Neculai Fantanaru

Everything Depends On The Leader

Art Between Frames And Effects

On November 16, 2016
, in
Leadership Z3-Extended by Neculai Fantanaru

Establish a connection between ideas, emotions, mental states, so that they can support your assertion in a specific context of expansion of the effects generated with the help of certain themes.

In Eisenstein’s film, plastic order is completed by the use of color: the theme of cruelty and death embodied by the Teutonic Knights is, on a chromatic scale, translated – apparently paradoxical – in the white of the capes, while the theme of heroism that characterizes the Russian fighters has as a chromatic equivalent – black.

The dynamic of all frames is in line with the appreciation of these plastic characteristics. The Teutonic Knights always appear in strictly geometrical formations, unlike the movements of the Russian troops, which are irregular, but ample, in successive streams and waves. In montage, the alternation of the white Teutonic Knights’ movements with that of the black Russian troops creates plastic rhymes entered into a symphony of movement.

In parallel there is another series of plastic themes, equivalent to ideas, emotions, mental states, which orchestrate together with the basic themes: the shape of the helmets, the theme of the lances that by their successive positions – horizontal or vertical – plastically comment on the events, the theme of fire closely linked to the Russians, that of the boot correlated with the Teutonic Knights . *

Leadership: Is the dynamic of all frames of expansion of the effects that you want to generate with the help of a popular theme in line with the appreciation of certain plastic characteristics?

Always when a combination of all cultural, existential and conceptual characteristics is attempted, developed in various scenes through the interaction of some impact characters, authors of great deeds, a so-called individualization takes place, a stronger focus on becoming something and a journey that gives the measure of a certain theoretical-methodological construct in psychology.

And this construct, in cinema, as in painting, creates "rhymes" (matches) between what is missing from the theme so that the painting can be complete and what you would like to be different for the painting to be easily customized. Basically, a sensational theme has the role of plastically commenting on past events, by introducing a dynamic of the imaginary and the most certain expression in a picture of emotions and concepts derived from it. This painting emphasizes the finding of new artistic ways of expressing the beliefs embedded in the director’s consciousness and intellect of an imposed, lived and fully assumed history.

The theme presents the ordering of some facts that deserve to be brought to light, it is a tendency of the director to fit into the existential sense of man who wants to shape his perspective of approaching the world with famous scenes and prominent characters brought back to life. The theme is the result of a perpetual search of causes, approaches and effects, entered into a symphony of movement, by the interaction of cognitive processes, volitional and emotional, that intertwine in a continuous dynamic of the frames of montage.

To artistically comment on certain important events in history means to reconstruct a world whose reality is between a vision based on the importance of the imaginary and a vision based on artistic knowledge (and on the artistic conception of a story).

Leadership is, at least in first phase, a rewriting of certain themes, motifs, conventions, specific means to achieve films, crystallized into a unitary structure of frames and images that demonstrates that closeness between ideas, emotions, mental states, under various conditions of exploitation. All this shows the possibilities of enhancement of plastic characteristics – i.e. specific means of expression.

These means of expression represent a cultural/intellectual choice associated with the self-affirmation of an artist in a specific context of expansion of the effects generated with the help of a theme.

To prove your role of a great artist in developing a premiere in the psychology of a different world, to bring a unique vision over a reality not always considered, you must capitalize on these opportunities to integrate themes into a device that has the power to amplify a specific scene. In cinema, this is possible by intensifying color or graphical overlays.

Leadership is like the territory of a dynamic of images, always reportable to some facts that deserve to be transposed into a vision meant to keep you breathless and with a knot of emotion in your throat.

Art Between Frames And Effects highlights that dynamic structure, the connection between ideas, emotions, mental states, which needs interpretation, the active interaction with the observer, to be able to materialize into a reality in which all cultural phenomena unite, interact and give a totalizing meaning.

* Note: Ion Barna - Eisenstein , Youth Publishing House, 1966.

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