The problem of understanding the newest languages ​​of art - Aesthetics

The problem of understanding the newest languages ​​of art

The problem of understanding is the most acute in contemporary art. It is no accident that many authors speak not only with interest, but also with some alarm, about the endless polyphony of linguistic means of art, their stratification and intertwining, multi-level encodings of meaning, avoiding the tested conventional matrices of traditional creativity. The absence of universally significant symbols, the active appeal to the non-verbalized language of strictly authorial gestures, is the reason why today, indeed, the distancing of the autonomous world of the artist, writer, director and the inner world of the viewer is so dramatic.

Let us dwell on examples of a rapid modification of the language of modern cinema art - a popular and mass type of creativity. Modern film critics and critics give much space to the consideration of the so widespread reception today as a "pasty" - a method of parodying or borrowing and combining different styles in one work. This technique is typical for literature, painting, and theater. Pastish represents the familiar as an unfamiliar, actualizes the far removed from us historical and, in the end, shakes the established ideas about what a truly meaningful, full-fledged work should be. So, a whole range of innovations enriched modern cinema language Wim Wenders: this includes the inclusion of a video image in the movie as a repetition, as a counterpoint to the image; active use in non-cinema media - photos, mirrors, TV screens. Finally, it is borrowed in Japanese poetics footer frames & quot ;, which create parallelism of semantic series through the interspersing of seemingly random and empty panoramas, uninhabited landscapes. Such a productive reception in the 1930s. Jacques Cocteau called the "rhetoric of the screen". One can cite a myriad of tricks of experimental cinematography: this is the four-part screen of Mike Figgis; interactivity of cyber-films; experiments with circular cinema Greenaway, who demonstrated films in Bologna on the facades of the houses, framing Piazza Maggiore. All movie lovers know these experimental experiments well.

The panorama of all the innovations listed above can not fail to lead to the question: before us is the film-making machine that has burst open, celebrating the triumph of unthinkable transformations and metamorphoses of language, games with images, or it's "semantically working" receptions carefully selected by the directors? It is a pure invention, a desire to be thoughtlessly amazed by the boundless high tech options or - the effort to plunge into the unknown zones of a new world that opens up, the desire to express not quite clear states of consciousness of modern man?

Despite the fact that the raging gaming element of mass cinema has always been set for an immediate effect - stunning, shocking, frightening, admiring, in the movie that today makes the weather, the second installation still dominates: through innovative, unadapted methods to try to express the same unadapted behavior of a modern person, a prisoner of the most complex relations with society, politics, religion, family, sex, and perhaps, first of all, with himself. The stimulus of searching in art creation at all times was the realization of the same problem: the discrepancy between the linguistic abilities of art and the new existential experience of man. In this is the source of all artistic innovations, the source of all that at first frightened and disgusted, but then acted as a mirror in which a person recognized himself, the measure of distortion of his being in the conflict world.

Let's recall, for example, bright artistic experiences in different arts between the two world wars. It would seem that Khlebnikov, Bunuel, Dali, Mandelstam, Kleist sometimes have no conscious skill: they wake the new language with the power of their grins, reservations, grindings, inarticulate sounds, stretched bonds, sudden accelerations and slowdowns. And at the same time, it is precisely in this seeming deviation from existence that this technical virtuosity has been embodied in this indistinctness, in which, over time, you feel the depth that is co-natural with being itself, filling the voids in our knowledge of man.

Already disclose the diagnosis, the artist defeats the situation of chaos. If in the end he found an art form (albeit extremely complex, initially knocking down, ambiguous), then he feels himself the master of what is happening. The author can find the strength to laugh at the disturbing phenomenon and thereby gain an artistic victory. In this case, we can say that in the nature of creativity is an ineradicable aesthetic utopianism - to help people spiritually rise.

Modern film process can be tried through the prism of two concepts: picture-spectacle and contemplation picture. All of us are witnesses of how rich biography in the last century has the use of myths and archetypes in film stories. The formulaality of myth (and local mythology) has long been mastered as a winning technique for constructing the drama of a film that captures the spectacular structuring of its composition. The reigning genre here is melodrama (the mythology of the love triangle, the mythology of public duty and feeling, the relationship of fathers and children, etc.). The rules of this kind of game are instantly grasped by the viewer, who is well-versed in all the strings and junctions, justify his expectations, leave a catharsis aftertaste.

A different matter - a film-contemplation. There is inevitably a problem of sensitive sensitivity and art education: there is the task of subtracting complex allusions, historical associations and hints, complex forms of artistic mediation, which are not easily produced, but which bring real satisfaction to the viewer, the joy of discovery. Sometimes it takes a lot of viewing, but the reward is also great. To works of this kind are the films of S. Paradzhanov, A. Tarkovsky, the late Fellini tapes ("The Ship Swims", "Interview"). The difficulty of analyzing films that lie in the channel of the aesthetics of contemplation is associated with the need for the critic to show a certain flair, distinguishing unusual symbolism from the cinematographic means, the semantics of which is read from the most visual series.

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