Amer, S. (2020). The Style as an approach to examine the optical vision in both painting and cinematography, The case study of Goya in Bordeaux film. International Design Journal, 10(1), 137-146. doi: 10.21608/idj.2020.81514
Sawsan Amer. "The Style as an approach to examine the optical vision in both painting and cinematography, The case study of Goya in Bordeaux film". International Design Journal, 10, 1, 2020, 137-146. doi: 10.21608/idj.2020.81514
Amer, S. (2020). 'The Style as an approach to examine the optical vision in both painting and cinematography, The case study of Goya in Bordeaux film', International Design Journal, 10(1), pp. 137-146. doi: 10.21608/idj.2020.81514
Amer, S. The Style as an approach to examine the optical vision in both painting and cinematography, The case study of Goya in Bordeaux film. International Design Journal, 2020; 10(1): 137-146. doi: 10.21608/idj.2020.81514
The Style as an approach to examine the optical vision in both painting and cinematography, The case study of Goya in Bordeaux film
Assistant Professor, Department of Photography, Cinema and Television, Faculty of Applied Arts, 6th October University, Egypt
Abstract
The great works of art of the great artists have surpassed the cognitive and aesthetic levels of their age, and the ideas have been reflected in them. Each artist has his own special style, which characterizes his paintings or artistic schools that belong to him during his artistic career. Lighting and color are also considered as important elements of the style features of the artist, which are the main tools of the director of cinematography they are basic in his work, which distinguishes them from one style to the other. The Creative Cinematographer does not deal with those films that talk about the lives of artists in the traditional form. When he deals with them in his films, he has a double charge consisting of two parts: the first is to achieve a cinematic visual vision that suits the artistic personality around which the events revolve, and the second is to achieve his own creative vision. Research problem: There is a lack of creativity associated with the director of cinematography at the artistic and technical levels to achieve a special cinematic vision that represent the convergence between the artist style and the director of cinematography style. The research aims are: to highlight the creativity of the director of cinematography through lighting and color to produce visual image loaded with the artist style and successful in the representation of his life and at the same time characterized by a special cinematic style of the director of cinematography, It also aims to examine the extent to which the Director of Cinematography can translate the own style of the artist in a visual way in the film. The importance of research: is in the launch of a new study on the visual translation of the life of "fine artists" in cinematic way. The choice of Storaro stems from the fact that he is a global director of cinematography who has a unique and special vision. Storaro sees himself as a light story writer who creates a story using light to support and complements the larger story of the screenwriter and director. Storaro's history also includes two films that feature the lives of two artists: Goya and Caravaggio. The research assumes the ability of the director of cinematography to create a visual image parallel to the creativity in the plastic paintings. Methodology : The research follows the descriptive analytical approach. Findings: Storaro's style succeeded in achieving the same visual impact of Goya's works, presenting a visual romance using lighting and color. Storaro's creative style of using lighting and color was clearly demonstrated technically and artistically in the expression of hallucinations, emotions, dreams and memories of Goya. Storaro achieved the theatrical character adopted by the director, using lighting techniques, presented a new and different cinematic image, enter into the imagination, where the walls appeared transparent and colors and decorations are appeared too. The visual image presented a new visual vision of Joya's work and life. Storaro's cinematographic own style appeared strongly in the sequence of war scenes (representing the famous ”The Third of May “and “The Second of May” paintings of Joya) Storaro's colors flow is clearly visible, which is one of the most important signs of his style. Light and color are the two main style elements that combine oil painting with cinematography.
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