Art Appreciation DB5

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Chapter 2.9 Film/Video and Digital Art

PART 2

MEDIA AND PROCESSES

Introduction

Of all the media chosen by artists, the moving image is one of the youngest and most widely used

Film

Video

Digital

PART 2

MEDIA AND PROCESSES

Chapter 2.9 Film/Video and Digital Art

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

The dominant process for making movies until very recently was film: flexible, celluloid, and light-sensitive

While films are made using a movie camera and viewed with a projector, videos are generally made with small, hand-held cameras

Video, in which images consist of pixels, was initially an analog technology, like film

More common today, however, is the use of digital video cameras

Often, moving images are recorded on film and transferred to a digital format for the purposes of editing and presentation

Today, films can be viewed on a variety of devices and screen sizes, and almost anywhere and at any time

Moving Images before Film

Zoetrope: antique toy that gives the illusion of movement

Theory of persistence of vision: separate images presented to the human eye at regular intervals appear as a continuous sequence

To make moving pictures, motion first had to be frozen in still images

PART 2

MEDIA AND PROCESSES

Chapter 2.9 Film/Video and Digital Art

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

A zoetrope contains a rotating cylinder with a sequence of images on the inside

By looking through the outer ring of the cylinder, which has slots cut into it, and spinning the zoetrope, the viewer gets the impression of a single image in continuous motion

Basis of modern film and video technique

A modern movie will show images at twenty-four frames per second; IMAX high-definition films can show forty-eight, to provide a heightened sense of reality

Zoetrope

2.9.1 Diagram of a zoetrope

PART 2

MEDIA AND PROCESSES

Chapter 2.9 Film/Video and Digital Art

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Laboratorio Paravicini, “Play Plates”

2.9.2 Costanza Paravicini/Laboratorio Paravicini,“Play Plates”, 2016. ceramic, diameter 9¾"

Laboratorio Paravicini, “Play Plates”

Illusion of movement created by stroboscopic motion

The designs on these plates use the concept of implied motion with sequential still images

Subjects include animals, acrobats, children, dancers, hunters, and demons in a vintage style

PART 2

MEDIA AND PROCESSES

Chapter 2.9 Film/Video and Digital Art

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Stroboscopic motion: effect created when we see two or more repeated images in quick succession in a such a way that they visually fuse together.

Portal Artwork: Phenakistoscope

1.5.5 Phenakistoscope, or “Magic Disk,” c. 1840. Wood and glass with 8 paper disks. Made in France

The persistence of vision and stroboscopic motion also be seen in the optical device called a phenakistoscope.

Artwork: Eadweard Muybridge, The Horse in Motion

2.9.3 Eadweard Muybridge, The Horse in Motion, June 18, 1878. Albumen print. Library of Congress, Washington, D.C.

Eadweard Muybridge, The Horse in Motion

To settle a wager, Muybridge photographed a horse running by using a line of twelve cameras

Proved that the human eye is not able to see that a galloping horse has all its legs off the ground at once (underneath its body)

PART 2

MEDIA AND PROCESSES

Chapter 2.9 Film/Video and Digital Art

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

English photographer Eadweard Muybridge (1830–1904) was paid about $42,000 to resolve the wager

Before then, people thought the legs of the horse were extended, like those of a rocking horse, when they were off the ground

Silent and Black-and-White Film

Earliest films were short clips

Documenting daily life

Black/white, silent

Shown in nickelodeons: small storefront movie theaters

By 1896, movies were shown all over Europe and the US

PART 2

MEDIA AND PROCESSES

Chapter 2.9 Film/Video and Digital Art

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Nickelodeons provided musical accompaniments with live piano and drums, and some provided lecturers to explain the action as the moving pictures, or movies, played

As movies grew into a business, they were shown in huge, ornate movie palaces that might also feature a pipe organ

Artwork: Georges Méliès, scene from A Trip to the Moon

2.9.4 Georges Méliès, scene from A Trip to the Moon (Le Voyage dans la Lune), 1902, 14 minutes, Star Film

Georges Méliès, scene from A Trip to the Moon

Méliès was a magician and filmmaker

In his most famous film, astronomers launch themselves from a cannon and crash into the moon’s right eye

Méliès was one of the first to use multiple settings, repeated scenes, and cuts

PART 2

MEDIA AND PROCESSES

Chapter 2.9 Film/Video and Digital Art

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Georges Méliès (1861–1938) began showing films as part of his theatrical magic show

His silent science-fiction and fantasy films were known for their trick effects and humor

Artwork: D. W. Griffith, Birth of a Nation

2.9.5 D. W. Griffith,

Birth of a Nation, 1915,

publicity poster

D. W. Griffith, Birth of a Nation

Hollywood’s first blockbuster film

Innovative editing techniques

Silent; tells an epic story with symbolism, gesture, and onscreen text

Now controversial; used by the Ku Klux Klan for recruitment

PART 2

MEDIA AND PROCESSES

Chapter 2.9 Film/Video and Digital Art

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

American filmmaker D. W. Griffith’s (1875–1948) silent film Birth of a Nation (1915) is important for the epic scale of its production, its stylistic and technical innovations, and its use of the film medium as a propaganda tool.

Artwork: Orson Welles, scene from Citizen Kane

2.9.6 Orson Welles, scene from Citizen Kane, 1941, 112 minutes, RKO Pictures

Orson Welles, scene from Citizen Kane

Revolutionary film techniques:

Fabricated newspaper headlines and flashbacks (now commonplace)

Dramatic lighting, innovative editing, natural sound, elaborate sets, moving camera shots, deep focus, low angles

PART 2

MEDIA AND PROCESSES

Chapter 2.9 Film/Video and Digital Art

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

American filmmaker, Orson Welles (1915–1985), wrote, directed, and starred in Citizen Kane (1941)

Box-office failure but hailed by critics as brilliant

Welles’s film tells the story of Charles Foster Kane, a character modeled on the real-life newspaper tycoon William Randolph Hearst

The movie questions the values of the American Dream and was controversial for its criticism of Hearst, a powerful public figure

Sound and Color

From the late 1920s, color film was promoted as a novelty to attract audiences

Before 1927, any sound was performed live in theaters

After that, dialog, background noise, and music were built into the film itself

PART 2

MEDIA AND PROCESSES

Chapter 2.9 Film/Video and Digital Art

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Victor Fleming, scene from The Wizard of Oz

2.9.7 Victor Fleming, scene from The Wizard of Oz, 1939, 101 minutes, Metro-Goldwyn-Mayer (MGM)

Victor Fleming, scene from The Wizard of Oz

One of the first popular films to use color

Brilliant colors of the Land of Oz transport us into a fantasy world far removed from Kansas

Color is prominent: ruby slippers, yellow-brick road to the Emerald City

PART 2

MEDIA AND PROCESSES

Chapter 2.9 Film/Video and Digital Art

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Donen and Kelly, still from Singin’ in the Rain

2.9.8 Stanley Donen and Gene Kelly, still from Singin’ in the Rain, 1952, 103 minutes, produced by Loew’s Incorporated, distributed by MGM

Donen and Kelly, still from Singin’ in the Rain

Donen and Kelly's movie tells the humorous story of a silent-film company transitioning to sound

Synchronizing sound with the actors’ lip movements was a challenge initially, as songs had to be recorded separately

PART 2

MEDIA AND PROCESSES

Chapter 2.9 Film/Video and Digital Art

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Musical: tells the story with dialog, song, and dance.

Artwork: Michel Hazanavicius, still from The Artist

2.9.9 Michel Hazanavicius, still from The Artist, 2011, 100 minutes, Studio 37

Michel Hazanavicius, still from The Artist

Hazanavicius's silent, black-and-white movie recalls the impact of sound on the film industry

Won an Oscar for Best Picture in 2011

Shows how vividly actors can communicate through gesture and expression

PART 2

MEDIA AND PROCESSES

Chapter 2.9 Film/Video and Digital Art

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

All of the technical details, including lenses, lighting, and camera moves, were calculated to match the look of original silent films of the 1920s and 1930s as closely as possible.

Animation and Special Effects

Animation: creates the illusion of movement

Still images are projected in sequence

Special effects can be created by using models, props, or makeup during filming, or with digital technology

PART 2

MEDIA AND PROCESSES

Chapter 2.9 Film/Video and Digital Art

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Animation

Video:

PART 2

MEDIA AND PROCESSES

Chapter 2.9 Film/Video and Digital Art

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Burton and Selick, set of Nightmare Before Christmas

2.9.10 Tim Burton (left) and director Henry Selick, set of The Nightmare Before Christmas, 1993

Burton and Selick, set of Nightmare Before Christmas

Stop-motion animation: figures are photographed in a pose, moved very slightly, photographed again

Based on a poem Tim Burton wrote

Like many animated films, this movie is more for adults than children

PART 2

MEDIA AND PROCESSES

Chapter 2.9 Film/Video and Digital Art

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Some of the earliest film animations were made using puppets or dolls

Created by US animator Tim Burton (b. 1958)

Story about characters from Halloweentown who almost wreck Christmas when Jack Skellington impersonates “Sandy Claws” and takes over the preparations for bringing peace on earth and goodwill to humanity

Artwork: Miyazaki with Wise, still from Spirited Away

2.9.11 Hayao Miyazaki with Kirk Wise (English version), still from Spirited Away, 2001, 125 minutes, Studio Ghibli

Miyazaki with Wise, still from Spirited Away

Miyazaki's film uses cel animation: the most common technique for animated films, which uses a sequence of drawings called cels

This 125-minute film requiring between 90,000 and 200,000 drawings (12–30 per second)

Influenced by Japanese mythology

PART 2

MEDIA AND PROCESSES

Chapter 2.9 Film/Video and Digital Art

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

For much of the twentieth century, the most common technique for making animated films was cel animation

An Oscar-winning film

Backgrounds and stationary sections were overlaid by the moving parts on transparent sheets, greatly reducing the number of images that had to be generated

For the most part it has been replaced by digital technology

Spirited Away tells the story of a ten-year-old girl named Chihiro who is unhappy about moving to a new town with her family

After she is introduced to a world filled with spirits from Japan’s mythology, she discovers that her parents have been transformed into pigs by a witch

She must go on a quest to conquer her fears in order to find the strength to bring her family back together

Writer and director, Hayao Miyazaki (b. 1941), personally created detailed storyboards, or series of drawings, to be used as the basis for the animations

Artwork: Jean-Pierre Jeunet, still from Amélie

2.9.12 Jean-Pierre Jeunet, still from Amélie (The Fabulous Destiny of Amélie Poulain), 2001, 122 minutes, Claudie Ossard Productions

Jean-Pierre Jeunet, still from Amélie

Animation and special effects help tell the story

Amélie’s heart beats out of her chest; in another scene, she melts into a puddle

Mixes fantasy and reality to reveal the magical qualities of ordinary life

PART 2

MEDIA AND PROCESSES

Chapter 2.9 Film/Video and Digital Art

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

French director Jean-Pierre Jeunet (b. 1953) tells the story of Amélie, a shy twenty-three-year-old waitress

Inanimate objects, such as Renoir’s Impressionist painting Luncheon of the Boating Party, almost take on the significance of characters

Artwork: The Lord of the Rings

2.9.13a Gollum from Peter Jackson’s The Lord of the Rings: The Return of the King, 2003. 201 minutes, New Line Cinema

2.9.13b Andy Serkis playing Gollum in The Lord of the Rings: The Two Towers, 2002

The Lord of the Rings

Combines live-action and computer-generated imagery (CGI)

Andy Serkis acted out the facial expressions, bodily movements, and voice of Gollum

Combined traditional acting, motion capture, and the skills of animators

PART 2

MEDIA AND PROCESSES

Chapter 2.9 Film/Video and Digital Art

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Directed by Peter Jackson (b. 1961), this adventure/fantasy film won 11 Oscars, including Best Picture and Best Visual Effects

Serkis acted out all of the scenes twice: once on set, which allowed him to interact directly with the other actors and greatly assisted the animators; and again on the performance-capture stage

The motion-capture process involved putting dots on Serkis’s face and body suit to track and record his movements with 25 cameras in order to register as much information as possible so the software could replicate the movements digitally

Serkis based the voice on the sounds and motions his cat made coughing up a furball

Film Genres

Genres are categories of artistic subject matter

Each has its own established conventions, plot lines, stock characters

Examples include: action, animation, crime, fantasy, historical, romance, horror, and science fiction

PART 2

MEDIA AND PROCESSES

Chapter 2.9 Film/Video and Digital Art

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Julie Taymor, still from Frida

2.9.14 Julie Taymor, still from Frida, 2002

Julie Taymor, still from Frida

Based on a biography of the artist Frida Kahlo written by art historian Hayden Herrera

A biopic: focuses on a person’s life, and adds elements to craft an effective narrative

Visually references Kahlo’s art in addition to telling her life story

PART 2

MEDIA AND PROCESSES

Chapter 2.9 Film/Video and Digital Art

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Directed by American Julie Taymor (b. 1952), the film tells the story of a psychiatrist, Dr. Caligari, and his servant Cesare, who can foretell the future

Hayden Herrera (b. 1940)

Biopic is part of the historical genre

Historical genre also includes historical dramas, which place more emphasis on portraying real-life events in believable ways

Biopics are based on actual people who are or were alive; historical dramas can be fictionalized or based on facts

Portal Artwork: Julie Taymor, still from Frida

4.9.18a Frida Kahlo, The Two Fridas, 1939. Oil on canvas, 5'8" x 5'8", Museo de Arte Moderna, Mexico City, Mexico

Frida Kahlo’s life influenced her art.

Artwork: Theodore Melfi, still from Hidden Figures

2.9.15 Theodore Melfi, still from Hidden Figures, 2016, 127 minutes, Fox 2000 Pictures

Theodore Melfi, still from Hidden Figures

Historical drama: this genre portrays real-life events in believable ways

Tells the true story of three African American “computers” at NASA, Langley in the 1960s

Based on the book of the same title by Margot Lee Shetterly

PART 2

MEDIA AND PROCESSES

Chapter 2.9 Film/Video and Digital Art

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Historical drama is part of the historical genre; historical dramas can be fictionalized or based on facts

Historical genre also includes biopics, which are based on actual people who are or were alive

“calculators” was the name given to mathematicians in the days when complicated calculations were done by hand

The women’s names are Katherine Goble Johnson, Dorothy Vaughan, and Mary Jackson

Their contributions to the US space program were overlooked in historical accounts due to racism and segregation during the Jim Crow era

Margot Lee Shetterly (b. 1969) grew up around black scientists and engineers who worked with her father at NASA but she never saw their stories being told.

During 2017 Oscars ceremony 98-year old Katherine Goble Johnson was recognized for her long overlooked accomplishments

Film as Art: Auteur Films

Auteur theory: films are works of art because they are the realization of a director’s creative vision

Controversial because movies are collaborative

Proponents focus on the artistic vision of the director (e.g. Jean-Luc Godard, Alfred Hitchcock, Woody Allen)

PART 2

MEDIA AND PROCESSES

Chapter 2.9 Film/Video and Digital Art

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

“Auteur” is French for “author”

Auteur theory is controversial because it does not acknowledge the creative contribution of actors, cinematographers, set and costume designers, and the many other people who help to make a film

Artwork: Wong Kar-wai, still from Chungking Express

2.9.16 Wong Kar-wai, Chungking Express, 1994. 102 minutes, Jet Tone Production

Wong Kar-Wai, still from Chungking Express

Tales of two Hong Kong police officers overlap; both involve transitioning romance

Wong’s work is characterized by complicated narratives

Highlights the fast pace and isolation of contemporary life

PART 2

MEDIA AND PROCESSES

Chapter 2.9 Film/Video and Digital Art

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

The distinctive vision of Chinese director Wong Kar-Wai (b. 1958) permeates Chungking Express

The suspenseful story of drug dealing in the first tale in some ways contrasts with the odd comedy of the second; in other ways, however, the two stories resonate poetically, each evoking the other in its depiction of lost love and longing

Film as Art: Experimental Films

This type of film is notable for their unusual content and idiosyncrasy, and are usually made in a low-budget format

Use of new technology and innovative approaches (dream sequences, fantastic imagery)

PART 2

MEDIA AND PROCESSES

Chapter 2.9 Film/Video and Digital Art

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

They are often the production of a single person or small group

Such films frequently do not have integrated sound, or use it in unnatural ways

Often autobiographical

Artwork: Maya Deren, still from Meshes of the Afternoon

2.9.17 Maya Deren, still from Meshes of the Afternoon, 1943, 14 minutes, 16mm black-and-white silent film

Maya Deren, still from Meshes of the Afternoon

Fourteen-minute film

Follows a woman’s experience of an afternoon

Time is circular; mimics a dream

Reflects a state of mind, like visual poetry

PART 2

MEDIA AND PROCESSES

Chapter 2.9 Film/Video and Digital Art

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

American dancer, choreographer, and filmmaker Maya Deren (1917–1961) wrote Meshes of the Afternoon (1943) and co-directed it with her husband, cinematographer Alexander Hammid

Each object in the film seems to have an unnamed symbolic significance, and it is impossible to separate actual occurrences from memories or fiction

Film as Art: Video

Often made for galleries or art events

Shown on television monitors or projected onto walls

May transform a space by creating an environment

Artistic experimentation

PART 2

MEDIA AND PROCESSES

Chapter 2.9 Film/Video and Digital Art

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Because high-quality video equipment is relatively inexpensive, artistic experimentation with video is widespread.

Video

Video:

PART 2

MEDIA AND PROCESSES

Chapter 2.9 Film/Video and Digital Art

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Artwork: Paik and Godfrey, still from Global Groove

2.9.18 Nam June Paik and John J. Godfrey, still from Global Groove, 1973, single-channel videotape, color with sound. Courtesy Electronic Arts Intermix (EAI), New York

Paik and Godfrey, still from Global Groove

Korean-American artist Nam June Paik was a pioneer of video art

Thirty-minute video recording (1973)

Combines clips from television (commercials, news footage) and musical performance

Foreshadows music video

PART 2

MEDIA AND PROCESSES

Chapter 2.9 Film/Video and Digital Art

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Korean-American artist Nam June Paik’s (1932–2006) Global Groove comments on the increasingly important role of media and technology in daily life.

Portal Artwork: Pipilotti Rist, Ever Is Over All

3.10.15 Pipilotti Rist, Ever Is Over All, 1997. Video installation with two monitors, dimensions variable. MoMA, New York

Some videos are projected to create visual connections as well as sensory experiences

The elements of Ever Is Over All juxtapose still life and narrative scenes with ambient music

Artwork: Bill Viola, Going Forth by Day

2.9.19a Bill Viola, Going Forth by Day, 2002. Installation view, video/sound installation, five-part projected image cycle

Artwork: Bill Viola, The Raft

2.9.19b Bill Viola, The Raft, May 2004. Video/sound installation, color,

High-definition video projection on wall in darkened space, screen size 13' × 7’3⅜"

Production for The Raft

2.9.20c Bill Viola (on the right) in production for The Raft, Downey Studios, Downey, California, 2004

Bill Viola: How Did Video Become Art?

“Video as art exists somewhere between the permanence of painting and the temporary existence of music”

“The digital image has become the common language of our time”

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Chapter 2.9 Film/Video and Digital Art

Perspectives on Art:

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

One of the world’s leading video artists

Viola has worked in video since the 1970s

Portal Artwork: Charles Csuri, Wondrous Spring

1.4.3 Charles Csuri,

Wondrous Spring, 1992. Computer image, 4' × 5'5"

In addition to interactivity, the technology used in computer images allows an unprecedented range of colors and visual effects.

Interactive Technology and Television

Digital technology allows artists to involve viewers as active participants

Viewer determines the appearance of the work or chooses different paths to follow

PART 2

MEDIA AND PROCESSES

Chapter 2.9 Film/Video and Digital Art

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

GIFs, developed in 1987 by engineer Steve Wilhite: files of both static and animated images compressed for quick transfer

GIFs are popular because they add a dynamic component to visual communication

Artwork: Playdead, still from Limbo

2.9.20 Playdead, still from Limbo, 2010

Playdead, still from Limbo

The video game industry rivals the film industry in revenue

Limbo: awards for innovative and striking artistic visuals

Features grayscale, silhouettes, and atmospheric perspective

PART 2

MEDIA AND PROCESSES

Chapter 2.9 Film/Video and Digital Art

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

2-D side scrolling game: gameplay is seen from a side-angle view with onscreen characters generally moving left to right and backgrounds made up of scrolling graphics

Silhouette: a portrait or figure represented in outline and filled in with solid color, usually black

Atmospheric perspective: clarity to create the illusion of depth.

Closer objects have warmer tones and clear outlines, while objects set further away are cooler and become hazy

Artwork: Benioff and Weiss, still from Game of Thrones

2.9.21 David Benioff and D.B. Weiss, still from Game of Thrones, 2011–present, HBO original television series

Benioff and Weiss, still from Game of Thrones

New genre of television series: broadcast on the Internet

HBO mini-series; episodes for an entire season released at once

Streaming format gives viewer control of the speed they want to watch the show

PART 2

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Chapter 2.9 Film/Video and Digital Art

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Based on series of novels called A Song of Ice and Fire by George R.R. Martin (b. 1948)

The show, originally released in 2011 has been consistently critically acclaimed and is HBO’s most-watched series ever

Seasons 7 and 8 are taken from material that is not in the novels

Chapter 2.9 Copyright Information

This concludes the PowerPoint slide set for Chapter 2.9

Gateways to Art: Understanding the Visual Arts

Third Edition

By Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

PowerPoints developed by CreativeMyndz Multimedia Studios

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Chapter 2.9 Film/Video and Digital Art

Picture Credits for Chapter 2.9

2.9.1 Ralph Larmann

2.9.2 Courtesy Laboratorio Paravicini

2.9.3 Library of Congress, Washington, D.C., Prints & Photographs Division, LC-USZ62-45683

2.9.4 Star Film Company

2.9.5 akg-images

2.9.6 RKO Radio Pictures/Ronald Grant Archive/Mary Evans

2.9.7 British Film Institute (BFI)

2.9.8 M.G.M./Album/akg-images

2.9.9 La Classe Americane/uFilm/France 3/The Kobal Collection

2.9.10 Album/akg-images

2.9.11 Disney Enterprises/Album/akg-images

2.9.12 British Film Institute (BFI)

2.9.13a New Line Cinema/The Kobal Collection

2.9.13b Album/akg-images

2.9.14 Handprint Entertainment/Lions Gate Film/Miramax Films/Ronald Grant Archive/Mary Evans

2.9.15 Fox 200 Pictures/Levantine Fils/Album/akg-images

2.9.17 British Film Institute (BFI)

2.9.18 Courtesy Electronic Arts Intermix (EAI), New York

2.9.21 HBO/Kobal/REX/Shutterstock

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PART 2

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Chapter 2.9 Film/Video and Digital Art