mise-en-scene as an essential part of the director’s creative art. Setting Setting, as an important visual element of film, includes all that the viewer sees which informs time and place apart from costum e. This aspect of mise-en-scene plays an extremely active role in film and peri odically may assume as much importance in the total film as the action, or events. Drama on screen, for example, may not even require actors if swirling dese rt sand, wildly lashing palm fronds, or a falling autumn leaf dynamically contribute to dramatic effect. Although setting provides a container for dramatic action, its significance goes beyond that and invites the film maker to control its various as pects artistically. One method of setting control lies in selection of natural or artificial locale. Lush green countryside, barren mountain pl ain, tropical jungle, rocky seashore or snowy forest suggest a story line as well as conflict that is very different from Gothic cathedral, inner-city ghetto, thatched cottage or sterile institution. The selection process includes, too, the choice of constructing th e set rather than using an already existing locale. Control may be extended, then, to determination of historical authenticity or creative blends intended to add to the text’ s meaning. The set, in other words, might represent exactly a particular place, or it m ight be deliberately constructed to include the possible, improbable or even impossible loc ale. For instance, tilted buildings with minute windows and slanted do ors might be constructed ingeniously to orient viewers to a world wherein ideas can be expected to di ffer from their own. Whether selected or constructed, real or surreal, setting functions variously to orient viewers, to contribute dramatic impact, and to add meaning to the film’s narrative.



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Setting’s ability to add meaning to narrative implies that props—part of the setting given specific significance in the total action—are also part of the control directors dictate in film art. A bottle of prescription medicine with a name, a shattered window pane, a broken heel, or a shower cu rtain shown early in a film may appear later to provide emphasis or even real causal relationships between otherwise seemingly coincidental events. The bottl e of medicine is used, for instance, to kill the very patient who seeks good health. Or, the shower cu rtain hides a killer who later wraps his victim’s body in it. Selecting, constructing, and arranging el ements of setting all give the director powerful control over his art. Staging the event for the camera, the director exhibits craft and creativity as he uses this aspect of mise-en-scene. Costume Costume, or clothing and its accessories, is also an important visual element in film. Directors concerned with verisimilitude (historical reality) often go to great lengths to research clothing style, textile, an d dye likely to be used by folk of a certain era, for costume is an indispensable means of establishing authenticity. Costume as an aspect of mise-en-scene in film, how ever, gains even more significance when directors manipulate costume so that it functions in special ways in the film as a whole. Costume can serve to enhance the narrative, or story, for instance, by suggesting social position of characters. Obviously a threadbare cotton shirt gives a very different picture than does a silk de signer gown. Costume can imply, too, psychological disposition of characters. Vi ewers certainly gain very different insights into characters wearing casual shoes, loosel y fitting jeans with blouses as opposed to those clad in skin tightleathers and wearing stiletto heels. Costume also can hint at character development in the film. When an innocent normally dres sed in pale frocks switches to siren red, the audience recogniz es a gain in experience. Thus, costume becomes a special tool in the director’s kit. In addition to informing narrative through contribution to settin g, character, and plot, clothing—as an aspect of mise-en-scen e—functions also as a prop upon which the film’s unity may rest. Any portion of a costum e may become a prop. Dracula’s cape, for instance, tells viewers more and more as firs t it suggests concealment of evil and later provides a vehicle for the victim’s entrapment. Likewise, the cross pendant in an initial shot seems merely a part of costume until othe r deliberate shots of that prop allow the viewer to pull the story’s thread tighter. The pendant, the vi ewer learns, houses a secret necessary for the conflict’s re solution. Anything—sunglasses, a six-gu n, a cane, or a pipe—may be a prop derived from costume. The prop becomes significant in the ongoing action of the film. The prop’s reoccurrence contributes to viewer’s application of the total film. And, it is the director’s selection and arrangement of costume as an aspect of mise-en-scene gives him control of visual elements necessary to effective filming. Figure Behavior Like setting and costume, figure e xpression and movement are important elements of mise-en-scene used by the director to support the narrative as well as help develop the thematic unity of a film. Figure expression refers to the facial expressions and the posture of an actor, whereas figure movement refers to all other actions of the actor, including gestures. Two of the most important aspects of film study are appropriateness of the expression of the actors and the control th e director exhibits over the actor’s movements. Often, viewers tend to think of actors as representing real people and, therefore, underestimate the art required in direction. The filmgoer must keep in mind that the actors’ behavior on the screen is carefully controlled by the director. The director causes the actors to behave in a way that sup ports a particular thematic element of the film. A scene like the following il lustrates this type of control:



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A man whom the mob intends to kill visits his lover for the last time before fleeing the country. The scen e takes place in a small cabin. The cabin has one entrance next to a large window on the front wall. Two additional rooms are adjacent to the main living area where the man and his lover sit on the couch. They ar e engaged in animated conversation. Disturbed by the discussion, the woman gets up and moves toward the large window at the front of the r oom. Immediately upon being framed by the window, she is shot. Analysis of the woman’s movement from the couch to the window allows the film student to begin to understand the director’s control over figures in a film. Here, it is not by accident or by some independent motive of the character that this particular movement takes pl ace. In part, it is the director’s knowledge of the significance of the woman’s being shot in stead of the man which causes him to direct the woman to the window rather than, say, to the kitchen. Likewise, the man’s witnessing of the woman’s murder reinforces the importance of her movement to the window (the place providing opportunity for her murder). The director’s control over movement gives him more artistic power as he deals with the narrative demands of the script. Figure expression, as an element of mise-en-scene, al so provides artistic power to the director. Because the actors in a film are used as vehicles of expression by the director, the viewer must keep in mind that an actor’s performance should be examined in terms of how well it complements the film’s message as opposed to how well the actor’s performance supports the viewer’s conception of behavior in the real world. The viewer’s preconceived notions of “realistic” behavior should not interfere with his understanding of the appropriateness of the expressions of the actors. The appropriateness of an actor’s expressions ought to be judged according to that particular actor’s behavior within a particular environment. A character’s pattern of behavior can alert the viewer to the appropriateness or inappropriateness of an actor’s expression. If a character exhibits an expression which is opposed to the expressions he has been displaying throughout the film, the viewer might be led to believe that the actor is demonstrating inappropriate behavior. A scene like the following shows the importance of appropriate behavior: A heroine in a film demonstrates that she is always under complete emotional control in the face of crisis. Near the end of the film, the character is thrust into a situation less critical to her emotional well-being than several earlier events. In the midst of this trying but not critical situation, the ac tress displays an exaggerated facial expression. The viewer may feel as he watches that the actress’s expression is not consistent with the previously exhibited pattern of behavior. He is likely to conclude that the expression of the actress is inappropriate to the character she is portraying in the film. However, if the heroine appears from the beginning of the film as someone who is emotionally unstable, an extreme facial expression might be accepted by the viewer as appropriate even if that behavior had not been exhibited by the character earlier in the film. The expression of the actress could be considered generally inappropriate. Within the context of the character’s pattern of behavior, however, this extreme expression is appropriate to the heroin e’s emotional makeup. The viewer should always remember that the appropriateness or inappropriateness of a character’s behavior should be judged in relation to th e setting of the particular scene and the overall make-up of that particular character. Lighting To the film director, lighting is more than illumination that enables the viewer to see the action. Lighting, like the other aspects of mise-en-scene, is a tool used by the



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director to convey special meaning about a character or the narrative to the viewer. Lighting can help define the setting of a scene or accentuate the behavior of the figures in the film. The quality of lighting in a scene can be achieved by manipulating the quality and the direction of the light. When the director manipulates the quality of the lighting, or the relative intensity of the illumination, he can control the impact of the setting or the figure behavior has on the viewer [and can emphasize the intended central focus of the frame]. By using lighting that creates clearly defined shadows, the director can suggest a strong division be tween two spatial areas of a scene. For example, if the setting contains a definite area of shadow, it would be easy for the director to create a feeling of suspense by ha ving one of the figures in the film move into the shadows. In this scene not only does the mood of the setting become intense, but the behavior of the figure may seem exaggerated. Whereas hard lighting creates crisp edges around images and between spa tial areas of the scene, soft lighting produces a diffused illumination. If the director is concerned with emphasizing a source of confusion for a character or the lack of clarity of a particular element of the narrative, he will usually us e lighting that tends to blur contours and textures of objects in order to stress the lack of contrast between two extreme locations or postures. Take, for example, two characters, one good and one evil, portrayed in a scene in which the director has chosen to use soft lighting. In this scen e the director can send the viewer two messages about the relationship between good and evil in his film. By eliminating the crisp edges of shadow and light, the director may suggest that distinguishing between good and evil people is not an easy task in the view of the world presented in his film. Likewise, the director may suggest that situations as well as people may be difficult or impossible to an alyze in terms of all good or all evil. At any rate, it is important to keep in mind tha t hard and soft are relative terms which designate two extreme conditions of illumination. Actually, most lighting arrangements are variations of hard or soft lighting. When the director concerns himself with the path of light from the source to the object illuminated, he controls the directio n of the light. A carefully controlled direction of lighting allows the di rector to set the mood of a particular scene. There are five primary types of directional lighting: frontal lighting, side lighting, back lighting, under lighting, and top lighting. Frontal lighting is used when the director wants to eliminate shadows from a scene. It is especially useful when a scen e takes place outdoors at high noon or in an indoor location such as a business office. Side lighting is often used when the features of a character or an object play an important role in the development of the narrative. Sidelight causes the features of an object to cast sharp shadows. A director might use sidelight to emphasize the shadows cast by the lips of a character who has been revealed as a habitual liar. Back lighting illuminates only the edges of an object. This type of lighting is used when a silhouette effect is desired. For instance, if a director wishes to conceal the identity of a particular character in a scene, he backlights the figure to allow the viewer to see only the outline of the character’s body. Under lighting comes from below the object and tends to distort the features and shape of the object. If the viewer is show n a haunted house in a film, the director probably used under lighting to create the eerie image used in the scene. Top lighting, lighting which shines from directly above the object, can be used to direct the viewer’s attention toward an area above the objects in the scene. Take, for example, a character in a film who is lost in the desert . The director could use toplight in the film to stress the deadly effects of the blazing sun on this hopelessly lost individual. Though any of the directional types of lighting can be used alone in a scene, two or more types may be used in combination to create a special effect. Summary



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Though each element of mise-en-scen e is combined with other elements to create a specific atmosphere in every film , studying elements of mise-en-scene separately helps the viewer understand the function of each particular element. By focusing on the setting of a scene, the viewer can identify the exact importance of the time and place that he is shown so that he can think about the scene in relationship to the proper historical or cultural context. Costume, like setting, helps the viewer understand the action of a scene in relation to a larger context. It also allows the director to develop important character traits in his characters. Concentrating on the behavior of the figures helps the viewer to understand the personal motivation of the individual characters. Careful observation of figure behavior also allows the viewer to understand the role of each character in relation to the development of the story. When attempting to understand the mood of a scene, the viewer should always remember to pay close attention to the lighting. Lighting can intensify or subdue a setting, but regardless of its effect lighting is one more tool that the director uses to complete his cinematic statement. Therefore, lighting should be a vital concern to the student of film. By studying each of these elements as separate entities the student of film can begin to understand the important r ole that the manipulation of the elements of mise-en-scene plays within the entire context of film. And, by studying these elements as separate entities, the student of film can begin to appreciate the artistry required in film making. FRAMING Onscreen / Offscreen Space (an image that is contained within the borders of the screen/a suggested image that is left to be imagined by the viewer—what the listener (not visually projected) is doing while the speaker (projected onto the screen) in a telephone conversation talks into the phone. The image created when the sound of a crash is heard but the crash is not seen. Angle Relationship of the camera to the subject High =weak, subordinated, controlled (when not used for maximum wideness—to show mass or crowd size instead of weakness) Low =strong, subordinating, controlling Flat =value neutral; neither controlling nor controlled; factual, etc relative value when juxtaposed to other angles: stronger than high angle and weaker than low angle Tilt angle =when the camera angle is other than 90 degrees may suggest character, action, conclusions, suspicions are not “right” (as in right angled); perhaps not being presented accurately, or intended as stated within the context of the action, etc Framing—Shot Distances [ the closer the subject, the more potent, powerful, able to create change; the farther away, the less potent, the weaker, less able to create change] 1. Extreme long shot:



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A panoramic view of an exterior location, photographed from a great distance, often as far as a quarter mile away (Giannetti 509)–sometimes an establishing shot that sets context for later closer shots. 2. Long shot: A broad view of objects or action of principle interest. This shot allows general recognition of the subject at the expense of detail. Also used as an establishing shot. Reveals the human full human figure, though more in the middle- than fore- or background. (View from audience to proscenium arch) 3. Medium shot: A relatively close shot, usually revealing the human figure from head to knees, feet to navel (bellybutton). 4. Medium Close up: A relatively close shot, usually revealing the human from head to waist, feet to thighs, or knees to navel (bellybutton). 5. Close up: Reveals head and shoulder of human figure in central focus of frame. 6. Extreme Close up: Reveals a body part: a face, an eye, a pupil; a finger, a fingernail, etc. REINVENTING FILM ANALYSIS

Film Studies Analysis

Basic Terms

Shot. One continuous piece of film footage, ending with an edit, or cut to the next shot.

Sequence. A series of shots combined to represent a discrete set of actions or

a coherent narrative section. Scene. Similar to a “sequence,” a series of shots combined to represent a set

of actions happening within the same time and place. Motif. Anything repeated more than a few times in a film. A motif can be visual

(an image or cinematic technique), sonic (a sound or piece of music), or rhetorical (a word, phrase, metaphor, etc.).

Categories of Analysis

Cinematography. A term used to define the ways in which the camera captures the shot. Under the heading of cinematography, we speak of such things as



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the different lenses used by the camera, how the camera frames the shot, the angle of the camera relative to the action, and how the camera moves. Editing. Refers to how the individual shots are spliced together. The norm here is “continuity editing,” in whic h shots are put together to achieve narrative continuity — to make the action appear to flow logically and naturally from shot to shot. Mise - en– scène. Literally meaning “put into the scene,” this term refers to the arrangement of actors and objects in front of the camera. Setting, lighting, costuming, and acting are aspects of mise - en - scène. Sound. Refers to both the sounds that come from the scene itself, such as spoken dialogue or ambient noise, and the sounds that are imposed on the scene, such as voice - overs or musical scores.

Cinematography

Framing Extreme Long Shot. A shot of a character’s full figure at a great distance, including a panoramic view of the surroundings. Long Shot. A shot that includes a character’s full figure as well as the surroundings. Medium Shot. A shot that captures a figure from the waist up. Close –Up. The frame is filled primarily by the subject’ s face, including little to no background. Extreme Close – Up. A shot filled entirely by a small part of the subject’s body. Camera Angle High Angle. The camera looks down at the subject. Low Angle. The camera looks up at the subject. Canted Angle. A shot in which the framing is tipped, or no longer horizontal. Mobile Framing Pan. The camera scans horizontally from a fixed axis. Tilt. The camera scans vertically from a fixed axis. Track. The camera follows the action, travelling along a parallel path to capture the movement.



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Lenses and Focus Long. Lens Also called a “telephoto lens,” this long focal length lens is used to capture subjects at a distance. It foreshortens the distance between background and foreground. Wide Lens. A short focal length lens that emphasizes the distance between foreground and background. Deep Focus. Objects in the background and foreground are equally in focus. Shallow Focus. Only objects in one plane are in focus, while others are out of focus. Rack Focus. A shift from one plane of focus to another within a shot. Zoom. Changes focal length to create motion towards or away from the subject. Process Shots Superimposition. Images are overlaid within the frame. Digital. Animation Images created or modified by computer software. Title Cards. Text from outside the world of the narrative appearing on screen to supply information to the audience. Sign Text. Text that appears on screen from within the world of the narrative.

Editing

Basic Terms Continuity Editing. The process of putting shots together to create the impression of continuous narrative time and/or visually coherent space. Graphic and Temporal Relations 180 Degree Rule. A principle of continuity editing dictating that the camera remain on one side of the action to maintain the viewer’s perspective and understanding of the left - right spatial relationship between characters. Shot/ Reverse Shot. Alternating shots between subjects, usually in conversation, viewed from different camera positions. Crosscutting. Transitioning back and forth between two or more action sequences taking place simultaneously.



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Eyeline Match. A cut between a shot of a person looking towards an object and a s hot of the object being viewed. Match on Action. A cut that transitions between two different views of the same action so that the action appears continuous from one shot to the next. Graphic match. A cut that relates consecutive shots through repeated compositional features (shapes, colors, patterns, etc.). Jump Cut. A cut that distorts continuity, skip ping ahead in time or space.

Mise - en - sc è ne

Basic Terms Frame. The spatial parameters of a shot within which the scene is composed. Composition. The arrangement of subjects, props, and environments within a given shot. Setting Period Piece. A film set in a distinctive past era, costumed and decorated in the particular style of the period. Level of Realism. The degree to which the world of the film resembles the audience’s familiar reality. Lighting Three Point Lighting. Standard lighting using three light sources: a key light to provide the main source of illumination along with a fill light from another side an d back light from behind. High Key. Nearly all parts of the image are brightly illuminated. Low Key. Extreme contrast between light and dark within an image. Chiaroscuro. The use of strong contrasts between light and dark to create a sense of visual drama or a sense of volume and dimension to the space and the figures within it. Acting Level of Realism. The degree to which the actors’ dramatic choices resemble real - life human behavior and interaction. Acting Styles. Performance conventions that change with time period and type of film.



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Sound

Basic Terms Diegetic Sound. Sound produced in the world of the film, taking place within the narrative (dialogue, sound effects, etc.). Extra - Diegetic Sound. Sound originating from outside the narrative, not produced in the on - screen setting (voice - overs, soundtrack, etc.). Sound Transition Sound Bridge. A transition assisted by a continuous sound from one scene to the next, often to introduce a new scene before it appears visually. Edit on Sound. A cut made on a sound cue.

A Guide for Analyzing Film

This lesson contains information on cinematic techniques, cinematography, film theory, as well as a list of additional resources, both online and in our libraries. Cinematic techniques-general concepts From: http://www.reference.com/browse/wiki/Cinematic_techniques Cinematic techniques are methods employed by film makers to communicate meaning, entertain, and to produce a particular emotional or psychological response in an audience. Cinematographic techniques such as the choice of shot, and camera movement, can greatly influence the structure and meaning of a film. Distance of shot The use of different shots can influence the meaning which an audience will interpret:

• Close-up: May be used to show tension; • Extreme close-up: Focuses on a single facial feature, such as lips; • Medium shot • Long shot • Establishing shot: Mainly used at a new location to give the audience a

sense of locality.

Camera angles These are used extensively to communicate meaning and emotion about characters:

• Low angle shot: Looking up at a character or object, often to instill fear or awe in the audience;

• Straight angle shot • High angle shot: Looking down on a character, often to show vulnerability

or weakness;



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• Canted or Oblique: The camera is tilted to show the scene at an angle. This is used extensively in the horror and science fiction genre. The audience will often not consciously realize the change.

Mise en scene "Mise en scene" refers to what is colloquially known as "the Set", but is applied more generally to refer to everything that is presented before the camera. With various techniques, film makers can use the Mise En Scene to produce intended effects. Other aspects of Mise en Scene include:

• Costume • Use of motif, and associated meaning; • Use of color, and its emotional response; • Props

Movement and expression Movement can be used extensively by film makers to make meaning. It is how a scene is put together to produce an image. A famous example of this, which uses "dance" extensively to communicate meaning and emotion, is the film, West Side Story.



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Sound Sound is used extensively in filmmaking to enhance presentation, and is distinguished into diegetic ("actual sound"), and non-diegetic sound. Diegetic sound: It is any sound where the source is visible on the screen, or is implied to be present by the action of the film:

• Voices of characters; • Sounds made by objects in the story; and • Music, represented as coming from instruments in the story space. • Music coming from reproduction devices such as record players, radios,

tape players etc. Non-diegetic sound: Also called "commentary sound", it is sound which is represented as coming from a source outside the story space, ie. its source is neither visible on the screen, nor has been implied to be present in the action:

• Narrator's commentary; • Voice of God; • Sound effect which is added for dramatic effect; • Mood music; and • Film Score Non-diegetic sound plays a big role in creating atmosphere and mood

within a film. Sound effects In motion picture and television production, a sound effect is a sound recorded and presented to make a specific storytelling or creative poin t, without the use of dialogue or music. The term often refers to a process, applied to a recording, without necessarily re ferring to the recording itself. In professional motion picture and television production, the segregations between recordings of dialogue, music, and sound effects can be quite distinct, and it is important to understand that in such contexts, dialogue and music recordings are never referred to as sound effects, though the processes applied to them, such as reverberation or flanging, often are.



https://writingcenter.unc.edu/tips-and-tools/film

https://writingcenter.unc.edu/tips-and-tools/film



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Let’s Check Watch the Film “Avatar” directed by James Cameron. Make an Film Analysis diagram of the movie, which can be grouped under the three different aspects of film analysis as shown below.

Let’s Analyze Answer the following questions. 1. What is the essence of film in the lives of the students? _______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ 2. What is the best film you have watch? Why? ______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________



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In a Nutshell Knowledge Inventory. List down all the things your learned from this unit. 1. _________________________________________________________________________________________________________________________________________________________________________________________________________ 2. _________________________________________________________________________________________________________________________________________________________________________________________________________ 3. _________________________________________________________________________________________________________________________________________________________________________________________________________ 4. _________________________________________________________________________________________________________________________________________________________________________________________________________ 5. _________________________________________________________________________________________________________________________________________________________________________________________________________ Question & Answer (Q&A) You are free to list down all the emerging questions or issues in the provided spaces below. These questions or concerns may also be raised in the LMS or other modes. You may answer these questions on your own after clarification. The Q&A portion helps in the review of concepts and essential knowledge.

Questions Answers

1.

2.

3.

4.



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5.

Keywords Index

• Film Analysis • Elements of Film • Movies

Big Picture D

Week 6: Unit Learning Outcomes (ULO): At the end of the unit, you are expected to: a. Critique movies, short films, documentaries and etc based on Realism and

Formalism philosophy.

Matealnaguage

Please proceed directly to the Essential Knowledge part for the most essential terms are also discussed in the said section.

Essential Knowledge REALISM AND FORMALISM Even before 1900, movies began to develop in two major directions: the realistic and the formalistic. In the mid‐1890s in France, the Lumière brothers delighted audiences with their short movies dealing with everyday occurrences. Such films as The Arrival of a Train fascinated viewers precisely because they seemed to capture the flux and spontaneity of events as they were viewed in real life. At about the same time, Georges Méliès (pronounced mel‐yez) was creating a number of fantasy films that emphasized purely imagined events. Such movies as A Trip to the Moon were typical mixtures of whimsical narrative and trick photography. In many respects, the Lumières can be regarded as the founders of the realist tradition of cinema, and Méliès of the formalist tradition. Realism and formalism are general rather than absolute terms. When used to suggest a tendency toward either polarity, such labels can be helpful, but in the end they’re just labels. Few films are exclusively formalist in style, and fewer yet are completely realist. There is also an important difference between realism and reality, although this distinction is often forgot‐ ten. Realism is a particular style, whereas physical reality is the source of all the raw materials of lm, both realistic and formalistic. Virtually all movie directors go to the photographable world for their subject matter, but what they do with this material—how they shape and manipulate it—is what determines their stylistic emphasis. Generally speaking, realisticfilms attempt to reproduce the surface of reality with a mini‐ mum of distortion. In photographing objects and events, the filmmaker

Big Picture in Focus: ULOa. Critique movies, short films, documentaries and etc. based on Realism and Formalism Philosophy.



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tries to suggest the richness of life itself. Both realist and formalist lm directors must select (and hence, emphasize) certain details from the chaotic sprawl of reality. But the element of selectivity in realistic films is less obvious. Realists, in short, try to preserve the illusion that their lm world is unmanipulated, an objective mirror of the actual world. Formalists, on the other hand, make no such pretense. They deliberately stylize and distort their raw materials so that no one would mistake a manipulated image of an object or event for the real thing. The stylization calls attention to itself: It’s part of the show. We rarely notice the style in a realistic movie because the artist tends to be self‐effacing, invisible. Such filmmakers are more concerned with what’sbeing shown rather than how it’s manipulated. The camera is used conservatively. It’s essentially a recording mechanism that reproduces the surface of tangible objects with as little commentary as possible. Some realists aim for a rough look in their images, one that doesn’t prettify the materials with a self‐conscious beauty of form. “If it’s too pretty, it’s false,” is an implicit assumption. A high premium is placed on simplicity, spontaneity, and directness. This is not to suggest that these movies lack artistry, however, for at its best, the realistic cinema specializes in art that conceals its artistry. Formalist movies are stylistically flamboyant. Their directors are concerned with expressing their subjective experience of reality; not how other people might see it. Formalists are often referred to as expressionists, because their self‐expression is at least as important as the subject matter itself. Expressionists are often concerned with spiritual and psychological truths, which they feel can be conveyed best by distorting the surface of the material world. The camera is used as a method of commenting on the subject matter, a way of emphasizing its essential rather than its objective nature. Formalist movies have a high degree of manipulation, a stylization of reality. Most realists would claim that their major concern is with content rather than form or technique. The subject matter is always supreme, and anything that distracts from the content is viewed with suspicion. In its most extreme form, the realistic cinema tends toward documentary, with its emphasis on photographing actual events and people. The formalist cinema, on the other hand, tends to emphasize technique and expressiveness. The most extreme example of this style of filmmaking is found in the avant-garde cinema. Some of these movies are totally abstract; pure forms (that is, nonrepresentational colors, lines, and shapes)

Realism and Formalism

Critics and theorists have championed lm as the most realistic of all the arts in capturing how an experience actually looks and sounds, like this thrilling re-creation of a ferocious battle at sea during the Napoleonic Wars. A stage director would have to suggest the battle symbolically, with stylized lighting and off-stage sound effects. A novelist would have to re-create the event with words, a painter with pigments brush stroked onto a canvas. But a film director can create the event with much greater credibility by plunging the camera (a proxy for us) in the middle of the most terrifying ordeals without actually putting us in harm’s way. In short, lm realism is more like “being there” than any other artistic medium or any other style of presentation. Audiences can experience the thrills without facing any of the dangers. As early as 1910, the great Russian novelist Leo Tolstoy realized that this edging new art form would surpass the magnificent achievements of nineteenth-century literary realism: “This little clinking contraption with the revolving handle will make a revolution in our life—in the life of writers. It is a direct attack on the old methods of literary art. This swift change of scene, this blending of emotion and experience—it is much better than the heavy, long-drawn-out kind of writing to which we are accustomed. It



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is closer to life. “Gold Diggers of 1933 presents us with another type of experience entirely. The choreographies of Busby Berkeley are triumphs of artifice, far removed from the real world. Depression-weary audiences flocked to movies like this precisely to get away from everyday reality. They wanted magic and enchantment, not reminders of their real-life problems. Berkeley’s style was the most formalized of all choreographers. He liberated the camera from the narrowconfines of the proscenium arch, soaring overhead,even swirling among the dancers, and juxtaposing shotsfrom a variety of vantage points throughout the musicalnumbers. He often photographed his dancers fromunusual angles, like this bird’s-eye shot. Sometimeshe didn’t even bother using dancers at all, preferring auniform contingent of good-looking young women whoare used primarily as semiabstract visual units, like bitsof glass in a shifting kaleidoscope of formal patterns.Audiences were enchanted. Most fiction films fall somewhere between these two extremes, in a mode critics refer to as classical cinema. Even the terms form and content aren’t as clear‐cut as they may sometimes seem. As the lm‐ maker and author Vladimir Nilsen pointed out: “A photograph is by no means a complete and whole reflection of reality: the photographic picture represents only one or another selection from the sum of physical attributes of the object photographed.” The form of a shot—the way in which a subject is photographed—is its true content, not necessarily what the subject is perceived to be in reality. The communications theorist Marshall McLuhan pointed out that the content of one medium is actually another medium. For example, a photograph (visual image) depicting a man eating an apple (taste) involves two different mediums: Each communicates information—content—in a different way. A verbal description of the photograph of the man eating the apple would involve yet another medium (language), which communicates information in yet another manner. In each case, the precise information is determined by the medium, although superficially all three have the same content. The great French critic André Bazin noted, “One way of understanding better what a lm is trying to say is to know how it is saying it.” The American critic Herman G. Weinberg ex‐pressed the matter succinctly: “The way a story is told is part of that story. You can tell the same story badly or well; you can also tell it well enough or magnificently. It depends on who is telling the story.” Realism and realistic are much overtaxed terms, both in life and in movies. We use these terms to express so many different ideas. For example, people often praise the “realism” of the boxing matches in Raging Bull. What they really mean is that these scenes are powerful, intense, and vivid. These traits owe very little to realism as a style. In fact, the boxing matches are extremely stylized. The images are often photographed in dreamy slow motion, with lyrical crane shots, weird accompanying sound effects (like hissing sounds and jungle screams), staccatoeditinginboththeimagesandthesound.True,thesubjectmatterisbasedonactuallife— the brief boxing career of the American middleweight champion of the 1940s, Jake La Motta. But the stylistic treatment of these biographical materials is



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extravagantly subjective. At the opposite extreme, the special effects in Constantine are so uncannily realistic that we would swear they were real if we didn’t know better. Form and content are best used as relative terms. They are useful concepts for temporarily isolating specific aspects of a movie for the purposes of closer examination. Such a separation is artificial, of course, yet this technique can yield more detailed insights into the work of art as a whole.

Film Theory

Film theory debates the essence of the cinema and provides conceptual frameworks for understanding film's relationship to reality, the other arts, individual viewers, and society at large. Like traditional literature, critical theories also apply to films. He re are some theories specifically built around film, and discussions of traditional ones as they relate to film. Some information here is from: <http://www.reference.com/browse/wiki /Film theory> and the rest is from A Short Guide to Writing about Film, by Timothy Corrigan. Please feel free to investigate on your own. Historical Approaches The historical approach involves investigating film s according to their place within a historical context and in light of historic al developments. Such an approach might explore the following:

• Historical relationships between films themselves, as when a writer compares and contrasts the use of sets in a film from the thirties with their use in a film from the seventies.

• The relationship of movies to their reception, demonstrated in an essay that explores how television in the fifties changed the expectations of movie audiences at that time.

National Cinemas The presumption behind this approach is that film cultures evolve with a certain amount of individuality and that to understand a film we must locate it first in the political and aesthetic climate of the nation and time. According to this approach, ways of seeing the world and ways of portraying the world in the movies differ for each country and culture, and it is necessary to understand the cultural conditions that surround a movie if we are to understand what it is about. When discussing a movie or group of movies from a culture, a writer might begin by questioning, with an open mind, what exactly distinguishes these films from the ones with which he or she is familiar. The following questions can be employed when generating ideas for an essay using this theory:

• How do the meanings of these films change when they are seen outside their culture?

• What similarities do films from this culture have that distinguish them from your culture? What does that say about cultural priorities, goals, or biases?

Auteur theory Auteur criticism is one of the most widely accepted and often unconsciously practiced film criticisms today: it identifies and examines a movie by associating it with



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a director or occasionally with another dominant figure, such as a star (say, Clint Eastwood). Auteur criticism,examines the director’s or dominant figure’s works l ooking for commonalities or underlying themes, approaches, or ideas. An essay using Auteur theory might focus on:

• How the auteur’s works have changed over time • How the auteur’s break from the mainstream norm of the time he or she

is working in represents something • Are their special marks of this filmmaker in each of the films? How does

that affect the works individually and as a whole? Formalist Film theory This type of analysis looks at the formal structures/elements of film, such as lighting, camera angles, mise-en-scene, are used to create a specific tone, style, effect, or message. Strictly speaking, formalist criticism does not emphasize matters outside the film proper.

• A wrier may carefully look for stylistic or form al repetitions in the editing or lighting of the movie and may then describe how they work in relation to the rest of the film.

• Another option is to choose a visually complex scene or sequence and describe how it works and why it is important to the movie.

Ideological Film Theory In one sense, ideology is a subtler and expansive way of saying politics, at least if we think of politics as the ideas or beliefs on which we base our lives and our visions of the world. In critical writing attuned to ideology, any cultural product or creation carries, implicitly or explicitly, ideas about how the world is or should be seen, and how men and women should see each other in it: the clothes you wear express social values just as the films you watch communicate social values. Whether we agree or disagree with the values expressed in a particular movie, the ideological critic maintains that these movies are never innocent visions of the world and that the social and personal values that seems so natural in them need to be analyzed. The following six approaches are the principal ideological schools of film criticism today. Each attends not only to the films themselves, but also to the ways those moves are made and understood by audiences.

• Studies of Hollywood Hegemony (control/power) focus on how classical film formulas dominate and sometimes distort ways of seeing the world.

• Feminist studies investigate how wo men have been both negatively and positively represented through the movies. We can extend this to gender studies and look at the way in which men have been treated or represented as well.

• Race studies concentrate on the depictions of different races in films, such as Latinos, African Americans, and Asian Americans

• Class studies analyze the social and economic arrangements shown in movies to illustrate how social power is distributed in and through certain films.

• Post colonial studies examine moves within a global perspective, aiming to reveal the repression of or emergence of indigenous perspectives within formerly marginalized or colonized cultures (like India or Iran)

• Queer theory investigates how normative relations can be challenged or disrupted through films, especially through confrontations with heterosexual values.



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Analyzing and Writing about Film

• Google has a good links page to film theory and criticism http://directory.google.com/Top/Arts/Movies/Theory _and_Criticism/ • Google’s links to Online Journals: http://directory.google.com/Top/Arts/M ovies/Theory_and_Criticism/Journals/ • Yale’s film analysis guide: http://classes.yale.edu/film-analysis/ • Watching and writing about film:

http://faculty.roosevelt.edu/putnam/392/Film/1.htm • A Checklist for analyzing movies: http://www.kenney- mencher.com/a_checklist_for_analyzing_movies.htm • Dartmouth’s page on writing about film: http://www.dartmouth.edu/~writing/mate rials/student/humanities/film.shtml

Sample criticism/writings

• Good sample with visuals so that you can see how a film analysis is developed http://classes.yale.edu/film-analysis/ • A good sample critical article about Land of the Dead from the Film Journal http://www.thefilmjournal.com/issue13/landofthedead.html



https://fstoppers.com/education/realism-formalism-and-way-movies-should-be- created180632#:~:text=All%20film%20exists%20on%20a,films%20in%20whic h%20anything%20goes).

“An Introduction to Different Types of Art Painting Styles.” Google www. google.com.ph/amp/s/www.orangercarton.com/an-introduction-todifferent- types-of-painting-styles.amp/.

Boddy-Evans, Marion. "7 Major Painting Styles—From Realism to Abstract."

ThoughtCo, Feb. 11, 2020, thoughtco.com/art-styles-explained-realism-to-

abstract-2578625. “Four Basic Relationships of a Work of Art (Approaches).” Pinoy Sandbox, www.Pinoysandbox.com/midterm/four-basic-relationships-of-a-work-of-art- approaches/. Guillermo, Allice. “The Four Planes of Art Analysis.” 15 June 2018 http://asymptotik.net/artweb/.reading_the_image_3.html

https://fstoppers.com/education/realism-formalism-and-way-movies-should-be-%09created180632#:~:text=All%20film%20exists%20on%20a,films%20in%20whic h%20anything%20goes



http://www.pinoysandbox.com/midterm/four-basic-relationships-of-a-work-of-art-%09approaches/

http://www.pinoysandbox.com/midterm/four-basic-relationships-of-a-work-of-art-%09approaches/

http://asymptotik.net/artweb/.reading_the_image_3.html



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Jaime Gutierrez-Ang (2019). Likha- Sining: Art Appreciation for the 21st Century

Filipino University Student. Mindshapers Co., Inc.

Leano, R. &Agtani J.M. (2018). Art Appreciation for College Students. Mindshapers

Co., Inc.

Barker M. & Austin Tomas (2000). From Ants to Titanic: A Student Guide to Film

Analysis. Pluto Press. Retrieved from ProQuest

“Post-war & Contemporary Art.” Post-War & Contemporary Art/ Artnet Auctions, www.artnet.com/auctions/post-war-and-contemporary-art

Let’s Check

Choose a Film you like and make a Film Analysis based on the analysis guide below: a) Historical/Contextual Details: When and where was the film released? b) Do you think the film was created for a peculiar culture or society? For which culture or society was this film created? First Look a) (Before you watch…) What do you think the title means? What do you expect from the film because of it? b) (After watching…) How does the film start? How does this affect you as a viewer? Closer Look

http://www.artnet.com/auctions/post-war-



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a) Story/ Plot/ Theme Development: Briefly summaries the story. What is the opening scene/situation? How does the story develop? What happens at the end of the film? What are the three most important scenes in the film? Why? What is/are the main theme/s in the film? What scene constitutes the film's climax? How does this scene illustrate the main idea of the film? Does the film leave any disunities (loose ends) at the end? If so, what does it suggest? Why does the film conclude on this particular image? b) Setting (time and place): Where is the story set? When is the story set? Is the setting important for the development of the main theme /s? c) Characters and characterization (describing essential features): Who is/are the main character/s? How are the characters developed (through description or dialogue)? What are the characters like? What is their purpose in the film? What do they do/wear/say, etc. that establishes t his purpose? Are there secondary characters? Are they important? Why? d) (‘Cinematographic’) Language: How does the film use color or light/dark to suggest tone and mood in different scenes? Are there any striking uses of perspective (seeing through a character's eyes, camera angle /point of view, etc.)? How does this relate to the meaning of the scene? e) Mise - en - Scene: Are there any motifs (scenes, images, colors) that are repeated or have a special impact? When do they occur and what purpose do they serve? f) Sound/Soundtrack: Is sound or silence used to enhance the film? (i.e., create drama, heighten tension, disorient the viewer, aid characterization, foreshadowing, etc.) Connections Pick elements from the film that you find the most compelling (persuasive/interesting): - Do these remind you of other references (films/novels/other…)? - What could that linking mean? List your associations below



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Let’s Analyze FOLLOW UP/SPEAKING/WRITING Starting Your Analysis …. Using your notes from the previous pages, consider the following prompts as a start to your analysis: • How does this film relate to literary texts? Can you find similar features you can consider and analyze (story / plot / setting / time / place / characters / use of language / figures of speech……)? • How are they different/the same? • What is the director’s purpose? Is/are there any messages or peculiar themes in the film? • What are the main and secondary characters like? How are they created? What roles do the characters’ play? How do they relate to the message of the film? • Does the director use symbols in the film? What are they? What do they mean? • What is influencing the film (e.g. social /cultural ideologies, historical /social/cultural events, personal life)? • Is the director trying to do something new in the genre/time period? What is he or she trying to change? Give reason / Compare / Contrast: • Did you enjoy watching the film? What did you enjoy the most (choose a scene / character / message / peculiar aspect)? Explain…. • Have you ever seen any other films related to the same theme/s? • How does the film compare to other films of the same theme /s you know?

In a Nutshell Knowledge Inventory. List down all the things your learned from this unit. 1. _________________________________________________________________________________________________________________________________________________________________________________________________________ 2. _________________________________________________________________________________________________________________________________________________________________________________________________________ 3. _________________________________________________________________________________________________________________________________________________________________________________________________________



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4. _________________________________________________________________________________________________________________________________________________________________________________________________________ 5. _________________________________________________________________________________________________________________________________________________________________________________________________________


Questions Answers

1.

2.

3.

4.

5.

Keywords Index

• Formalism • Realism



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Appendices

Rubric on Photograph/ Painting Analysis

Criteria Outstanding Acceptable Poor Inaacurate

25 20 15 10

Objective Makes a complete and detailed description of the subject matter and/or elements seen in the photograph/ painting.

Makes a detailed description of most of the subject matter and/ or elements seen in the photograph/ painting.

Makes a detailed description of some of the subject matter and/ or elements seen in the photograph/ painting.

Descriptions are not detailed nor complete,

Knowledge Provides a complete summary of the situation and time period shown, and the people and objects that appear.

Provides a somewhat complete summary of the situation and time period shown, and the people and objects that appear.

Provides some summary about the situation and time period shown, and the people and objects that appear.

Summary is not detailed nor complete.

Interpretation Forms a reasonable hypothesis about what is viewed in the photograph/ painting and is able to support this with evidence from the photograph/ painting.

Forms a somewhat reasonable hypothesis about what is viewed in the photograph/ painting and is able to support this with some evidence from the photograph/ painting.

Relates how the photograph makes him/ her feel personally.

Finds it difficult to interpret the meaning of the photograph/ painting.

Further Research Finds detailed information about the time period and relates it to the photograph/ painting.

Finds some information about the time period and relates it to the photograph/ painting.

Finds the time period for the photograph.

Does not find any information about the photograph/ painting.



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Rubric on Film Analysis

Criteria Outstanding Acceptable Poor Inaccurate

25 20 15 10

Definition and Thesis/ Argument

Provides accurate definition/s to principle/s used in their own words AND provides an argument/thesis about the film.

Provides accurate definition/s to principle/s BUT lacks a strong argument/ thesis statement OR partially accurate definition/s (or not in own words) BUT strong argument/thesis statement.

Provides partially accurate definition/s AND lacks a strong thesis statement.

Provides entirely inaccurate definition/s AND/OR provides no evidence to asses performance.

Application of Principles to Film

Provides accurate examples from film AND articulates a strong justification for examples.

Provides accurate examples BUT provides weak justification for examples.

Provides accurate examples BUT provides NO justification.

Provides entirely inaccurate examples AND/OR provides to justification to assess performance.

Interpretation Forms a reasonable hypothesis about what is viewed in the film and is able to support this with evidence from the film.

Forms a somewhat reasonable hypothesis about what is viewed in the film and is able to support this with some evidence from the film.

Relates how the film makes him/ her feel personally.

Finds it difficult to interpret the meaning of the film.

Writing Mechanics and Guidelines

Uses well-formed sentences with no grammatical errors. 1 page, single-spaced & uses required paper heading.

Few grammatical errors. Doesn’t meet all of the required paper structure guidelines.

Fragmented sentences with frequent grammatical errors and none of the required paper structure guidelines met.

Errors prevent reader from understanding content of paper and none of the paper structure guidelines are met.



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Please be mindful of the schedules below to avoid future problems in complying with your requirements.

Activity Date Where to Submit

Big Picture A

Big Picture A: Let’s Check June 3, 2021 LMS

Big Picture A: Let’s Analyze June 3, 2021 LMS

Big Picture A: In a Nutshell June 7, 2021 LMS

PRELIM June 24, 2021 LMS

Big Picture B

Big Picture B: Let’s Check June 15, 2021 LMS

Big Picture B: Let’s Analyze June 17, 2021 LMS

Big Picture B: In a Nutshell June 17, 2021 LMS

Big Picture C

Big Picture C: Let’s Check June 22, 2021 LMS

Big Picture C: Let’s Analyze June 22, 2021 LMS

Big Picture C: In a Nutshell June 22, 2021 LMS

MIDTERM June 24, 2021 LMS

Big Picture D

Big Picture D: Let’s Check July 4, 2021 LMS

Big Picture D: Let’ Analyze July 4, 2021 LMS

Big Picture D: In a Nutshell July 4, 2021 LMS

Final Exam July 7-8, 2021 LMS

Please note that this schedule may change from time to time. It is advisable that you always keep in contact with your teacher for updates and always check your LMS or Group Chatrooms.

Online Code of Conduct

• All teachers/Course Coordinators and students are expected to abide by an honor code of conduct, and thus everyone and all are exhorted to exercise self-management and self-regulation.

• Faculty members are guided by utmost professional conduct as learning facilitators in holding DED conduct. Any breach and violation shall be dealt with properly under existing guidelines, specifically on social media conduct (OPM21.15) and personnel discipline (OPM 21.11).

• All students are likewise guided by professional conduct as learners in attending DED courses. Any breach and violation shall be dealt with properly under existing guidelines, specifically in Section 7 (Student Discipline) in the Student Handbook.

Course Schedule



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• Professional conduct refers to the embodiment and exercise of the University’s Core Values, specifically in the adherence to intellectual honesty and integrity; academic excellence by giving due diligence in virtual class participation in all lectures and activities, as well as fidelity in doing and submitting performance tasks and assignments; personal discipline in complying with all deadlines; and observance of data privacy.

• Plagiarism is a serious intellectual crime and shall be dealt with accordingly. The University shall institute monitoring mechanisms online to detect and penalize plagiarism.

• All borrowed materials uploaded by the teachers/Course Coordinators shall be properly acknowledged and cited; the teachers/Course Coordinators shall be professionally and personally responsible for all the materials uploaded in the online classes or published in SIM/SDL manuals.

• Teachers/Course Coordinators shall devote time to handle DED courses and shall honestly exercise due assessment of student performance.

• Teachers/Course Coordinators shall never engage in quarrels with students online. While contentions intellectual discussions are allowed, the teachers/Course Coordinators shall take the higher ground in facilitating and moderating these discussions. Foul, lewd, vulgar and discriminatory languages are absolutely prohibited.

• Students shall independently and honestly take examinations and do assignments, unless collaboration is clearly required or permitted. Students shall not resort to dishonesty to improve the result of their assessments (e.g. examinations, assignments).

• Students shall not allow anyone else to access their personal LMS account. Students shall not post or share their answers, assignment or examinations to others to further academic fraudulence online.

• By handling DED courses, teachers/Course Coordinators agree and abide by all the provisions of the Online Code of Conduct, as well as all the requirements and protocols in handling online courses.

• By enrolling in DED courses, students agree and abide by all the provisions of the Online Code of Conduct, as well as all the requirements and protocols in handling online courses.

Monitoring of OBD and DED

• The Deans, Asst. Deans, Discipline Chairs and Program Heads shall be responsible in monitoring the conduct of their respective DED classes through the LMS. The LMS monitoring protocols shall be followed, i.e. monitoring of the conduct of Teacher Activities (Views and Posts) with generated utilization graphs and data. Individual faculty PDF utilization reports shall be generated and consolidated by program and by department.

• The Academic Affairs and Academic Planning & Services shall monitor the conduct of LMS sessions. The Academic Vice Presidents and the Deans shall collaborate to conduct virtual CETA by randomly joining LMS classes to check and review online the status and interaction of the faculty and the students.

• For DED, the Deans and Program Heads shall come up with monitoring instruments, taking into consideration how the programs go about the conduct of



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DED classes. Consolidated reports shall be submitted to Academic Affairs forendorsement to the Chief Operating Officer.

Course prepared by: JOSE ELMER S. OFICIAR, PhD Course Facilitator/Faculty MATT C. ASTACA-AN Course Facilitator/Faculty Course reviewed by: ROSA MARIA T. PINEDA, EdD Language Discipline Head Approved by: GINA FE G. ISRAEL, EdD Dean of College

university of mindanao department of arts & sciences

Documents