Sunday, May 9, 2010
Final Analysis
My final design is based on the concepts of film, perspective and contradicting light.
The use of film is a clear theme within Edward Hopper's New York Movie, where a movie is being shown in a cinema. The painting itself reflects a still from a film: with the bright hues, placement within the scene and dramatic mood. The idea of film in cinema is based on movement within a set, ridged frame. As images move in and out of the frame, we are only able to connect with what is within the square from which we view the film. The idea of movement within a rigid form are reflected in the circulation process within the spaces. This circulation was developed to imitate the stages of filming.
In the painting, an audience watches a film, imitating emotion. While the audience gain pleasure from connecting with these emotions, they fail to notice true emotion being reflected by the usherette behind them. This fight for attention is lost by the woman, and only the representation of emotion is able to be seen. This idea is reflected in the filming and projecting of the actress on the screen. While the audience is able to see the artificial play-drama on the screen, they can not view the true emotions reflected in the woman as she performs below.
Perspective is used within the painting to to create focal points within the painting. New York Movie contains multiple points of perspective. However many of these views are cut off from view to the woman. This reflects her lack of knowledge about her future (in the film industry). The use of focal points moving inward, create a different emotional effect to those moving outward.
The use of perspective and angling lines are inspiration in the form of the building. In plan and elevations, there is vectoring toward the amphitheater space: toward the screen and performance space, creating a focal point for the general public to watch what is being created. The womans 'lost' state is represented through the meandering staircases: as she moves around to each stage of the filming, she must turn around to be able to enter the area and see the space fully.
Within Hopper's painting, light is used to distinguish between spaces and project an area of focus within the scene. The wall light behind the woman creates a bright glow which surrounds her. This light causes us to focus on this usherette. The light creates a concentrated beam, creating vectors leading to the actress. dappled light is also used to create even, though dim, lighting in the cinema space. This idea is reflected in the created theatre though the use of intense lighting on the ground floor- where thin beams of light are allowed to stream into the space and create a 'spot light' on the actress below.
The use of film is a clear theme within Edward Hopper's New York Movie, where a movie is being shown in a cinema. The painting itself reflects a still from a film: with the bright hues, placement within the scene and dramatic mood. The idea of film in cinema is based on movement within a set, ridged frame. As images move in and out of the frame, we are only able to connect with what is within the square from which we view the film. The idea of movement within a rigid form are reflected in the circulation process within the spaces. This circulation was developed to imitate the stages of filming.
In the painting, an audience watches a film, imitating emotion. While the audience gain pleasure from connecting with these emotions, they fail to notice true emotion being reflected by the usherette behind them. This fight for attention is lost by the woman, and only the representation of emotion is able to be seen. This idea is reflected in the filming and projecting of the actress on the screen. While the audience is able to see the artificial play-drama on the screen, they can not view the true emotions reflected in the woman as she performs below.
Perspective is used within the painting to to create focal points within the painting. New York Movie contains multiple points of perspective. However many of these views are cut off from view to the woman. This reflects her lack of knowledge about her future (in the film industry). The use of focal points moving inward, create a different emotional effect to those moving outward.
The use of perspective and angling lines are inspiration in the form of the building. In plan and elevations, there is vectoring toward the amphitheater space: toward the screen and performance space, creating a focal point for the general public to watch what is being created. The womans 'lost' state is represented through the meandering staircases: as she moves around to each stage of the filming, she must turn around to be able to enter the area and see the space fully.
Within Hopper's painting, light is used to distinguish between spaces and project an area of focus within the scene. The wall light behind the woman creates a bright glow which surrounds her. This light causes us to focus on this usherette. The light creates a concentrated beam, creating vectors leading to the actress. dappled light is also used to create even, though dim, lighting in the cinema space. This idea is reflected in the created theatre though the use of intense lighting on the ground floor- where thin beams of light are allowed to stream into the space and create a 'spot light' on the actress below.
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