Friday, September 18, 2009

Airtel Telephone Directory Kerala

I Am Legend (I am leggend - 2007)

might seem risky to take this film as an example for establishing its connections with the visual arts. Yet in I Am Legend there are also interesting references to the Land Art, art in the area (for This topic compare archive July 2008 - A Quiet Place in the Country - part 2 ²).

After a deadly virus that has decimated the entire population of the planet, the film's protagonist spends his time walking the streets of New York abandoned and degraded. Some buildings in the background are completely wrapped in plastic sheets, testimony likely to have tried to quarantine the entire building during the epidemic. This view by the director Francis Lawrence finds its archetype in the work of Christo Javašev . A Bulgarian artist who works through the actual packaging of things and square kilometers of land or buildings.


I Am Legend

Javašev Christo, projects and studies to work on some buildings in New York - 1984 / 2003


Javašev Christo, The monument to Vittorio Emanuele bundled - Milan 1970


Javašev Christo, Wrapped Reichstag, Berlin 1971-95


Robert Neville, at his home, surrounded himself with the masterpieces of modern and contemporary art. We can see the background of some of the walls, the paintings of Van Gogh, from "Road with Cypresses" the "Starry Night." -ups in the room where he is leaning against the wall a picture of Keith Haring, while jogging a painting by Mark Rothko, "N.3/N.13. In the kitchen "Still life of peaches and pears" of Paul Cezanne.

I Am Legend

The desire to take art as a reference spectacularly to solve some pictures or a desire to simply show pictures of artists who really existed, shows how the film needs the arts to express visually his image in the world. Even in a film cassette can be found curious homage to the art world. A test of what is written, Godman screenwriter Akiva I Am Legend claimed: "Digging deep you could realize a lot of references to art."

Thursday, September 17, 2009

Density Of Cooking Oil

The Plot Boiardo (Ivan Grozny - 1945) - part 2

This second part was completed in 1945 but only released in 1958.

In these images Ivan begs not to let Phil Monaco, but to be faithful servant, after he ordered the Czar to repent of his choices. The movements of the actor Cherkasov and the custom of the pastor are referred to in the painting by Lebedev.

The conspiracy of the boyars


Klavdy Vasiliyevich Lebedev, Repentance Ivan


The sequence of the feast is developed through explosions of light and color, with distinct contrasts between the red and black, these colors symbolize the violence and death. Here Eisenstein puts into practice the concepts theorized in his numerous writings on color theory.

The conspiracy of the boyars

This is the only sequence of color throughout the film. Was shot with Agfa film, spoils of war the Red Army.

The director goes from natural tones with sudden splashes of color that invade the faces of the actors.

The conspiracy of the boyars

The final part of the conspiracy of the boyars, Ivan sees his aunt, Efrosina take arms the corpse of her son murdered by mistake, Eisenstein brings to the screen the exact same composition of the painting of Ilya Repin depicting her son's death, caused by the real Ivan.

The conspiracy of the boyars


Ilya Repin, Ivan the Terrible and his son Ivan (1885)


Eisenstein, for the creation of an entire sequence, drew from 'arts of the Russian' 800. But for the gestures and hand movements, the film follows closely some works of the Italian Renaissance. In the conspiracy of the boyars you can see a couple of shots that refer to Leonardo and Michelangelo.

The conspiracy of the boyars

Leonardo Da Vinci, Study for St. Anne (c. 1505)


St Anne Detail of the hands

Detail of a painting taken from Leonardo's drawing
The conspiracy of the boyars

Buanarroti Michelangelo, Last Judgement (1536-1541), particularly