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- F.W. Murnau; John Ford; motion picture; aesthetics; visual style; Film Style; 1920s; 1930s; Sunrise; German Expressionism; Hollywood; (1)
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Articles 1 - 3 of 3
Full-Text Articles in Visual Studies
The Scars Of War: The Demonic Mother As A Conduit For Expressing Victimization, Collective Guilt, And Forgiveness In Postwar Japanese Film, 1949-1964, Sophia Walker
Honors Projects
Contemporary American viewers are familiar with the vengeful and terrifying ghost women of recent J-Horror films such as Ringu (Nakata Hideo, 1998) and Ju-On (Shimizu Takashi, 2002). Yet in Japanese theater and literature, the threatening ghost woman has a long history, beginning with the neglected Lady Rokujo in Lady Murasaki’s 11th century novel The Tale of Genji, who possesses and kills her rivals. Throughout history, the Japanese ghost mother is hideous and pitiful, worthy of fear as well as sympathy, traits that authors and filmmakers across the centuries have exploited. This project puts together four films that have never before …
Seeking Solace: Regret, Grief, Anxiety, Rebecca Schroeder
Seeking Solace: Regret, Grief, Anxiety, Rebecca Schroeder
Honors Projects
Seeking Solace: Regret, Grief, Anxiety is a triptych video and artifact piece inspired by the abstract analysis of my dreams. It recognizes worries held within my subconscious and brings them to life through graphic design, photography, and video. The process of creating provides a new perspective of looking at both art and occupational therapy as methods of solving emotional distress.
I have recorded over 80 of my dreams in the past year. In these dreams, regret, grief, and anxiety are common themes. These themes are represented in three triptychs that cycle through past, present, and future problems. The cycling of …
Mutual Aesthetics, Joseph D. Sherry
Mutual Aesthetics, Joseph D. Sherry
Honors Projects
At first glance, it may seem surprising that I’ve paired Murnau and Ford. Murnau is considered a modernist whose style is rooted in Germany’s stylistic heritage and is best remembered for films noted for their artful aestheticism and technical innovation. Ford, on the other hand, is recognized as a classicist, best remembered today for his mastery of Hollywood narrative filmmaking, in particular the genre of the western, a position crystallized in his famous self-description: “My name’s John Ford. I make Westerns.” Yet despite their diametrically opposed positions on the relationship of film to art, both directors were noted for their …