Asutosh Kashyap DOP’s Post

Otio Conclusion of Art by Edwardo FILM studios and design center update: In synthesizing the key points from Edwardo FILM's work, it becomes clear that his art engages deeply with themes of spirituality, existential anguish, and the human condition. The biblical reference to Jesus and the ruler of the synagogue serves as a metaphor for confronting fear through faith. His declaration of being "hatred incarnate" and a "city of extremes" invites the audience to engage with the darker aspects of their psyche and society. Finally, the phrase "1 Nihil 317" encapsulates the continuous contemplation of nothingness, serving as a meditative anchor for the viewer. Edwardo FILM's art is a profound exploration of these themes, creating a space where viewers are encouraged to confront and reflect upon their innermost fears, beliefs, and the existential queries that define human existence. Through his masterful use of religious and existential symbolism, Edwardo FILM's work serves as a compelling reminder of the power of art to provoke thought, evoke emotion and collective transformation. In final reflection, Edwardo FILM's art stands as a testament to the enduring power of artistic expression. It challenges viewers to move beyond superficial interpretations and engage with the essential, often uncomfortable truths of the human experience. Through this engagement, his art does not provide answers but rather inspires a deeper inquiry into the very nature of existence.

#Great #Read: “Cinema Is the Strongest Weapon” by @Lorenzo Fabbri provides a deep dive into Italian cinema under Mussolini’s regime and the filmmakers who used it as a means of antifascist resistance. #LibroRecomendado #WortToRead Examining #Italy’s national film industry during and after Mussolini’s rule, the book explores how cinema was harnessed as a political tool by both the fascist regime and those who sought to resist it. Covering a range of canonical works alongside many neglected contemporaries, the book delves into film’s mutable relationship to state power and racial capitalism. Exploiting realism’s aesthetic, experiential, and affective affordances, Mussolini’s biopolitical project employed cinema to advance an idealized vision of life under fascism and to cultivate a homogenous racial identity. Author Lorenzo Fabbri underscores realism’s susceptibility to manipulation from diametrically opposed political perspectives, highlighting the queer, Communist, Jewish, and feminist filmmakers who subverted Mussolini’s notion that “cinema is the regime’s strongest weapon” by developing film narratives and forms that challenged the prevailing ethno-nationalist ideology. Focusing on an understudied era of film history and Italian cultural production, Fabbri recontextualizes Italy’s celebrated neorealist movement and its structural ties to its predecessor. Drawing incisive parallels to contemporary debates around race, whiteness, authoritarianism, and politics, he presents an urgent examination of the broader impact of visual media on culture and society. Additionally, the book discusses how postwar Italian culture and film contributed to normalization by portraying Italians as Mussolini’s victims rather than accomplices, aligning with philosopher Benedetto Croce’s view that Fascism was a temporary aberration in Italy’s history. This narrative helped Italy move on without fully confronting its fascist past. *Cinema Is the Strongest Weapon* will be published in 2024 by the University of Minnesota. 316 pages. [Link](https://lnkd.in/ggk2HcBG)

Having literally just finished his amazing book "Never Split The Difference" for my MBA class, this new video from Christopher Voss discusses the theory and power of Tactical Empathy, an incredibly powerful negotiation tool.

With the Oscars coming up this Sunday, here's a review for one of the recent Best Picture winners that wholeheartedly deserved its honor: It made history as the first foreign language film to win the Oscar for Best Picture, and director Bong Joon-ho is a big reason why it deserves that honor. He illustrates the differences between the upper and lower classes through complex yet subtle filming techniques, such as by dividing two actors with a vertical line hidden in the set. Yet there’s more symbolic imagery: Water represents capitalism pushing the already poor further down the economic ladder while those already high up get to remain above the rising floods. The poor people are always looking down at things while the rich people never look down at anything, and to enhance that detail, the poor people behave in ways that are comparable to bugs. Making the gears grind for the intense symbolic imagery required lots of preplanning and visual effects work, starting with the street of the poor neighborhood, which was built entirely from scratch inside a massive water tank. The house of the rich people was made up of the most expensive décor the set dressers could find while the exterior of that house was two separate sets combined digitally with the upper-level set on top of the lower-level set. The extreme expertise of how Parasite was concocted, as well as the moral grey in every single character, is evidence enough as to why this heavily entertaining art film deserves its title as the best movie of 2019. https://lnkd.in/ghGqrAmF

March 21, 2024 | 6-8PM | FREE event DanceFilm & Meredith Rainey present: "The Body" by Alexander Diaz Discussion after the film with Q&A. Register on eventbrite: https://lnkd.in/ejb_xGvy In The Body, we embark on a journey where the body works as the canvas to illustrate the evolution of identity over time. This film is an intimate reflection on the societal influences that shape perception and self-worth. Guided by the central mantra “the body is not an apology,” found in Sonya Renee Taylor’s book The Body is Not an Apology, The Power of Radical Self-Love, the film unfolds as a multifaceted exploration, weaving together elements of satire, realism, drag, and dance. The Body is a space of liberation. Where the artist says “yes” to themselves, their ideas, and their creative impulses. In stepping away from the relentless pursuit of financial stability and security, the artist seizes this film as an opportunity to focus on their creative practice, push the boundaries of their art, and invest deeply in the process. This film is not made to be a polished, finished product. Instead, it is a deliberate choice to embrace the journey, fall without fear, and learn from the process. Through this exploration, The Body becomes a celebration of artistic passion, a rediscovery of self, and a profound source of inspiration for future creations. It is an unapologetic affirmation of the artist's identity, an ode to the body as a vessel for expression, and a testament to the boundless possibilities that arise when one embraces the transformative power of one’s art and life. #dancefilm #dancephiladelphia #dancemovie

"Old Film, New Film," 60" x 60, " encaustic with paper and LEDs Learn more about this work and watch the video here...https://loom.ly/HtQf5gA #learnmore #aboutthiswork #watchthevideo #bestfilm #newfilm

There is a wonderful scene in one of my favorite films about artists. The film is called Rivers and Tides. The film’s focus is on the brilliant artist Andy Goldsworthy. The setting is the rural countryside of Ireland, where he lives with his wife and children. The film was made several years ago, so my guess is that his children are young adults now. Imagine you are in your kitchen having breakfast with your kids, and your spouse was getting the kids fed, and your significant other, a world-renowned artist, strolls through the kitchen at the time (this was Andy in the film). In the average family, the first thing in the morning, most people would connect briefly, and greet each other. Andy breezed through his kitchen and barely said a word to his family, all with a look on his face of “not now” I have something waiting. He was out to confront nature head on, and little was going to stand in his way. (Goldsworthy- creative, sculptor using the earth and its natural materials…. knowing that “the weather will ultimately destroy the art he’s making). He starts with known materials, then moves toward a known assemblage, in his mind’s eye, which will then disappear, sometimes within hours or even minutes. Andy is saying to us I’m living and creating in the moment, knowing that the beauty I make will “wash away.” There’s so much, all artists can be reminded of when watching this film. The film indeed altered my life, reminding me that it’s the art-making journey that must be honored, wherever one’s studio is and by submersing oneself in “the play” of the moment…………. That’s me from the unknown to the known. #IvanBarnett, #IvanBarnettStudio, #SantaFe, #SantaFeArt, #SantaFeArtist, #studio, #studioart, #salon, #homestudio, #collaboration, #ArtCollaboration, #NewMexico, #Art, #SeriousPlay, #collaboration, #IvanBarnettconsulting, #SeriousPlayConsulting, #consulting, #artconsulting, #business, #marketing, #motivation, #branding, #coaching, #consultingagency, #consultingservices, #brandconsulting, #marketingconsulting, #creativeconsulting,

Madame Bovary (1949) is an American romantic drama directed by Vincente Minnelli. Jennifer Jones portrays Emma Bovary, a disillusioned provincial doctor’s wife. The film explores Emma’s struggles, desires, and relationships against the backdrop of 1850s France. Notable cast members include James Mason, Van Heflin, Louis Jourdan, and Gladys Cooper. A memorable ball sequence, set to composer Miklós Rózsa’s score, adds to the film’s allure. Despite censorship challenges, it received an Academy Award nomination for Best Art Direction-Set Decoration in 1950. Recently, the Motion Picture Imaging restoration team went back to the original 35mm fine-grain master elements for a brand new set of 4K scans, which were then meticulously graded by MPI senior colorist Doug Drake. “Warner Archive applies their usual level of polish to Madame Bovary, which is advertised as being sourced from a recent 4K scan of the best-available preservation elements. Not surprisingly, MGM's typically lavish production and costume design, not to mention the great visuals by cinematographer Robert H. Planck (who had already filmed another perpetual literary adaptation earlier that year, Mervyn LeRoy's production of Little Women) give this 1080p transfer plenty of room to shine and it showcases a dazzling array of silvery grays, bright whites, and decently deep blacks which are all adorned by notable levels of film grain. Fine detail holds steady on this stable and extremely clean presentation, one what fittingly seems well-encoded on this 50GB disc and shows no real amounts of compression artifacts or other anomalies. It's great work indeed, and quite honestly worth the price of admission alone.” #film #filmrestoration #colorgrading #remastering #filmhistory #restorationservices

Guru Dutt’s films have always been relevant. But more than ever today because here was a master who insisted we feel, introduced us to heartbreak, pathos and failure, and what it meant. In a society that refuses to feel, and is so keen on deciding feelings, it’s important to go back to his films and submerge. And feel, a frame at a time. My new piece for Outlook. Do read. #Cinema https://lnkd.in/gHUtnVB3