The Phenomenology Of Representativeness

Raise the question of time on another plane, bringing into play the intertwining of relationships between "Old" and "New".

Thus, Eisenstein has to solve a complex compositional problem, imposed by the concrete case which appeared to him through the theme of this film. The solution to the time problem was sought for a very long time, it was and old and constant concern of his, and it is probably the case here that we say it. "The Strike" was in fact the crystallization of a fact repeated continuously historically, in a fable which encompassed an entire experience accumulated historically, so in time. The film "Potemkin" solves the same problem in a different manner, focusing a revolutionary period into a single representative episode.

The optics used in both cases was that of focusing on the principle of the metaphor: symbol in one case, synecdoche in another. The dilation of the events in the film would’ve led to the historic fresco in time. The film "The Old and The New" raises the question of time on a different plane, bringing into play the intertwining, the conflict between two stage of human history. *

Can you achieve that experience of progress in stylizing the composition to achieve the unification of the subject and composition, using the approach of a visual representation based on metaphor?

Leadership is reflected in the forms of expansion of the methods of combining the elements that turn creation into an act of communication. Basically, the user of science communicates his points of view vis-à-vis a certain peculiarity of his personal way of relating to a certain context or subject, focusing especially on the principle of metaphor. We are dealing, somehow, with the way of capturing several different frames of events or happenings, by other means of perceiving reality, so that the coherence between the foreground and the background can be combined in a single representative episode.

Preferably, regarding the area of research and the highlighting of the image of a certain subject, is that these elements distinguish themselves as a form of advanced knowledge. Here occurs increasingly often the tendency of focusing on establishing principles and assigning symbols to key components that ensure the validity of the promoted "product." Meaning, the movie. This can be fine-tuned by encouraging the focus on the metaphor principle that an image should be viewed as an opening of a road, not as a closed door, in order to be credible.

Or, as one person on the web said: “The metaphor has to be emotionally saturated, creating an image, because the image is “the bullet with its center moved, it sticks in memory for years.”

Directors and artists, in general, follow a direction of development based on research on the absolute size of the plus-value resulting from enlarging the meanings attributed to happenings or surrounding events, in relationship to man, time and the given story. The crystallization of a fact repeated continuously historically, in a fable which comprises an entire experience accumulated historically, so in time, represents the factor that determines the proportion between lucidity and imagination.

Can you revise your vision of artistic representation through a different conception of creation and its diversified character, so as to give a unique note of the unification between subject and composition?

The events have the chance of becoming an episode representative for the way in which these makers of creation understand the relationship with the world, with reality, time and with themselves. An episode able to suggest the entire set of aspects that make up the mission of giving life to certain characters, making the processing and defining of compositions, new data and types of concepts more exciting.

Leadership, being able to also give interesting results in determining the types of personality that correspond with your own understanding of the world, includes the relationship between lucidity and imagination. And the representative is what grows by exploiting this relationship. It should also be taken into account that a creation can be valued only by the ability of the director to adhere to unwritten “rules” of the moment, and to focus more on form than on content. For example, it may be more important to understand the idea conveyed by the film, than to choose in image that will have a great impact with the public.

Only those who manage to conceive a certain primacy of representation by raising the issue of time on another plane, brining into play the intertwining of relationships between "Old" and "New", will be able to grasp that experience of the progress in obtaining unification between subject and composition.

To concentrate an image in a single representative episode means to give a truthful note to the composition that triumphs through an ingenious chain of sequences containing the value of "absolute intensity" at the level of the transmitted message.

The Phenomenology Of Representativeness implies that quality of artists of highlighting unique traits of a certain researched subject, in relation to the world, reality, time and to themselves, with the purpose of obtaining new compositions and concepts that are worthy of the appreciation of others.

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