INTERNACIONALNI UNIVERZITET TRAVNIK

U TRAVNIK
SAOBRAAJNI FAKULTET

PORTFOLIO

Mentor: Prof. Dr. Murat Dizdarevi

Student:Sanio Osmanovi

Ass:Mr. Aida Terzi

Broj indexa: S-01/13-I

Travnik,decembar 2014

SADRAJ

SCULPTURE.......................................................................................3
MUSICAL...........................................................................................4
FILM NOIR........................................................................................6
CLASSICAL ART vs. MODERN ART............................................................8

SCULPTURE

Sculpture is the branch of the visual arts that operates in three dimensions. It is one of
the plastic arts. Durable sculptural processes originally used carving (the removal of material)
and modelling (the addition of material, as clay), in stone, metal, ceramics, wood and other
materials but, since modernism, shifts in sculptural process led to an almost complete freedom
of materials and process. A wide variety of materials may be worked by removal such as
carving, assembled by welding or modelling, or molded, or cast. Sculpture in stone survives
far better than works of art in perishable materials, and often represents the majority of the
surviving works (other than pottery) from ancient cultures, though conversely traditions of
sculpture in wood may have vanished almost entirely. However, most ancient sculpture was
brightly painted, and this has been lost.A basic distinction is between sculpture in the round,
free-standing sculpture, such as statues, not attached (except possibly at the base) to any other
surface, and the various types of relief, which are at least partly attached to a background
surface. Relief is often classified by the degree of projection from the wall into low or basrelief, high relief, and sometimes an intermediate mid-relief. Sunk-relief is a technique
restricted to Ancient Egypt. Relief is the usual sculptural medium for large figure groups and
narrative subjects, which are difficult to accomplish in the round, and is the typical technique
used both for architectural sculpture, which is attached to buildings, and for small-scale
sculpture decorating other objects, as in much pottery, metalwork and jewellery. Relief
sculpture may also decorate steles, upright slabs, usually of stone, often also containing
inscriptions. One of the most common purposes of sculpture is in some form of association
with religion. Cult images are common in many cultures, though they are often not the
colossal statues of deities which characterized Ancient Greek art, like the Statue of Zeus at
Olympia. The actual cult images in the innermost sanctuaries of Egyptian temples, of which
none have survived, were evidently rather small, even in the largest temples. The same is
often true in Hinduism, where the very simple and ancient form of the lingam is the most
common. Buddhism brought the sculpture of religious figures to East Asia, where there seems
to have been no earlier equivalent tradition, though again simple shapes like
the bi and cong probably had religious significance. Small sculptures as personal possessions
go back to the earliest prehistoric art, and the use of very large sculpture as public art,
especially to impress the viewer with the power of a ruler, goes back at least to the Great
Sphinx of some 4,500 years ago. In archaeology and art history the appearance, and
sometimes disappearance, of large or monumental sculpture in a culture is regarded as of
great significance, though tracing the emergence is often complicated by the presumed
existence of sculpture in wood and other perishable materials of which no record

remains; the totem pole is an example of a tradition of monumental sculpture in wood that
would leave no traces for archaeology. The ability to summon the resources to create
monumental sculpture, by transporting usually very heavy materials and arranging for the
payment of what are usually regarded as full-time sculptors, is considered a mark of a
relatively advanced culture in terms of social organization. Recent unexpected discoveries of
Ancient Chinese bronze age figures at Sanxingdui, some more than twice human size, have
disturbed many ideas held about early Chinese civilization, since only much smaller bronzes
were previously known. Some undoubtedly advanced cultures, such as the Indus Valley
civilization, appear to have had no monumental sculpture at all, though producing very
sophisticated figurines and seals. The Mississippian culture seems to have been progressing
towards its use, with small stone figures, when it collapsed.

MUSICAL

Musical theatre is a form of theatrical performance that combines songs, spoken dialogue,
acting, and dance. The story and emotional content of a musical humor, pathos, love,
anger are communicated through the words, music, movement and technical aspects of the
entertainment as an integrated whole. Although musical theatre overlaps with other theatrical
forms like opera and dance, it may be distinguished by the equal importance given to the
music as compared with the dialogue, movement and other elements. Since the early 20th
century, musical theatre stage works have generally been called, simply, musicals. In the new
century, familiarity has been embraced by producers and investors anxious to guarantee that
they recoup their considerable investments, if not show a healthy profit. Some took (usually
modest-budget) chances on the new and unusual, such as Urinetown (2001), Avenue
Q (2003), Caroline
Bee (2005), The

or
Light

Change (2004), The

in

the

25th

Annual

Piazza (2005), Spring

Putnam

County

Spelling

Awakening (2006), In

the

Heights (2007), Next to Normal (2009) andAmerican Idiot (2010). But most took a safe route
with revivals of familiar fare, such as Fiddler on the Roof, A Chorus Line, South
Pacific, Gypsy, Hair, West Side Story and Grease, or with other proven material, such as films
(The Producers, Spamalot, Hairspray, Legally Blonde, The Color Purple, Xanadu, Billy
Elliot andShrek) or well-known literature (The Scarlet Pimpernel and Wicked) hoping that the
shows would have a built-in audience as a result. Some critics consider the reuse of film plots,
especially those from Disney (such as Mary Poppins, and The Little Mermaid) a redefinition

of the Broadway and West End musical as a tourist attraction, rather than a creative outlet. [14]
Another trend has been to create a minimal plot to fit a collection of songs that have already
been hits. Following the earlier success of Buddy - The Buddy Holly Story, these have
included Movin' Out (2002, based on the tunes of Billy Joel), Jersey Boys (2006, The Four
Seasons), Rock of Ages (2009, featuring classic rock of the 1980s) and many others. This style
is often referred to as the "jukebox musical".[73] Similar but more plot-driven musicals have
been built around the canon of a particular pop group including Mamma Mia! (1999, based on
the songs of ABBA), Our House (2002, based on the songs of Madness), and We Will Rock
You (2002, based on the songs of Queen). The U.S. and Britain were the most active sources
of book musicals from the 19th century through much of the 20th century (although Europe
produced various forms of popular light opera and operetta, for example Spanish Zarzuela,
during that period and even earlier). However, the light musical stage in other countries has
become more active in recent decades.Musicals from other English-speaking countries
(notably Australia and Canada) often do well locally, and occasionally even reach Broadway
or the West End (e.g.,The Boy from Oz and The Drowsy Chaperone).

FILM NOIR

Film noir is a cinematic term used primarily to describe stylish Hollywood crime dramas,
particularly those that emphasize cynical attitudes and sexual motivations. Hollywood's
classical film noir period is generally regarded as extending from the early 1940s to the late
1950s. Film noir of this era is associated with a low-key black-and-white visual style that has
roots inGerman Expressionist cinematography. Many of the prototypical stories and much of
the attitude of classic noir derive from the hardboiledschool of crime fiction that emerged in
the United States during theGreat Depression.The term film noir, French for "black film",
[1]

first applied to Hollywood films by French critic Nino Frank in 1946, was unrecognized by

most American film industry professionals of that era. Cinema historians and critics defined
the category retrospectively. Before the notion was widely adopted in the 1970s, many of the
classicfilms noirs were referred to as melodramas. Whether film noir qualifies as a
distinct genre is a matter of ongoing debate among scholars.Film noir encompasses a range of

plots: the central figure may be a private eye (The Big Sleep), a plainclothes policeman (The
Big Heat), an aging boxer (The Set-Up), a hapless grifter (Night and the City), a law-abiding
citizen lured into a life of crime (Gun Crazy), or simply a victim of circumstance (D.O.A.).
Although film noir was originally associated with American productions, films now so
described have been made around the world. Many pictures released from the 1960s onward
share attributes with film noir of the classical period, and often treat its conventions selfreferentially. Some refer to such latter-day works as neo-noir. The clichs of film noir have
inspired parody since the mid-1940s.
The questions of what defines film noir and what sort of category it is provoke continuing
debate.[4] "We'd be oversimplifying things in calling film noir oneiric, strange, erotic,
ambivalent, and cruel": this set of attributes constitutes the first of many attempts to define
film noir made by French critics Raymond Borde and Etienne Chaumeton in their 1955
book Panorama du film noir amricain 19411953 (A Panorama of American Film Noir), the
original and seminal extended treatment of the subject. [5] They emphasize that not every film
noir embodies all five attributes in equal measureone might be more dreamlike; another,
particularly brutal.[6] The authors' caveats and repeated efforts at alternative definition have
been echoed in subsequent scholarship: in the more than five decades since, there have been
innumerable further attempts at definition, yet in the words of cinema historian Mark Bould,
film noir remains an "elusive phenomenon ... always just out of reach".[7]
Though film noir is often identified with a visual style, unconventional within a Hollywood
context, that emphasizes low-key lighting and unbalanced compositions,[8] films commonly
identified as noir evidence a variety of visual approaches, including ones that fit comfortably
within the Hollywood mainstream. Film noir similarly embraces a variety ofgenres, from
the gangster film to the police procedural to the gothic romance to the social problem picture
any example of which from the 1940s and 1950s, now seen as noir's classical era, was
likely to be described as a "melodrama" at the time. While many critics refer to film noir as a
genre itself, others argue that it can be no such thing. While noir is often associated with an
urban setting, many classic noirs take place in small towns, suburbia, rural areas, or on the
open road; so setting cannot be its genre determinant, as with the Western. Similarly, while
the private eye and the femme fatale are character types conventionally identified with noir,
the majority of film noirs feature neither; so there is no character basis for genre designation
as with the gangster film. Nor does film noir rely on anything as evident as the monstrous or

supernatural elements of the horror film, the speculative leaps of the science fiction film, or
the song-and-dance routines of themusical.A more analogous case is that of the screwball
comedy, widely accepted by film historians as constituting a "genre": the screwball is defined
not by a fundamental attribute, but by a general disposition and a group of elements, some
but rarely and perhaps never allof which are found in each of the genre's films. However,
because of the diversity of noir (much greater than that of the screwball comedy), certain
scholars in the field, such as film historian Thomas Schatz, treat it as not a genre but a
"style".Alain Silver, the most widely published American critic specializing in film noir
studies, refers to film noir as a "cycle" and a "phenomenon",even as he argues that it has
like certain genresa consistent set of visual and thematic codes. Other critics treat film noir
as a "mood",[18] characterize it as a "series", or simply address a chosen set of films they
regard as belonging to the noir "canon".There is no consensus on the matter.Film noir's
aesthetics are deeply influenced by German Expressionism, an artistic movement of the 1910s
and 1920s that involved theater, photography, painting, sculpture, and architecture, as well as
cinema.

CLASSICAL ART vs. MODERN ART

When it comes to the aesthetic emotion in art, audiences understand the simplicity of beauty
in classic art much better than the complication of context behind contemporary art. This
understanding leads to more aesthetic response rather than emotion to pretty art. Art
constantly evolves into new movements ever so often, and our current is Contemporary Art,
which is mainly valued by educated, open-minded artists, not necessarily the general public.
There is a deeper level in the art that not everyone can relate to. Exposure, understanding, and
concepts all contribute to appreciating contemporary art.Contemporary art needs to be
understood, simply looking and admiring will not suffice. Someone who does not understand
the need to please the aesthetic emotion does not understand contemporary art, and will look
only for beauty in classical art. Certain audiences relate to classical art better, and find it
more appealing, while contemporary art arouses aesthetic emotion better with artistic
minds.Classic art is relatable, containing beautiful elements that please the eye, making the
aesthetic response much easier to grasp. Viewers feel a connection to the beauty and release

an aesthetic response that is positive and happy. We have no other means of recognizing a
work of art than our feeling for it. The objects that provoke aesthetic emotion vary with each
individual (Aesthetic hypothesis). Conversely, classical art has a function: to depict a scene
or tells a story. Art once expressed the beauty of world and life, which could not be captured
on camera, and now the need for that no longer exists. Lots of classic art is revered because
there is not as much interpretation necessary. The more convenient the reception of the
information contained within a work of art is, the prettier that work is. (Flusseer). Classic
paintings dont need to have a meaning or purpose, just they are simply more beautiful and
the aesthetic response is better. The content may have changed. It may now be less
figurative, less lucidly realistic. But it is still assumed that a work of art is its content a
work of art by definition says something.
The Birth of Venus, Sandro Botticelli, 1486
Modern art is functional and crazy to fulfill the need to evoke aesthetic emotions. Instead of
conveying a subject or idea that is beautiful or realistic, contemporary art focuses more on
expressing an idea or feeling, an image system greatly increases the complexity of an
aesthetic emotion (Adaptation, 50:38). One who is not an artist or art student may not
understand the function of art and they dont know it should be made to be aesthetically
pleasing and stir emotions. I do not say that they cannot understand art; rather I say that they
cannot understand the state of mind of those who understand it best. I do not say that art
means nothing or little to them; I say they miss its full significance. (Aesthetic hypothesis).
Because of this, modern art is more deep and complicated and the audience that grasps this
new art is limited.