Lesson plan with examples for media arts teachers.
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  Poetry & FilmExercising Moving Images By Martin Rumsby“Without even intending it, there is that little shiver o a moment in time !reserved in the crystal cabinet o the mind" # little shiver o eternal s!ace"  $hat%s hat I as loo'ing or"(#llen )insberg, *++#llen )insberg as a -Beat% !oet ho came to !rominence in the .nited /tates in the *+01s" /ocially engaged riters such as 2elson #lgren dismissed the Beats as being ade!t !ublicists and ty!ists" $his is normal or a conversation that has been going on around the orld or millennia"# conversation that is sometimes riendly, sometimes ractious" It is !art o the history o art and it unctions in various orms at all levels o all societies" It changes through di3erent ages andmedia" Film as art has been around or over a century and it introduced thin'ing about time, movement and sound into the visual arts" In 4en 4ye%s case it led him to come u! ith a notion o 'inetic scul!ture" 2e media technologies hel! us to modiy our !erce!tion o art as it evolves through orms o media here old and ne ideas 5nd orm in ne technologies" It’s Alright Ma (I’m Only Bleeding) Darkness at the break of noon Shadows even the silver spoon The hand-made blade The child’s balloon Eclipses both the sun and moon To understand you know too soon That there is no sense in trying 6Bob 7ylan i *  From The Journal of Albion Moonlight  May 2 The angel lay in a little thicket! "t had no need of love# there was nothing anywhere in the world could startle it $ we can lie here with the angel if we like# it couldn’t have hurt much when they slit its throat! The evening slowly turns to black stone and the hammer of %od chips at the sky& making stars! ' child stands on the road watching us# upon her forehead is the yellow brand of his plague summer! She waves to us and her hand& like a withered& white claw& falls to the ground# the (ngers unclench once& then rela) $ " stu* the hand into my pocket& and we hurry on! 6 8enneth Patchen ii   Bob 7ylan%s It’s Alright Ma came out in *+90" The Journal of  Albion Moonlight  , by 8enneth Patchen is rom *+:*" Ins!ired by /urrealism, Patchen as an im!ortant !recursor to both the Beat !oets and Bob 7ylan as visionary social commentators" #s ith the ;ohn Milton o Paradise Lost <*99=, in The Journal of Albion Moonlight Patchen asserts that the human heart is one o dar'ness, horror and evil" $he Beat Movement had a cinematic !recedent in >hristo!her Maclaine%s The End  iii    made in /an Francisco in *+0?" $his 5lm   held outlittle ho!e or the uture o humanity" Maclaine and Patchen both antici!ated the Beats hile Bob 7ylan !rovided a later echo in !o!ular music" /o the tradition !asses rom hand to mouth through succeeding generations" Ideas andthemes are restaged in di3erent media, either to heighten a !attern or address contem!orary issues" More recently, ra! and hi! ho! can be seen as rearticulating themes o alienation in terms o the identity !olitics o urban minorities" #rt is, i you li'e, a continuum" @  #rt ma'ing is about ex!eriencing and reor'ing lie and art" #n artist res!onds creatively to their ex!eriences, elaboratingu!on them until they s!ea' to something that can be recogniAed as a truth" #rtists bring things that may not be readily a!!arent to the ore, creating meaning and connecting audiences ith issues" Emotionally, it is best hen they or' rom the heart ith humility, sincerity and integrity" $hey should not be araid o ideas, nor o critically articulating those ideas" 2ot that this ill guarantee their success as an artist" uite oten Cust the o!!osite" But in the ider 5eld o lie it is better to be a good !erson than a good artist" View: Excerpt from The Sadness of the Post Intellectual Art Critic (199! on"ouTu#e$ Visuall% poetic se&uence from a little 'nown ew )ealand ps%chodrama #% *eor+e ,ose and ,ichard Adams $ “%It is at the movies that the only absolutely modern mystery is celebrated,% said #ndre Breton" It is a!!ro!riate that it as a surrealist ho so ell ex!ressed the curious combination o technology and meta!hysics that is cinemaD or modern science%s realiAation o a continuum rom the rational to the irrational, relates directly to the very nature o the 5lm6vieing !rocess"  $his entails a dar'ened theatre, greater o!enness to suggestion, the semi6hy!notic trance o the vieer, the suracing o dee!er desires and anxieties, and the inhibition o reasoned res!onse in avour o -gut6level% reaction" Far rom re!resenting a deeat in man%s struggle toards consciousness, the acce!tance o this inevitable duality <the oing into each other o rationalism and irrationality= is itsel a ste! toard the uture"(6#mos ogelG Film #s # /ubversive #rt Why become an artistH Why  ?  To arrive at a steadfast serenity+nearthed in ine*able mystery,ommuned as dutiful harmony"n sparkled webs of vocabularyTill erected in august solemnity  $his could be restated in the orm o a maniesto asG*=G #rtists converse ith <art= history and society"@=G #rtists are bound by imaginative honesty and integrity"?=G #rtists !ush out beyond the un'non, bringing it bac' to us as something amiliar"“I%ve alays had a greater a!!reciation or cinema than or the natural orld" I 5nd that hen I%m standing in ront o a giant redood tree, or a breathta'ing vista at the edge o a gorge, I eel an acute lac' o editing" o should I be loo'ing at this !henomenonH From hat angleH In hat seJuenceH $his !roblem is, in some ays, even more !ronounced in the middle o the city" $here%s a sureit o visual and auditory data, not to mention the bodily !oxemic o other !eo!le, oncoming traKc, and ca!ricious eather" o do I ta'e this into my consciousness ithout the mediation o an organiAing intelligenceH( • Michael /icins'i iv ExerciseG Write your on !ersonal artistic maniestoGMy #rea o #rtistic InterestI have a long standing interest in ex!erimental 5lm" $hat is, 5lm as art as a !ractice deriving rom the aural and visual arts rather than as narrative or documentary ex!osition" Ex!erimental 5lms can be em!irical, !oetic, conce!tual, romantic or :  ormal and are oten made by a single !erson or'ing alone, Cust as a !ainter or !oet may do" It is an artisanal rather than an industrial orm o 5lmma'ing" $he history o 5lm as art stretches bac' to the very beginning o cinema" $here have been, or exam!le, >ubist 5lms, /urrealist 5lms, Minimalist 5lms, >once!tual 5lms, /tructural 5lms, Post6/tructural 5lms, eminist, ethnic, animated, abstract, !sycho6dramatic, lyrical and all other manner o ex!erimental 5lms" /ince the *+L1s artists% moving image installations have come to !rominence in art gallery exhibitions"Many artists come to moving images rom other disci!lines, such as riting, !ainting or music" /ometimes they move beteen disci!lines as intermedia artists" #lthough best 'non or his ex!erimental 5lms, Michael /no is also one o >anada%s leading !ainters and scul!tors as ell as being a CaAA musician" Film artists Michael ooboom and R" Bruce Elder rite about 5lm as art" $he 2e ealand ex!erimental 5lmma'er 4en 4ye as also a !ainter and !ioneering 'inetic scul!tor" #nother 2e ealander, Phili! 7adson is ell 'non as an intermedia artist, ranging across music and media arts" 7arcy 4ange <*+:96@110= as a amenco guitarist as ell as a socially active 5lm and video artist" $he !ainter and !oet ;oanna Margaret Paul <*+:06@11?=, artists Ronnie van out, )ray 2icol and 7ere' >oie also !roduce moving image or'" 8athryn 7udding <*+9* N @1*1= as a !oet and 5lm artist" Prominent international artists ho made ex!erimental 5lmsinclude Marcel 7ucham!, Fernand 4eger, /alvador 7ali, Richard /erra, #ndy Warhol, the dancers Maya 7eren and Ovonne Rainer and the avant6garde com!oser $ony >onrad" $oday e have arrived at the !oint that the French riter and 5lmma'er ;ean >octeau !osited as the birth!lace o 5lm as art, the time hen the camera is as ubiJuitous as the !en" 2o virtually everyone everyhere has the ability to ma'e movies on small, !ortable hand6held devices such as cell6!hones,tablets and still !hotogra!hic cameras hich include 7 movie ma'ing eatures" $his or' can no be 0
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