According to the reading we did, the principles of Abstraction uses pictorial aspects of the images as the means to inform or persuade. The abstract qualities of the objects are the connection and the abstract pattern becomes a means to an end. Often organized as” theme and variation,” an underlying principle runs throughout the film. Take the example of an abstract formation by J.J. Murphy’s Print Generation. In this photograph, Murphy takes the same photograph and photographs the same picture over and over until the real becomes the abstract. He reproduces it 25 times. Another example is Richard Serra’s Railroad Turn Bridge where the photograph is taken inside a turn bridge. While the turn bridge is not abstract itself, the composition of the photograph shows strictly lines, thus taking the representational into the abstract. A great film example would be Fernard Leger’s Ballet Mechanique – even though conventional objects were used, the end result of the film made the audience view the representational objects and people as abstract movements.
Associational form is quite the opposite of Abstract form- imagery used in associational form may range from the conventional to the original. The conceptual connections can be readily apparent or downright mystifying. This form can also create large scale patterns which can organize an entire film and still build them own particular pattern with less attention to convention. The two main principles of associational form are as follows: first, the group images are in larger sets which create a distinct unified part of the film. Second, there are repeated motifs used to reinforce associative connections. A prime example of this form is Koyaanisqatsi which is divided up among 7 parts. This film uses known scenery to convey the natural majesty to the destruction and plundering of our planet Earth. Like abstract form, associational form relies on the audience’s remembrance and notice of motifs to unify the film around it. The purpose of Associational form is to convey obvious story and emotion though new imagery and juxtapositions.
Thursday, September 17, 2009
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