The series of posters for Men Who Stare At Goats is simple, yet effective. The composition is clear and clean, while the semiotics of the image is absurd and confusing, leading the viewer to be curious about the mysterious content of the film. The poster featuring Ewan McGregor stands as an example for the series.

David Konow’s comments about the decline of the movie poster as a venue for quality art, and hand-done illustration in particular, rings true in this example¹. The poster is simple and uncomplicated, the face of a star to the left, the face of a goat at the right, relying on uncomplicated photoshop technique and limited artistry to produce a compelling, rather than valuable image. The eyeline connecting the two subjects follows the rule of thirds, falling on the lower horizontal third line. The faces themselves are composed in a still and stable configuration, McGregor’s face is aligned on a nearly perfect vertical while the goat’s longer face lies in a similarly perfect horizontal arangement. The background is a pure white, giving nothing away about the setting of the film, and placing the focus of the poster soundly on the two subjects and their relation to one another. The photo elements have been adjusted to high contrast, washing out the highlights to fade into the background and darkening the shaddows to an absolute black tone, while the color has been shifted to a monochromatic sepia, further reducing any possible distractions. The choice of color and contrast techniques grants the image a mystical, almost devine quality that alludes the the film’s metaphysical subject matter (telepathy and other psychic activity is implied in the trailer). The overall composition evokes the concentration of the subject on the goat, and the possibility of a link between the two, yet tells the viewer little about what the film actually contains. This poster series could have easily been produced with little to no knowledge of the actual plot line of the film, as has often been the case in the business².

From the standpoint of semiotics this film relies upon an increasingly common tactic to make it effective. The signs represented on the poster are simple and unenlightening. Most obviously there are the two subjects. On a superficial level Ewan McGregor’s face is displayed in order to signify his past career as a star an imply that this film can be counted among his worthwhile endevors. The goat, on the other hand, seems to signify nothing of importance. Certainly the viewer can draw meaning relating to agriculture and goat-driven cultural mythology from the presense of a goat, but nothing in the composition seems to imply that this is a worth-while effort. If anything the labeling at the top of the poster “McGregor Goat” serves to limit rather than enhanse the significance of the goat as a sign. It is most likely that to goat is in the poster only to signify the absurdity of its presence in relation to the serious, concentrated expression on McGregor’s face. More basically the goat signifies humor. The title “The Men Who Stare At Goats” is presented as litteral in relation to the subjects, McGregor is presented as staring with a great deal of concentration at a goat, yet it also signifies the association of the poster with the rest of the marketing campaign, including the trailer which reveals much more about the plot of the film, and the film itself.

Overall the poster is a simple exercise in the marketing tool of provoking curiosity. The marketers wish the image on the poster to associate the film with a sense of “I wonder what that is about?” thereby fixing it in the viewer’s memory as something to considder further. From this perspective it is an extremely effective tool, yet from a historical and artistic perspective it is mostly insignificant and symbolic of a shift away from greater care and intricacy in design that characterized posters of decades past.

History:

The development of the Action/Adventure genre started with the swashbuckling period pieces of the late silent film era and came into its own in the 30′s with the advent of more portable audio recording technology and the perfection of post-production sound. As the films centered around the activities of a strong protagonist they were closely linked with the Star System, such actors as Errol Flynn and Tyrone Power consistently drew audiences to films featuring stunts and exotic locations.

In the late 30′s and 40′s the advent of crime thrillers and film noir led to the development of gunplay based adventure films with faster paced editing and generally more urban settings. The Action genre as we know it did not develop until the late 60′s and early 70′s with the success of the James Bond series and the development of hollywood special effects. The new genre focussed even more on plots developed through the actions of the hero rather than the more dialogue driven story lines of its Adventure predecessor. The prime example of early action is Dirty Harry which united the crime and western genres with elements of the hero-driven Adventure film.

The biggest changes in the genre since the 70s have surely been the influence of Hong Kong based martial arts movies that led to the development of complexly choreographed fight scenes, and computer graphics based special effects that allow filmmakers the flexibility to push for more extreme visual action including enhanced stunts and over the top explosions.

Mise-en-scene:

http://www.youtube.com/watch?v=fft1l_l8vR8

The physical setting and décor

Dr. No is set primarily on a Caribbean island near Jamaica, exotic settings are typical of adventure films. Additionally the quality of the cars sets up the lifestyle of Bond, a spy of luxury and class he drives a fine sports car. The generic enemies of course drive a dark and bulky car befitting their henchmen status, a blunt symbol of death it is a Hearse. The dusty roadway demonstrates the breakneck speed at which they are driving.

the manner in which these elements are framed.

The scene uses the coupling of moving long shots with straight-on medium closeups to give the audience a full view of the action while maintaining the focus on the hero character. The framing of the windshield within the head-on shot and use of projected action is typical of early action films predating advanced blue-screen and CGI effects.

the staging of the action

The action is fast paced and dangerous, employing stunt men to amplify the action of the film. Swerving around the corners the stunt men take full advantage of the setting to amplify the action. The final running of the pursuing car off the cliff simultaneous explosion is typical of action movies, who use shock and awe to entertain the audience. Bond’s reaction is blocked to emphasize his control of the situation, an action hero unfazed by passing danger.

The manner in which they are photographed

The long shots all make use of a moving frame, which intensifies the action of the scene, while the head on shots rely on the motion of the background to convey the speed and tension of the shot.

http://www.youtube.com/watch?v=0v391EU1CXU

1. The physical setting and décor
   1. Exotic island
   2. Flashy sports car
   3. The tunnel is on the very edge of the island
2. The staging of the action
   1. Fast-paced
   2. First (to build suspense) there are mostly close ups, so much so you don’t quite know what’s going on at first.
   3. Then, there are many many hard cuts to convey action.
   4. Multiple camera angles at all times
   5. Car runs off the cliff at the end, as usual.
   6. Loud noises!
   7. Bond shows little to no emotion.
3. The manner in which these elements are framed.
   1. Most shots of main actor are of his eyes in the mirror, from the left/front left or directly in front. These all change up continually. Creates a jarring effect.
   2. Camera continually comes back to the inside of Bonds car; this is to let the audience know he is the most important aspect.
4. The manner in which they are photographed
   1. Short, rough shots to convey intense action
   2. Close ups when suspense is being built up

Critique:

The issue of photo-manipulation is a complex problem with a seemingly simple solution. An ethical distinction must be made between creative works, and documentary works. Works which are intentionally altered to serve a creative purpose such as in fine art and entertainment should not be scrutinized in the same way as works purporting to be documents of factual events. In order to distinguish between these two areas in which photo-manipulation can be used I believe that distinctions must be made between industries. Firstly I believe no primarily journalistic media should use photo-manipulations without a clearly perceivable disclaimer at the site of the manipulation. For instance the manipulation placing John Kerry and Jane Fonda at the same table would not have been misinterpreted as truthful had there been a photo-manipulation label of some kind directly attached to the image. The current system of credits in the fold leaves too much responsibility in the hands of the reader to determine which image is manipulated and which is not; I believe it is the ethical imperative of the journalist to insure the context of each image and piece of information used in a news story are clearly stated to the viewer. Even the enhancement of images through techniques which do not change the photo’s content should be marked, and it should be clear to the viewer what has been done to the photo without any digging. I believe this principle is slightly complicated in the case of government distributed materials, such as the doctored photos under the Soviet and Maoist regimes and the RNC promotional materials from 2005, when political pressure ads to the likelihood that photos will be manipulated for political gain. Clearly the manipulation of photographs to distort public opinion towards a political stance is unethical, yet there are some times, such as selective editing of satellite photos, when the government must alter photographs for the sake of national security. I believe that any photos released under such a situation should undergo a painstaking internal ethical review including members of the military and high-clearance government officials from divergent political backgrounds before being released in order to prevent any possibility of the military intentionally altering photographs to consolidate their power rather than to protect the people they serve. In addition I believe that in the sphere of entertainment and art individuals must retain the right to pull any images of themselves from the mass media and from art sold on the public market. In the case of mass media I believe that law should enable an individual to petition for recall at the expense of the media distributor if defamation of character can be established. This could have been the case in Kate Winslet’s appearance on the cover of GQ, as the manipulation of the photo distorted her image and established a precedent for negative comparison between that specific image and any subsequent images of her, especially in the case of her legs. In order to prevent the abuse of this right I believe media outlets should have the right to countersue for damages following a trial establishing that there was no defamation of character through photomanipulation. Altering an image to look better with the permission of the subject, however, should always be permitted in the realm of creative arts as the creation of an image as art is inherently subject to the manipulation of the artist whether in-camera or post-development (now on the computer) and truth in representation is not the aim.

by Emmett McGregor

In his travel photography, such as this picture from his trip along the coast of the Mediterranean with Swoon and her The Swimming Cities of Serenissima project, emphasize the nature of the sense of space he encounters along the way. Often he focuses on the grittiness and decay of his urban environment, yet when man meets nature his style adapts to encompass the peace and tranquility of their interaction. His sense of balance in particular often emphasizes particular aspects of the environment and the mood of his situation. In this case a large mass on the left and smaller masses to the right imply motion, while relative balance along the horizontal axis maintains the sense of tranquility. As in most all his photos the subject matter makes the photos what they are, in this case the complexity of the sculptural rafts and simple blues of the sky and sea demonstrate the meeting of humanity and nature in a strange yet pleasing harmony.

Often Seelie offers his viewers a peek into lifestyles so strange and unexpected that composition is almost completely irrelevant. Little more than  As a photographer, however, he consistently frames his shots with a surprising elegance for a candid photographer. In the shot above the vertical lines of the clothes lead the eye down to focus on the figure and his work, while the cramped clutter on either side slowly diminishes  leaving the dog skin the primary focus of the shot. This photograph also exhibits one of the signature elements of Seelie’s candids, a long exposure revealing action through localized blur. The blur is never overpowering, yet serves to enliven the image with a quality of dynamic realism.

Another large portion of Seelie’s work is his music photography. Early on in his career he attempted to make band photography his primary income, capitalizing on his signature style of double flash exposures, dramatically vibrant colors, long exposures, and mid-crowd perspective. The exuberant motion and emotion of the crowd surrounds the musician subject, while flash and composition are used to mark them as the photograph’s focus. In this image in particular we can see two sides of the musician in one frame. The weaker exposure shows the artist nearly overcome by emotion, while the brighter exposure below reveals his technical focus. The photographer seeks to reveal the complex relationship of the moment between the music and musician, a moment of reality that transcends the normal human condition and extends into the surreal.

Seelie’s portraits are occasionally less active than a majority of his candid work, though they rely no less on color, content and emotion. This image in particular relies upon the greens of the wall, the figures dress and skin tone to provide a sense of unity while the strategic back-lighting and expressiveness of her face convey a disjointed emotional presence.

Sources: www.suckapants.com

Todseelie.com

http://www.everydayilive.com/

All photographs excepting the last (c) Tod Seelie

The main visual design elements that defined Islamic calligraphy and textiles in the 1400’s and 1500’s are notably pattern, color, and line.

2. How and why were these elements used during the height of the culture?

Pattern is used to create very intricate and complex designs by laying one pattern over another. The pattern is needed to satisfy the western sense of balance. Color is used to give symbolism to the seasons and other abstract concepts to suggest states of mind and qualities of virtue. The flowing lines in Islamic calligraphy give it a decorative element.

3. What visual references or examples in our culture today come from that time period?

Islamic design has influenced and continues to influence European art and design. In addition, motifs of Islamic design inspire late Art Nouveau and early Art Deco fashion.

Sources

http://www.metmuseum.org/toah/hd/otto1/hd_otto1.htm

http://char.txa.cornell.edu/

2. Textiles were used in almost every way. They could be expressing emotions, portraying a scene, an interpretation of a poem, a religious reference, etc. Textiles included intricate carpets, velvets, silks, paintings, clothing, and much more. They were a major part of the Islam culture because they portrayed so many messages and had deep meanings. Most were very colorful and this was also part of the symbolism they depicted. The colors usually symbolized the traditional elements. Red is fire, yellow is air, green is water, and blue is earth. Colors also associated with the seasons and other abstract concepts. Flowers and foliage were also a common design in Islamic art. People interpreted these textiles in many different ways.

http://char.txa.cornell.edu/nonwest/islam/islamhis.htm

3. Scarves are one example of a textile that has been brought over into our culture today. Women in the Islamic culture would wear them as a part of their everyday lives. It was necessity of their wardrobe while today we use it as an accessory. As you can tell by the pictures people, usually women, use scarves as accessories either around their necks or even around their heads. It has become a fashion statement more than anything as opposed to having actual meaning or significance. They still do however keep the color aspect which is the same as the other culture.

Architecture:

The height of Ottoman architecture is considered by many to be the works of Mimar Sinan under Suleyman the Magnificent. Sinan perfected the now ubiquitous Central Dome Mosque which capitalized on the pique of engineering technology at the time: the large, self-supporting dome. The dome was said to be a representation of heaven and the majesty of Allah, and inspires awe in any who behold it. The addition of many smaller domes surrounding the central dome was a signature in Sinan’s style, flaunting the engineering ability of the Ottomon empire and highlighting the holiness of the site. Interior decorations during this period were extremely intricate. An additional significance of domes in Ottoman architecture is the efforts of the sultanate to position their image as more powerful and grandiose than the Byzantine Empire who first popularized the use of domes in their churches, especially the Hagia Sophia.

The Suleymaniye Mosque demonstrates Sinan's masterful dome work. The central dome is accompanied by four half-domes, one on each side, and a profusion of lesser domes.

Most embellishments combined elements of calligraphy or the imitation thereof and highly complex vegetal patterns. The combined influences of the ban on figurative representation of religious figures and the depiction of Paradice as a land of lush vegetation facilitated the development of these two styles, one emphasizing the pure and powerful word of god which was his only representation in art and the other the promise of paradise. A third key element of Sinan’s buildings is the proliferation of windows which light the holy spaces with a purifying glow. The ever-developing engineering techniques allowed Sinan to use windows in places that could previously have lead to a highly unstable structure. Windows can be seen in the support-ring of the central dome as well as in the actual walls of many smaller domes; the prevailing use of arches and pillars facilitated the development of walls as a “skin” to the structure rather than key structural elements. Light was seen as holy and a sign of the divine, so the profusion of sunlight in mosques was seen as important.

The Selimiye Mosque is considered Sinan's masterwork. The interior is decorated with some of the most beautiful pattern work in Islam. The Mosque also demonstrates Sinan's emphasis on windows and light in his designs.

The use of domes throughout the world, especially as a centerpiece of a building, demonstrates the influence of the Central Dome Mosque upon contemporary architecture.

Modern use of central domes in architecture.

Sources:

http://www.metmuseum.org/toah/hd/suly/hd_suly.htm

http://www.absoluteastronomy.com/topics/Mosque#encyclopedia

http://www.mfa.gov.il/MFA/MFAArchive/1990_1999/1999/2/The+Ottoman+Artistic+Legacy.htm

http://www.allaboutturkey.com/mimari.htm

http://www.theottomans.org/english/art_culture/index.asp

Critique:

Development in visual art in the Near East has been directed by two primary trends starting with the rise of islam in the 7^th Century. Firstly the religious ban on figurative representational works, especially in religious contexts, prevented the development of realism and other styles focused primarily on the human form. Though the portrayal of the human form was never fully suppressed, calligraphy and pattern-based conceptual design took the dominant role of artistic expression. In conjunction with the ban on figurative work Islam emphasized the portrayal of the spiritual world through complex color and geometric symbolism. Special emphasis was given to the “perfect forms” of the square, circle, and equilateral triangle. Complex relationships between patterns, sometimes laid over one another to convey a feeling of chaos, was seen as a portrayal of the complexity of God’s plan and humanity’s inability to fully comprehend his will. Vegetal patterns in particular play a key roll in Islamic art as a direct allusion to the promise of paradise in the afterlife. The Ottoman Turks conquered all of the Middle-East and parts of Northern Africa and South-Eastern Europe beginning in the late 13^th century and continuing through the early 1900′s. The rule of Suleiman I, commonly known as Suleiman the Magnificent, from 1520-1566 is seen by many as the Ottoman Empire’s golden age. Suleiman ruled over a prosperous and growing empire that included diverse peoples who contributed significantly to the cultural heritage of the Turks. Suleiman was a great patron of the arts and encouraged the exploration and refinement of new styles based on the old Turkic tradition while including influences from every corner of his empire. Under his reign the Ehl-i Hiref, imperial art societies, were founded and imperial funds for cultural contributions were made available to any artists or artisans who could prove their skill, regardless of what region of the empire they hailed from. The Ehl-i Hiref led to the development of a distinctive Ottoman style that replaced a previously dominant Persian emphasis.

]]> http://emmettemme.wordpress.com/2009/09/16/class-3-hw-art-in-the-ottoman-empire-under-suleiman-the-magnificent/feed/ 0 emmettemme calligraphy 1 Textiles 1 textiles 2 calligraphy 2 calligraphy 3 art deco 1 art deco 2 architecture 1 loom_hunt1 h2_52_20_15 500_D_-_WALL_OF_SCARVES summer_scarves Head%20scarves_EvaLongoria%20NicoleRitchie%20LindsayLohan%200408 Suleymaniye Mosque Selimiye Mosque Observatory http://emmettemme.wordpress.com/2009/09/09/class-2-hw-elements-of-design-at-the-hirshhorn/ http://emmettemme.wordpress.com/2009/09/09/class-2-hw-elements-of-design-at-the-hirshhorn/#comments Wed, 09 Sep 2009 07:12:27 +0000 emmettemme http://emmettemme.wordpress.com/?p=4 ]]>

1. Point: Eugenio Dittborn’s piece The Third Tree, Airmail Painting No. 174 makes extensive use of the gestalt principle of design. Most of the images contained in the mixed media piece appear to be printed using coarse grain screens which leave groups of dots (essentially points) of varying density in order to convey relative darkness and lightness of tone. Proximity also causes parts of the piece made up primarily of dots, especially the area enclosing the hanging girl, to appear as defined shapes (a rectangle in the case of the example).

2. Line: Julião Sarmento’s Emma, 5 utilizes the visual principles of line in a minimalist fashion to increase individual elements’ impact upon the overall emotion of the piece. The vertical orientation of figure found on the left side of the piece evokes a sense of spirituality and detachment while the diagonal orientation of the arm and leg increase the feelings of motion and disjointed instability emphasized by the legs’ apparent independence from the body. Also the single-line that makes up the legs functions independently of the more complex linear structure of the torso, giving it a more incomplete or ethereal feel.

3. Form: Sol LeWitt’s Wall Drawing #356 BB: Cube Without A Cube demonstrates a simplified reliance on form demonstrated by many minimalist painters. The drawing is based upon the interaction of three simple geometric forms (a square, and two parallelograms) and three more complex polygons that convey the illusion of a 3 dimensional cube with one 8^th cubic section removed. Though the piece has no implied light source and little reliance on positive or negative space it still conveys a perspective (namely the literal point-on perspective of the viewer on a cube). As a non-objective abstraction the piece relies on massive scale and elegance of form to induce viewer engagement.

4. Movement: Thomas Hart Benton’s People of Chilmark (Figure Composition) is dominated by a sense of motion throughout the painting. The piece is saturated with intersecting diagonal lines and osculating curves, both elements that convey a sense of dramatic motion. The piece is also unbalanced with a concentration of figures falling in the upper left of the frame causing the frame itself to seem to be in motion.

5. Color: Francis Bacon’s Diptych: Study of the Human Body – From a Drawing by Ingres is dominated by a single color: red. Bacon’s choice of red plays upon the psychology of color in two distinct ways. Firstly red is associated with eroticism and passion, emphasizing the evocative nudity of the torso. Secondly red is the color of blood and anger, causing the viewer to feel uncomfortable and edgy about the content of the image.                         .

6. Pattern: Karl Benjamin’s #26 is heavily reliant on pattern in it’s overall design. The image is in fact based upon a single geometric pattern found in the vertical middle of the image. The pattern is based on a repeating series of parallelograms overlaid with a circle in a ring. The color of the pattern is repeated consistently and subject to no variation. Variations upon the central pattern are found, however, in the directional alignment of the segments found above and below the central band. The overall effect is of a rhythmic motion that leads the eye vertically along the image.

7. Texture: Magdelena Abakanowicz’s Four on a Bench contrasts the texture of burlap sacks with the human form. The figures appear ghostly and grotesque, the rough and rumpled texture of the fabric is repellant when combined with the human form because of its stark contrast to the pre-conceived smoothness and softness of skin. The texture of the figures in combination with their form and position evoke a sense of oppression, violation, and a dehumanization.                   .
   

8. Balance: Frank Stella’s Pagosa Springs achieves a perfect balance. The piece is bilaterally symmetrical along both the vertical and horizontal axis. Additionally the balance of the piece is undisturbed by variations in color. The overall sense conveyed by this complete balance is one of calm, tranquility, and stability.

9. Proportion: Ed Ruscha’s Cry uses proportion to emphasize the emotional associations of his subject matter. The beginning of the word cry, the letter C, is by far the largest element in the image, evoking a sense of a powerful event or realization at the beginning that seems overwhelming. The small size of the subsequent letters r and y seems to echo the feeling of shrinking many associate with sadness. The overall proportion of the three primary elements of the image is unsettling and disquieting, both feelings that are appropriate for the subject of crying.                                                          .

   

   note: image taken from updateslive.blogspot.com due to fuzziness in image taken on trip

10. Rhythm: Louise Nevelson’s Silent Music IX contains pattern and motion that evokes a provocative and somewhat unsettling visual rhythm. Nevelson uses the depth of her sculpture to create a varied linear rhythm that starts close in to the viewer and recedes slightly before turning close once again before tapering off. This variation adds motion to the patterned repetition of a rectangular grid pattern and unifying black coloration which emphasizes the difference in form of the objects contained within the grid. The rhythm of these combined elements evokes the dark musical emotion referred to in the title.
    

11. Emphasis: Theodor Roszak’s Ascension places sound emphasis on a single element of his design. The dark blue orb at the apex of the piece is colored to contrast with the off-white and metallic coloration of the rest of the piece, calling immediate attention to it. Additionally all lines in the piece lead to the orb, especially the wire to the right side of the provided picture. The location of the orb at the point of both the large conical piece below it and the triangular ornamentation at the top serves to greatly enhance the orb’s emphasis in the piece. All elements of the sculpture’s design seem to point only to the blue orb.
    

12. Unity: Stuart Davis’s Tropes de Teens demonstrates strong unity. The painter’s-primary plus black color scheme lends unity to the diverse elements of the image. Additionally the thickness of lines and recurring rectangular elements unite the three distinct regions of the image. The unity is also reenforced by a triangular flow stemming from the eye-lines of the figures in the upper left leading to the face in the bottom left hand corner which appears to be looking towards the right side of the image. This triangular relationship in combination with unity of color and other elements serve to make this seemingly fragmented image a strong example of unit.

For my Critique I have chosen Yinka Shonibare’s The Age Of Enlightenment – Antoine Lavoisier

The sculpture The Age of Enlightenment – Antoine Lavoisier is a complex abstraction of both a historical figure and the era in which he lived. The basic composition of the piece is based on the strong vertical and horizontal lines of the table, wheel chair, and scientific apparatuses contrasted with the active diagonals of the figure and his writings. The lines emphasize the stasis of nature contrasting with the motion of man’s understanding of it as personified by Lavoisier himself and his contributions to the compendium of knowledge that emerged in the Enlightenment Period. The relationship between the figure and his environment is stabilized by the overall balance of the composition which has apparatuses on both the right and left of the figure when it is faced head-on. The artist, Yinka Shonibare, further emphasized the active nature of Lavoisier’s scientific pursuits through use of intricate geometric patterns on his clothing broken with the symbols of early science; numbers, letters, and instruments. The coloration of the pattern utilizes the strategies of color psychology to continue the overarching science themes: the green and yellow patterned fields of Lavoisier’s coat emphasize both nature and modernization while the red and white symbols represent the passion and purity of his pursuits. While the vibrant coloration of the central figure’s attire undoubtedly emphasizes it as the focus of the piece the proportion of the scientific apparatuses, especially the gas bulb on the left, as compared to the figure demonstrate that the physical science and principles of nature should not be overlooked in relation to the more dynamic human personality. This theme is also emphasized through the presence of two near-spherical elements and the absence of a third: the head, the center of intellect and human creativity, is not represented while two spherical instruments of scientific study, purely useful in observation of pre-existing natural conditions, are. The overall piece is united by scientific themes which combine to present an influential and high-impact statement on the relationship between man and science.