This document discusses several key concepts related to art appreciation and filmmaking. It begins by stating that art is for everyone regardless of attributes and that there is an artist within every person. It then discusses various artistic concepts like aesthetics, imagination, abstraction, themes, and styles. For filmmaking, it notes that the director's personality and subjective intervention shape the film through choices in what reality to depict and how to structure the narrative over time and space. Overall, the document provides an overview of artistic concepts and principles of filmmaking realization through a director's choices and interpretation.

1. By: Sandra Pico
Cinema Appreciation

2. Observation of Art and the art of Observation
Work of art is for everybody, no matter the age, the social
condition, education, genre, young or old.
All people are able to enjoy of art.
There is an artist in every human being. We need
to practice and develop this gift. Not everybody
has this disposition.
Knowledge Sensitivity

3. Delight of art Participate in the process
of creation
Observe
Create
some
fantasy

4. An artist work is not only the gorgeous
expression of an object
It explains the reality that it represents – based
on experiences of the artist

5. Creative abilities
Esthetics : term created by Alejandro Baumgarten. 18th century.
Esthetics beauty sensation science of thought
The raw material
• Materials are not the ones which differenciate arts the most.
• Mineral substances - color powders, oils, stones, marble, steel
• Music, dramatic art and film- making
• Dancing, miming, poetry.
• The fundamental matter are the images of fantasy.

6. Imaginative ability
• Fantasy or imagination is a human ability.
• Image - visible and sensorial data - imaginative memory.
• An image awakes emotions.
• Art is the result of the order and harmony created by the intelligence
over the sensorial data.
• Every person is subjected to a cognition process of his/her sensorial
nature.
Background and shape
• Term used to refer to the content presented by the work of art.
• The background is secondary if abstracted from its shape.
• Art has the power to transport us to the moment when characters’ lives
took place.
• History narrates the facts in present tense.

7. Abstraction
• It is to take something out and keep only what is most interesting.
• We use our senses. See , listen, touch , taste, smell real and unique
things.
The artistic idea
• Intellectual piece of knowledge – it purpose is the beautiful shape.
• The internal value is justified by the value of its own shape
• Cinema is in essence, the creation of motion by means of images on the
screen.
Stylization
• It does not simultaneously occur on all the stages.
• The cinema may stylize some factors while does not do it with others.
• The editing stage, with its unreal treatment of time and space and its
selective process for narrative factors is called stylization.

8. Fundamental principles of the artistic shape
Theme Unity
Examine the deepest texture of
unity = repetition.
The idea is repeated some times to
show a concept.
Rhythm
It is created when an element
repeats every certain equal
amount of time.
Rhythm is the continuous
repetition of the same element.
Rhythm may happen in very
different orders.

9. Variety
• Theme unity - If the repetition is disordered
regarding a constant reason.
• Art of avoiding monotony.
• Things stop being beautiful when they are
not attractive - when they do not awaken
interest in the viewer. To solve it, variety
shows up.
Contrast
• It is another useful resource to avoid
monotony.
• A contrasting element would be every
other issue different from the topic or
principal element.

10. Progressive development
• It means increasing interest.
• Periods or cycles.
The Total Cycle
• Unity refers to the whole work
• The Dramatic Plan has four essential parts:
o Introduction
o Development
o Culmination or Climax
o End

11. Time – space
• Time is a convention that has been given to us as
something real and external.
• Time exists within us as a mere relationship among
different movements all of them referred to the changing
sunlight.
• Spatial rhythms are a result of time rhythm - every spatial
repetition is product of a regular movement.

12. For a theory of Film – making realization
The subjective
intervention
Film narration exists thanks to contribution of an
instrument that pictures nature.
The sign of cinema has intimate reason to be in its
origin itself.
The origin places itself among the phenomena of
the reproductive and mimetic nature in general.
A film- making movie is the expression of an
interpretative act of the one who has directed the
film.
The director’ s personality intervenes in the image
and film.
Viewer’s mood: illusion of similarity and illusion of
motion, both ruled by the magic art of the author.
Illusion of Similarity
Everything is fictitious on the screen.
The shapes are the result of the reflection of a
light cone.
An illusion may only be strong if it is complete in
all its aspects.
Director chooses the portion of reality is
interested in and anticipate the real limits of the
picture.
Director should choose with his imaginative ability
the most suitable sides from every object in front.
In the constancy of the shape, we don’t get any
impressions in agreement with the images