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REAR WINDOW

The Film’s Summary: A wheelchair bound photographer spies on his neighbours from his apartment window and becomes convinced one of them has committed murder.

He watches his neighbours as if he is the main spectator (god-like power)

He likes watching to them cause he feels he controls them and they don’t know they’re being watched. ıt gives him a superior power like he controls everything

What he is doing is like he is watching a tv!!

When someone notices him the Voyeourism ends.

Each apartment flat borrows from classic Hollywood genres: Thorwald: murder mystery The couple with the dog: domestic comedy 

“Rear Window” = Windows of the Cinema: lens of camera & projector, window in the projection room, eye as window, & film as “window on the world”.

He rarely sleeps it is like 24 hours non-stop broadcast. 

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POP ART IN TURKEY

Pop art started in USA and Britian in 1950′s and spread thanks to pioneers of pop art such as Andy warhol, Richard Hamilton, Roy Linchtenstein etc. and gave unforgettably valuable masterpieces. (Marilyn (1962) nowadays, known by almost everyone) and it was inspired from mass culture items. However, in Turkey, the situation was different. People in Turkey didn’t know what is pop art at that time and also there was nothing to do about pop art as the lack of essentials: media and mass production! After the rise of TV broadcasts with TRT and custom channels such as Star TV, Show TV, Kanal 6; people started to get an idea and gradually get a consumerist habit. They wanted to ‘’get’’ what they have seen in tv as they exposed them regularly. There was always a knowledge about USA and American famous people but with the rise of TV, EVERYBODY exposed to their look in television. So pop art started to be seen thanks to few artists and these artists were inspired from the most famous singers especially and the famous ‘’terms.’’ that was used constantly at that time. ‘’ARABESQUE’’ and ‘’STAR’’ was came from the USA’s mass culture.  But after 2000′s, it was understood that Pop art is a valuable thing and it can be proved in Turkey as well. 

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CLASS PRESENTATION I’VE CHOSED: ‘’Henri cartier bresson’’ (Henri Cartier-Bresson, Fransız fotoğrafçı. Belge fotoğrafçılığının önemli isimlerinden biri. ) ->He asserts he wasn’t taking photos he was making photos. He takes the picture of people in their daily life without being noticed! ->The shot is candid which means the people are not aware of being photographed. ->Photo should directly reflect the reality. ->You should be inside of people while taking photos. ->Figure ground relationship is forefront in his subject. ->Also his subject matters are: Ambiguity Unique, Meaningful moment Gestalt Unrepeatable Framing Unity Similarity Proximity Repetition Visual balance No cropping Coincidence \ alignment

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Multimedia

IN TURKISH: (Çoklu ortam ya da multimedya, animasyon, çizim, görüntü, grafik, metin, ses ve videoların bilgisayarda gösterilmesi, dosyalarda saklanması, bilgisayar ağından iletilmesi ve sayısal olarak işlenmesi ile ilgili bir kavramdır.)

‘‘Interactive media.’‘ with the support of graphics, texts, drawing, images..

Instant computer-human relationship we can say. You’re become integrated to the media itself.

‣ World Wide Web ‣ CD-ROMs ‣ Virtual reality games ‣ Interactive installations can be example.

It responses simultanously to you, (it senses you)

Subjective experiencing!

‣ To increase knowledge, ‣ To transform consciousness, ‣ To enhance creativity... ‣ by individual choice ‣ free association ‣ personal expression

Integration, manipulation of the content, personal association, experince, and finding yourself in the media’s world. (virtual environment)

First computers was used in WW1 for calculating purposes especially by women, the term on-line found in 1960′s which means a kind of ‘’simultanous interaction.’’ when mailing, texting..

a hyperlink connects texts in a non-linear fashion.

Sketchpad was found and it made a 3D virtuality

In 1989, World Wide Web was found and became a phonemena.

When it comes to, Integration with the arts, What is the concept of Gesamtkunstwerk Total Artwork : = integration of all the arts: unifying music, song, dance, poetry, visual arts, & stagecraft to embrace full range of human experience...

Film has a totalizing effect.

electronic theater, ‣ performance art, ‣ & interactive installations...

Integrated with the art digitally or AUDIENCE is the part of the ARTWORK. People become IMMERSED!!

What is also interesting is that:

The Legible City: (1988-1991) an urban textual environment buildings from words where the participant reads the texts navigating through virtual city streets -- a head-mounted display, & riding a stationary bicycle

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CINEMA AND TV

Is cinema art or not? =20th century debate

We love watching movie because we identify with the characters but to make this happen, we first identify with the camera itself!

Characters, images of people influences us as we want to be like them and it is like a dreaming. We escape from realities of life.

Impression of reality, and the camera’s reality(we see what camera shows us)

Like it is from someone else’s eye!

Watching other people when they dont know

-TV-

Tv and cinema both are moving images and for mass audiences. However they have some differences. You can watch TV in a small screen and with your family and with a noise and also you can eat, drink etc and tv lasts for 24 hours whereas at cinema, no noise allowed and you watch, observe the movie individually. It is just for entertainment purpose and not for 24 hours. Only some selected time. 

Tv and cinema, we see commercials but Tv is like more like a advertising object and it respects people with its adress style. TV NEWS=) CONSTRUCTED REALITY!!

TV is a serial mode. It is open and can last for too many years.

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https://en.wikipedia.org/wiki/History_of_the_camera

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19th c. Genres of photography:

ENTERTAINMENT: The magic lattern: early type of projector. Transparent positives were used to illustrate public lectures. 

PHOTO JOURNALISM: People was shocked as they ‘’see’’ the events In the photograph. It was a documentation of the events and places. Real life events.

SCIENTIFIC DOCUMENTATION: Occurred from the combination of the photographs next to each other so motion was created. 

THE SNAPSHOT: Brownie Cameras from Kodak, made photography more accessible for everyone with normal prices. 

Photography is a subjective thing! Because..

‘’You’’ take the photograph, which means ‘’you’’ shaped its reality in a sense.

and photograph manipulates what you think, what you understand from what you see, the reality...

‘’Original context btw perceptual context’’ when perceptual, changes the meaning of the photograph.

You may see cute child on the photograph but then you know what happened later, the context changes.

Photographer imposes certain order to the original context when creating the the subject.

As a viewer, what you see is your own projected meaning, and your personal knowledge, information changes your interpretation.

Camera’s presence. It is exist. And also photographer...they are an original context

When you looking at the image’s reality..you are actually separate from that reality. 

Photography influences your ideas about what is worth looking at. 

Photograph makes you to see that image, if you had been there.

IS PHOTOGRAPHY AN ART? Romantic wievers says it is not as the usage of mechanical devices.

BUTTT..WHEN PHOTOGRAPHS WAS CIRCULATED IN ART EXHIBITIONS IT COUNTED AS AN ART.

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Picturial Vision Before Photography - and invention of photography

-Not imitation, bu idealization of the natural human vision.

-Paintings similar to photography. =)balanced by visual weight, not whole subject but part of it, viewer is not the center of the subject...

Public paintings =) created by the intellect

Private skethces=) inspired by the eye, sponteneous

*OIL SKETCHING!* made by impressionists.

PHOTO LIKE PAINTINGS! careful about the coming of the light..

MOMENTERY VISUAL EXPERIENCES

1837 =) Jacquas Dageurre inveente a photo-painting process which is called ‘’daguerrotype’’, Positives made by silverred copper plate. and it has a 10 min. exposure time.

William Talbot: İmage on a paper in order to make it negative copies.

Negative to positive. 

Easy to reproduce them!

William Talbot - which is quite interesting

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Indıe film means movies that produced outside. It is economically stable, Hollywood studio system. Bollywood movies can be count. They can be parodies of Hollywood movies. They want to be promoted.  -Rise of urbanization, -communication technologies, -space and time, -rise of digital technologies, wireless technology.. -NONPLACE MEANS NOWHERE.

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Postmodernity continues to focus on science, technology progress. Computerization can be seen. MODERNISM: 19-20thcenturies. NOOO connection with past, history. However, Postmodernism rejects modernism. Many styles together. HISTORY remains importance. pastiche, retro-styles... we can say postmodernism makes a remix culture. Remakes. culture follows! Intertextuality means layering of references, citations, quatations POSTMODERN SUBJECT USES VISUAL CULTURAL PRACTICE TO ENGAGE IN CULTURAL CRITIQUE. REFERENCE TO NOSTALGIA.

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Postmodern Architecture use of modern and traditional elements together  Modernism&postmodernism’s difference is their relationship between image&reality  PASTICHE: IMITATION OF ANOTHER WORK, ARTİST OR PERIOD SIMULATIONS:TRUE FALSE DISAPPEARS! SIMULACRA:COPIES THAT HAVE NO ORIGINAL ONE. Postmodernism culture brings us so many features such as consumerism, multinational companies, electric and nuclear energy, computers, simulations, pastiches, globalization, megapolis, new social movements etc...

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Important Notes for Avantgarde and Pop Art

Avantgarde put art in everyday life

Pop art uses pop culture as a subject matter in order to make art.

Pop art not want to change society but avantgarde movement wants.

They were created high art, art institutions. =)Avantgarde against them!

Avantgarde also =)) Everyday life, change soc. Art for Priveledge people !

More critical in London. USA we see larger more vibrant pop art. 

Repetition how soc.functioning in terms of self consumption.

Shows society =) reflect of a society.

They use different media platforms.

When we see over and over again it looses its meaning. (repetition) of an event when showned too much, looses its meaning I mean. 

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Surrealism originated in the late 1910s and early ’20s as a literary movement that experimented with a new mode of expression called automatic writing, or automatism, which sought to release the unbridled imagination of the subconscious. Officially consecrated in Paris in 1924 with the publication of the Manifesto of Surrealism by the poet and critic André Breton (1896–1966), Surrealism became an international intellectual and political movement. Breton, a trained psychiatrist, along with French poets Louis Aragon (1897–1982), Paul Éluard (1895–1952), and Philippe Soupault (1897–1990), were influenced by the psychological theories and dream studies of Sigmund Freud (1856–1939) and the political ideas of Karl Marx (1818–1883). Using Freudian methods of free association, their poetry and prose drew upon the private world of the mind, traditionally restricted by reason and societal limitations, to produce surprising, unexpected imagery. The cerebral and irrational tenets of Surrealism find their ancestry in the clever and whimsical disregard for tradition fostered by Dadaism a decade earlier. Surrealist poets were at first reluctant to align themselves with visual artists because they believed that the laborious processes of painting, drawing, and sculpting were at odds with the spontaneity of uninhibited expression. However, Breton and his followers did not altogether ignore visual art. They held high regard for artists such as Giorgio de Chirico (1888–1978), Pablo Picasso (1881–1973), Francis Picabia (1879–1953), and Marcel Duchamp (1887–1968) because of the analytic, provocative, and erotic qualities of their work. For example, Duchamp’s conceptually complex Bride Stripped Bare by Her Bachelors, Even (The Large Glass) (1915–23; Philadelphia Museum of Art) was admired by Surrealists and is considered a precursor to the movement because of its bizarrely juxtaposed and erotically charged objects. In 1925, Breton substantiated his support for visual expression by reproducing the works of artists such as Picasso in the journal La Révolution Surréaliste and organizing exhibitions that prominently featured painting and drawing. The visual artists who first worked with Surrealist techniques and imagery were the German Max Ernst (1891–1976), the Frenchman André Masson (1896–1987), the Spaniard Joan Miró (1893–1983), and the American Man Ray (1890–1976). Masson’s free-association drawings of 1924 are curving, continuous lines out of which emerge strange and symbolic figures that are products of an uninhibited mind. Breton considered Masson’s drawings akin to his automatism in poetry. Miró’s Potato (1999.363.50) of 1928 uses comparable organic forms and twisted lines to create an imaginative world of fantastic figures. About 1937, Ernst, a former Dadaist, began to experiment with two unpredictable processes called decalcomania and grattage. Decalcomania is the technique of pressing a sheet of paper onto a painted surface and peeling it off again, while grattage is the process of scraping pigment across a canvas that is laid on top of a textured surface. Ernst used a combination of these techniques in The Barbarians (1999.363.21) of 1937, a composition of sparring anthropomorphic figures in a deserted postapocalyptic landscape that exemplifies the recurrent themes of violence and annihilation found in Surrealist art. In 1927, the Belgian artist René Magritte (1898–1967) moved from Brussels to Paris and became a leading figure in the visual Surrealist movement. Influenced by de Chirico’s paintings between 1910 and 1920, Magritte painted erotically explicit objects juxtaposed in dreamlike surroundings. His work defined a split between the visual automatism fostered by Masson and Miró (and originally with words by Breton) and a new form of illusionistic Surrealism practiced by the Spaniard Salvador Dalí (1904–1989), the Belgian Paul Delvaux (1897–1994), and the French-American Yves Tanguy (1900–1955). In The Eternally Obvious (2002.456.12a–e), Magritte’s artistic display of a dismembered female nude is emotionally shocking. In The Satin Tuning Fork (1999.363.80), Tanguy filled an illusionistic space with unidentifiable, yet sexually suggestive, objects rendered with great precision. The painting’s mysterious lighting, long shadows, deep receding space, and sense of loneliness also recall the ominous settings of de Chirico. In 1929, Dalí moved from Spain to Paris and made his first Surrealist paintings. He expanded on Magritte’s dream imagery with his own erotically charged, hallucinatory visions. In The Accommodations of Desire (1999.363.16) of 1929, Dalí employed Freudian symbols, such as ants, to symbolize his overwhelming sexual desire. In 1930, Breton praised Dalí’s representations of the unconscious in the Second Manifesto of Surrealism. They became the main collaborators on the review Minotaure (1933–39), a primarily Surrealist-oriented publication founded in Paris. The organized Surrealist movement in Europe dissolved with the onset of World War II. Breton, Dalí, Ernst, Masson, and others, including the Chilean artist Matta (1911–2002), who first joined the Surrealists in 1937, left Europe for New York. The movement found renewal in the United States at Peggy Guggenheim’s gallery, Art of This Century, and the Julien Levy Gallery. In 1940, Breton organized the fourth International Surrealist Exhibition in Mexico City, which included the Mexicans Frida Kahlo (1907–1954) and Diego Rivera (1886–1957) (although neither artist officially joined the movement). Surrealism’s surprising imagery, deep symbolism, refined painting techniques, and disdain for convention influenced later generations of artists, including Joseph Cornell (1903–1972) and Arshile Gorky (1904–1948), the latter whose work formed a continuum between Surrealism and Abstract Expressionism.

James Voorhies Department of European Paintings, The Metropolitan Museum of Art October 2004

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Things that blow your mind!

Awkward and nasty things can be seen in surrealism.

Absurd things, unnatural combinations, woman as a sex object, unexpected things, illogical combinations, non linear time, dream like scenes etc.

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Our unconscious mind is full of sexual instincts, maternal instincts.  you REPRESS YOURSELF when encounter unpleasure moment. YOU SOMEWHAT SUPRESS YOUR EMOTIONS. HIDE THEM.. BUT THEY ARE IN YOUR UNCONSCIOUS. Manifest content: directly you tell what you see in your dream Latent content: You interpret your dream, give a meaning to it. Condensation: meanings visualize. Displacement: place is changing, meaning is changing in your dream instantly.

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Surrealism to sum up:

reveals the unconscious, disoriented normal expectations, woman is the center and she is related with madness and center of desire.