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Which clippings match 'Truth Of Perception' keyword pg.1 of 1
28 DECEMBER 2012

Documentaries were always forms of re-presentation

"But as a strategy and a form, the interview–oriented film has problems of its own. ... the film–maker with intertitles, making patently clear what has been implicit all along: documentaries always were forms of re–presentation, never clear windows onto 'reality'; the film–maker was always a participant–witness and an active fabricator of meaning, a producer of cinematic discourse rather than a neautral or all–knowing reporter of the way things truely are."

(David MacDougall p.260, 1985)

MacDougall, David. "The Voice of Documentary", in Movies and Methods: Volume II, Bill Nichols ed. Berkeley: University of California Press, 1985.

Fig.1 Dana Perry and her son Evan Scott Perry, at age 3, HBO documentary "Boy Interrupted" [http://www.hbo.com/documentaries/boy–interrupted]

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authorial intrusionauthorship • Bill Nichols • documentariesdocumentary • documentary interview • documentary representation of reality • documentary truthfilmfilm scholarshipfilm theoryfilmmaking processreal liferealismrealitiesrealityrepresentationrepresentational modesrepresentational strategies • semiological methods • structuralist-semiology • textual referencetheoretical perspectivestruthtruth and realitytruth of perception

CONTRIBUTOR

Simon Perkins
04 DECEMBER 2011

Guardian rehires 'Skinhead' agency

"BMP [Boase Massimi Pollitt] was the Guardian's advertising agency in the mid–80s, when it created one of the most famous British adverts of all time for the newspaper.

The 1986 commercial featured a skinhead who appeared to be wrestling a man's briefcase from his hands. But the camera then cuts and viewers see that he is in fact trying to rescue the man from falling bricks.

'We had some inspirational pitches over the last few weeks but BMP's work really stood out,' said Marc Sands, Guardian Newspapers marketing director.

'Their intuitive understanding of our brands and the demands placed upon them was impressive. We look forward to some fantastic work springing from a genuine partnership.'

BMP will create advertising for the Guardian Unlimited websites as well as for the Guardian newspaper."

(Claire Cozens, 21 December 2000)

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1980s1986advertisingadvertising agency • BMP (advertising agency) • Boase Massimi Pollitt • briefcase • Britishcamera anglefalsehood of images • Guardian Newspapers • Guardian Unlimitedperspectivepoint of viewskinheadThe GuardianThe Whole Picturetruth of perceptiontv adwhole is greater than the sum of the parts

CONTRIBUTOR

Simon Perkins
11 APRIL 2011

Onscreen discussion of the ontology of the photographic image

"The film commences with a fast moving introduction to the very stylish world of a hot fashion photographer, Thomas, played by that emblematic '60s actor, David Hemmings. This is the world made notorious by magazines like Tatler and Queen as well as all the tabloids of the world, all Pucci fashion, dolly birds (Jane Birkin made her name in this film), drugs, fast cars and rock–and–roll. ...

Throughout Blow Out and Blowup there is always a sense in which recording media themselves are seen as, somehow, treacherous. Antonioni's Blowup forcefully reminds us that even the latest technologies can mislead or betray us. In the computer age, it this remaining element of ontological uncertainty that still troubles the human observer–for we are not, quite yet, masters of information"

(Jonathan Dawson, February 2005, Senses of Cinema)

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1960s1966 • Blow Out (1981) • Blow-Up (1966) • Carlo Ponti • casual sexcontextcoolcountercultureDavid Bailey • David Hemmings • diegetic sound • Edward Bond • fashionfashion modelfashion photographerfashion photography • fashion shoot • feature filmfilm grainHerbie Hancockhuman perception • Jane Birkin • John Castle • Julio Cortazar • layeringLondonmake-upMichelangelo Antonionimod fashionmurderobscured view • ontology of the photographic image • photographphotographer • photographers studio • photographic blow-upsphotographic image • Sarah Miles • Senses of Cinema (journal)sixtiessixties cool • swinging sixties • The Yardbirds • Tonino Guerra • transparency • transparent layers • truth of perception • Tsai Chin Gillian Hills • Vanessa Redgrave • Vera Grafin von Lehndorff-Steinort • Veruschka von Lehndorff • whole is other than the sum of the parts • young lovers

CONTRIBUTOR

Simon Perkins
31 OCTOBER 2009

Felice Varini at Osaka Securities Exchange Building

"If we approach the painting of Felice Varini with the aim of describing it, in its fundamental components, the most productive concepts – in particular those of 'vantage point', 'focus' and 'framing' – all closely related to the vocabulary of photography. If we begin with the device Varini employs in each of his artworks, the differences between painting and photography are, effectively, reduced to a minimum. The artist's work, concentrating on the problem of falsehood of images in relation to the truth of perception, makes use of photography, going so far as to equate it with painting in the strategies of constitution and unmasking of iconic status. The roots of photography – the 'machine à dessiner' and the camera obscura – closely connect it to the tools of the painter. Photography demonstrates the functioning of perspective as a construct based on the fixed gaze and monocular vision, thus radicalizing the theme of painting as illusion: 'in the window and in the photograph the framed world seems to inscribe and represent itself in an immediate manner' (1)."

(Roberta Mazzola)

1). Johannes Meinhardt, La realtà dell'illusione estetica. Le 'trappole visive' di Felice Varini, Lugano, Edizioni Studio Dabbeni, 1999, p. 29. The definition machine à dessiner dates back to France in the 17th century. On the forerunners of the camera, see: Heinrich Schwarz, Arte e fotografia, Torino, Bollati Boringhieri, 1991.

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anamorphicanamorphosisartistartwork • camera obscura • falsehood of images • Felice Varini • focusframegazeillusionillusionistic spaceJapanop artoptical art • Osaka • paintingpainting as illusionperspectiveperspective viewphotographyplacePOV • Securities Exchange Building • truth of perceptionvantage point

CONTRIBUTOR

Simon Perkins
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