Fifth Dimensional Perspectives of Cinematic Arts Digital Cinema Practice and Aesthetics of Vincent Van Gogh

DOI

10.2991/icadce-15.2015.32How to use a DOI?

Keywords

Digital Cinema; Genuine Oriental Aesthetics; Digital Image Processing; 5 Dimensional Perspectives

Abstract

To pursue genuine oriental aesthetics on digital filmmaking, my film celebrating the 125th anniversary of great Dutch painter Vincent Van Gogh is scripted and produced. It was through a letter written by Vincent Van Gogh to his friend “Vincent” in Hangzhou, China on the evening Dec 23rd, 1888 - “My dear Vincent! I am creating a joy. What I hear, see, taste, smell, and touch is all illusion. This illusion is manifested onto the reality I believe. The mind is life. I declare that life is the continuity of this illusion. That is the law of university.” Through the time eclipse, the Chinese artist “Vincent” is able to realize the action today, 2015. In contemporary Asia, the style of western movies is dominant and affects life of habitats. Asian excitingly consumed images, political concerns and social ethics from the motion pictures produced by westerners. It is not surprising that life imitates art of films. There are human condition and life quality in which deserved to the individuals of Asian region. The time now is we are living in the abundance of visual materials. This abundance of material leads us to complacency of imitation and reiteration rather than creation and invention. Not only poetry requires great efforts to comprehend and to interpret but also a work of visual art finds itself hard to define. However, traditional oriental representational arts had successfully reinvented the life of phenomena through the complex application of codes and conventions of pictorial graphic language. Oriental culture has its own renaissance, shining moments and values. It is time to reinvent and restore its humor, and re-discover its joy. This research intends to create the application of authentic Asian perspectives and compositions to filmmaking. Traditional Oriental Master paintings such as Jeong-seon(Korean, , 1676–1759)/ ‘Clearing After Rain in Mt. In-wang’, Guo Xi ((Chinese: , c. 1020–c. 1090)/ ‘Early-Spring’ show unique convention for representing distance and forms of two dimensions in accordance with its philosophy. There are qualitative differences between representational media and recording media. The continuous development of technology allows these differences to overcome. The recording arts such as camera and sound recorder provides more direct path between subject and observer. The application of the spirit of oriental paintings to digital filmmaking opens to a new level of discourse of cinema.

Copyright

© 2015, the Authors. Published by Atlantis Press.

Open Access

This is an open access article distributed under the CC BY-NC license (http://creativecommons.org/licenses/by-nc/4.0/).

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TY  - CONF
AU  - Ouchul Hwang
PY  - 2015/05
DA  - 2015/05
TI  - Fifth Dimensional Perspectives of Cinematic Arts Digital Cinema Practice and Aesthetics of Vincent Van Gogh
BT  - Proceedings of the 1st International Conference on Arts, Design and Contemporary Education (ICADCE 2015)
PB  - Atlantis Press
SP  - 145
EP  - 150
SN  - 2352-5398
UR  - https://doi.org/10.2991/icadce-15.2015.32
DO  - 10.2991/icadce-15.2015.32
ID  - Hwang2015/05
ER  -