Superimposition  

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-http://ajourneyroundmyskull.blogspot.com/2008/10/roland-topor-and-max-rongier-comptines.html+In [[graphics]], '''superimposition''' is the placement of an [[image]] or video on top of an already-existing image or video, usually to add to the overall image effect, but also sometimes to conceal something (such as when a different face is superimposed over the original face in a [[photograph]]).
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-[[1975]] [[LP]] ''[[Panic - The Golden Years]]'' which is listed in the ''[[Broken Music]]'' book. So with a history like this, why on earth did [[Philips]] release a children's record by him? Recorded in 1978, this beautiful release presents 8 songs written by [[Topor]] set to music by [[Max Rongier]]. +
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-<hr>+
-:''http://www.youtube.com/watch?v=D2eVb4CC4XU''+
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-[[Dream sequence]] in ''[[La Prisonnière (film)|La Prisonnière]]'' ([[:1968#Canon|1968]])by [[Henri-Georges Clouzot]]+
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-I love [[dream sequence]]s in film. Every [[Disney film]] has nearly one. Always [[psychedelic]]. Film as a medium is [[medium specificity|particularly well-suited]] to impart [[dream vision]]s, much better than previous [[visionary literature]], which required more [[literary realism|narrative realism]].+
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-An interesting juxtaposition here is [[Dante]]'s ''[[Divine Comedy]]'' compared to [[L'inferno|its first film adaptation]][http://www.youtube.com/watch?v=RA3NRe5kgak].+
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-I guess it comes down to the boring but somehow unavoidably attractive literature vs. cinema debate I've been engaging in.+
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-The debate is boring when you limit it to either/or, but interest if you view it from its technical angle, with fiction at the center.+
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-Notions such as [[unfilmability]] provide the best entry point.+
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-But that notion I was not thinking about when going to bed last night. I thought about ''[[cinematic effects in literature]]'', a notion first put forward to my knowledge by [[Lotte H. Eisner]] in ''[[The Haunted Screen]]''.+
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-She writes:+
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-:"Romantic authors such as [[Novalis]] or [[Jean Paul]], while anticipating the Expressionist notions of [[visual]] [[delirium]] and of a continual state of [[effervescence]], also seem almost to have foreseen the cinema's consecutive sequences of images. In the eyes of[[Schlegel]] in ''[[Lucinde]]'', the loved one's features become indistinct: 'very rapidly the outlines changed, returned to their original form, then metamorphosed anew until they disappeared entirely from my exalted eyes.' And the [[Jean Paul]] of the ''[[Flegeljahre]]'' says: 'The invisible world wished, like chaos, to give birth to all things together; the flowers became trees, then changed into columns of cloud; and at the tops of the columns flowers and faces grew. In [[Novalis]]'s novel ''[[Heinrich von Ofterdingen]]'' there are even [[superimposition]]s." +
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-She concludes:+
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-:"It is reasonable to argue that the [[German cinema]] is a development of [[German Romanticism]], and that modern technique [cinematography] merely lends visible form to Romantic fancies."+
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-:"Another one via [[Girish]]: "In the fall of [[1958]], fifty years ago, the inaugural issue of [[Film Quarterly]] was published," writes editor [[Rob White]], "and it is fascinating to revisit those first years, when the [[European New Wave|European New Wave]] cinemas generated a [[scintillating]] critical energy in a pioneer magazine. [[Antonioni]] proved to be particularly [[galvanizing]]; almost the entire fall [[1962]] issue was given over to [[Ian Cameron]]'s 58-page study of the filmmaker's work. 'Antonioni's role in the cinema seems to me a fundamental one,' wrote [[Ernest Callenbach]], introducing the feature, though not a party line." " --[[GreenCine]]+
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In graphics, superimposition is the placement of an image or video on top of an already-existing image or video, usually to add to the overall image effect, but also sometimes to conceal something (such as when a different face is superimposed over the original face in a photograph).



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