Not Signed-In
Which clippings match 'Window' keyword pg.1 of 2

Welles and Toland's use of deep screen space in Citizen Kane

"It begins with young Charles Kane in long shot, playing with his sled in the snow. The camera then pulls back to reveal that it has been shooting through a window. This effect creates a visual metaphor. The boy playing in the snow is not as free as he at first seems. Just as his image is suddenly confined by a window frame, so his life will be circumscribed by a decision that is being made for him inside the house. Kane's mother appears at the window calling out to her son to 'Be careful,' and 'Put your muffler around your neck, Charles.' As the camera tracks back, wards from the window into the space of the house, it reveals Mr. Thatcher standing at the right of the window. He says, 'We'll have to tell him now.' Ignoring this comment, the mother replies, 'I'll sign those papers now, Mr. Thatcher.' From frame left Kane's father appears, saying, 'You people seem to forget that I'm the boy's father.' The camera tracks backwards as Mrs. Kane walks over to a desk in the foreground of the image and sits down to sign the papers, with Thatcher seated next to her. An argument ensues in which the father, who appears in the middle ground of the image, strongly protests the mother's decision to hand his son over to a bank and threatens to take the case to court. The mother is icily adamant in honoring the agreement she has made with Thatcher. In exchange for the bank's full assumption of the management of the gold mine (the Colorado Lode), the bank which Thatcher represents will assume full responsibility for all matters concerning the boy's education and place of residence. Mr. and Mrs. Kane will receive fifty thousand dollars a year as long as they both live. This last bit of information, which Thatcher reads aloud, silences the father, who mutters, 'Well, let's hope it's all for the best.'

Throughout the scene, while all this activity takes place, we can see the boy Charles playing with his sled far in the back of the image, in extreme long shot, framed by the window pane, and totally oblivious to the momentous decision his mother has made about his life. Because of the length of the shot and the careful blocking of the action, our eye is free to focus on whichever player we choose, or our attention can wander from one player to another, as if we were spectators in the theater.

At the same time, the camera places us sufficiently close to the actors in the foreground of the image that we can read their expressions with much greater clarity than would be possible in the theater. We can look for clues in the frozen but somehow anguished expression of Mrs. Kane for why she is so determined to separate herself from her son. We can wonder in observing the slightly exasperated and nervous expression on Thatcher's face what kind of guardian he will make for a young boy. Or we can observe the father's angry, worried expression and wonder why he backs down. The father's position further back in the screen space makes him seem smaller than his wife and Mr. Thatcher, his diminished size somehow appropriate to his lack of power to influence his son's fate. The crowning brilliance of the scene is the tiny image of Charles Kane far in the depth of the screen space. Although the film is about him and in later scenes he will loom large indeed, here he is a tiny speck. On first viewing the film, some may not even notice him. But his understated presence playing outside the window, shouting 'Union forever' as his mother is about to send him off into the world without her, is one of the most poignant moments in film."

(Marilyn Fabe, 2004, p.85–86)

3). Marilyn Fabe (2004). "Chapter 5 Expressive Realism" in "Closely Watched Films: An Introduction to the Art of Narrative Film Technique", University of California Press (3 Aug 2004)



1941bank • blocking of the action • boycamera • Charles Kane • cinematography • circumscribed • Citizen Kane • Colorado Lode • composition • confined • deep focusdepth of the screen spacedesign formalism • diminished size • editing through selection • extreme long shot • fatefigures in spacefilmframe • frame-within-a-frame • framed by the windowframingfreedom • gold mine • Gregg Toland • lack of power • length of the shot • long shot • long takesmise-en-sceneOrson Wellesphotographyplayingscene • screen image • screen space • significant actions • sled • snowsnowballtheatrical spacetracking camera • union forever • visual designvisual languagevisual metaphorwindowwindow frame


Simon Perkins

The Art of Tatebanko

"河出書房新社さんから「そのまま立版古」という本が出版されました。 広重、北斎の名作浮世絵を元素材に、5作品が立版古になったものを作って楽しめるキット本となっています。 またキット部分以外でも簡単な「立版古の説明」などの情報もあります。出来上がりは丁度手のひらに乗るくらいのコンパクトな感じに仕上がります。"

Fig.1 Hokusai (circa 1830). "The Great Wave off Kanagawa (北斎 / 神奈川沖浪裏), woodblock print

Fig.2 Daniel Rua (February 2010)

[Hokusai's Great Wave off Kanagawa uses layering much like that used in the traditional Japanese art form of Tatebanko.]




Simon Perkins
06 MAY 2011

Cologne Cathedral pixelated stained glass window

"In August 2007 Gerhard Richter's new stained glass window for the south transept of Cologne Cathedral was unveiled. The original window was destroyed in World War II and had been replaced with plain glass. Inspired by Richter's 1974 painting '4096 Farben', the window consists of around 11,500 hand–blown glass squares in 72 different colours. Echoing the colours of the surrounding windows, Richter's illuminated abstraction blends a modernist aesthetic with the Gothic ecclesiastical architecture of the cathedral."

(Gerhard Richter)



19742007 • 4096 Farben • abstractioncathedralCologne • Cologne Cathedral • colourcolour field • ecclesiastical architecture • Gerhard Richter • Germany • glass squares • gothic • hand-blown • illuminated abstraction • modernist aestheticpixel • pixelated stained glass • pixilated • randomstained glass • stained glass window • windowWorld War II


Simon Perkins
11 NOVEMBER 2007

Tracking The Trackers: Unmasking Wiki

Window (Ash Kilmartin, Sam Rountree Williams, Luke Munn)
Next month US based artist Wayne Clements will present a new variation of his un_wiki project specifically for Window. Clement?s Neutral 3 script filters through electronic encyclop[a]edia Wikipedia?s recent pages log, ignoring hundreds of edits on boyfriends, tech trends, and local events, in search of something more sinister. The software contains a list of ?shadowy editors? ? from defense departments in the US and Australia through to corporate giants like Deutsche Bank, Shell Oil and the Ford Motor Company.

Using tracing technology developed by Virgil Griffith, the artist is able to link the editor with the edited. Griffith created the software "to create minor public relations disasters for companies and organizations I dislike", and has so far succeeded. Australian Department of Defense staff are now banned from editing articles after it was discovered the department has made over 5000 edits. Dell, the American Rifle association, and both Democratic and Republican parties were also caught in the fallout, being linked to 'improving' articles that were potentially damaging.

Of course, Wikipedia "conflict of interest" policy is ineffectual and debateable. Who better to create that article on a new technology than the developer? The organiser of a local event is the perfect contributor for an wiki article on it. The problem lies in the potency of the information – from relatively harmless "graffiti" remarks on [Prime Minister or Aotearoa] Helen Clarke's page, to rewrites of presidential administration history, and changes to crash articles by the airline responsible.



AfD • Aotearoa New Zealand • articles for deletion • biascensorship • Clements • Neutral 3 • trackerwikiWikipediawindow
18 AUGUST 2006

Critique through emphasising clichéd cinematic plots

"A collage of Hollywood melodramas of the 1950s and 1960s, filmed directly from the television set. The constantly recurring motifs of suspense and clichés of plot make it possible to move seamlessly among scenes from different films with different protagonists: uneasy sleep, getting up, listening at the door, turning on the lights, being startled, etc.

In the montage, the movements and gestures of the actresses–stars like Lana Turner, Tippi Hedren, and Grace Kelly– seem choreographed and planned for each other. The sound track (Dirk Schäfer) supports this effect with connecting passages of sound that imitate the stereotypes of the genre. The treatment concentrates the dramatic shift from the familiar to the eerie and shows how women become the victims of the voyeuristic glance of film."

(Media Art Net)






1990 • choreograph • clicheculture jammingcut-up technique • Dirk Schafer • filmGrace KellyHollywoodHollywood starHollywood starlet • Home Stories (1990) • hysteria • Lana Turner • mash-up • Matthias Muller • Media Art Netmelodramamontageparodyre-purposestereotype • Tippi Hedren • unmanageable emotional excesses • window

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