Essay about Basquiat, Bansky and the Power of Discourse

the integrity of boxing as a sport that fascinates and interests him. In the passage, Mailer utilizes

To support this idea, Bordwell illustrates how art cinema motivates its narratives differently, through two principles: realism and authorial expressivity. Firstly he proposes the notion that art films reflect realism in their characters, space, and time. Psychologically complex characters are present in real worlds dealing with true-to-life situations. Art cinema is concerned with the characters ‘reaction’ to these situations, rather than their ‘action’. Thus it bares an element of psychological subjectivity as the characters survey the world they are in, which aids the realisation of the distress of

“Basquiat, The Radiant Child” is a documentary about a young artist of the early 2000’s. This young artist left home to begin his journey; he started out as a bum with nothing and became a street artist. Obviously, Basquiat was very driven by his work otherwise he wouldn’t have taken such a big risk. For this reason, many people were inspired by him and loved what he was doing. I however wasn’t a big fan of his. Throughout the documentary his friends and other artist talk about how he would pretty much mooch off of other people; although his friends said it in a nicer way. He even told his girlfriend that he couldn’t work because he didn’t like how people treated him, so she had to pay for their rent on her own. I personally felt like this

Although the best reasons for “going to the movies” are to be entertained and eat popcorn, understanding a film is actually quite complex. Movies are not only a reflection of life, they also have the capability of shaping our norms, values, attitudes, and perception of life. Through the media of film, one can find stories of practically anything imaginable and some things unimaginable. Movie-makers use their art to entertain, to promote political agendas, to educate, and to present life as it is, was, or could be. They can present truth, truth as they interpret it, or simply ignore truth altogether. A movie can be a work of fiction, non-fiction, or anything in-between. A film is an artist’s interpretation. What one takes away from a film depends upon how one interprets what has been seen and heard. Understanding film is indeed difficult.

In the opening of Truman Capote’s In Cold Blood, Capote illustrates the town of Holcomb, Kansas as a minuscule, insignificant town. Capote mentions that no one, even fellow Kansans, are acquainted with this small town. Capote applies many rhetorical effects to describe his view of the town of Holcomb, such as imagery and tone.

When Jean-Michel Basquiat was invigorating the oppressed art movement of street art, Madonna was an upcoming singer. After a couple of years, and while he was creating amongst, with and for the LA and New York’s art elite, Madonna was still an unknown but aspiring entertainer and they were together.

His mother, who was something of an amateur artist herself, frequently took him to visit New York’s many art museums, and even enrolled him in a children’s program at the Brooklyn Museum of Art. Basquiat would later credit his mother with getting him started as an artist. Basquiat’s first artistic works were cartoon drawings, often of characters from Alfred Hitchcock films. Basquiat would sit beside his mother at night, drawing his cartoon sketches while she worked on her own designs.” From what I have researched I have learned that Basquiat and his father did not have a good relationship.

Jean-Michel Basquiat emerged from the punk scene in New York as a street-smart graffiti artist. He successfully crossed over his downtown origins to the international art gallery circuit. Basquiat’s work is one of the few examples of how an early 1980’s American graffiti-based could become a fully recognized artist. Despite his work’s unstudied appearance, Basquiat very skillfully and purposefully brought together in his art a host of disparate traditions, practices and styles to create a unique kind of visual collage. His work is an example of how American artists of the 1980’s could reintroduce the human figure in their work after the wide success of minimalism and conceptualism.

Jean Michael Basquiat was an African American Painter part of the Neo- Expressionism movement and was born in Brooklyn, New York in 1960. Coming from the “punk” and “graffiti” scene in New York, Basquiat has now become one of the most celebrated African American Painters in the Neo- Expressionism movement. Basquiat’s work is considered “unstudied” because he didn’t go to school for art. Even though the appearance of his work seems to be unstudied he skillfully created collages using a lot of urban influences and African-Caribbean tradition. One of my favorite Basquiat paintings is untitled and was painted (1982). In this untitled painting Basquiat uses images that are often associated with African art, a skull, a bone, and an arrow but Basquiat modernizes the images in his Neo- Expressionist style using thickly applied paint and rapidly rendered subjects.

    Film and literature are two media forms that are so closely related, that we often forget there is a distinction between them. We often just view the movie as an extension of the book because most movies are based on novels or short stories. Because we are accustomed to this sequence of production, first the novel, then the motion picture, we often find ourselves making value judgments about a movie, based upon our feelings on the novel. It is this overlapping of the creative processes that prevents us from seeing movies as distinct and separate art forms from the novels they are based on.

Basquiat was first recognized as a part of the graffiti group, “SAMO,” which bore a heavy influence on the neo-expressionist and primitive painting style that he later became known for. By the time he had hit his twenties, he was already collaborating with pop art icon Andy Warhol, and showing alongside Julian Schnabel and David Salle. Despite having died at the young age of 27, Basquiat’s work, which was deeply rooted in social commentary, continues to influence and fascinate contemporary artists and collectors

In short, from Basquiat's work, I would say the man is brilliant, but the movie's interpretation I would think otherwise. In the beginning of the movie, young Basquiat was presented with a crown on his head to symbolize the greatness he had in store. Through out the movie, he mad amazing art, but the character portrayed was not what I saw on his canvases. The film's interpretation made him seem like a child (which is fairly represented in his work). Basquiat in the film made many dumb decisions such as using drugs, being unfaithful to his girlfriend, and loosing out on a friend because of an article in a tabloid. And this version of him makes me question, does he really create art? Or just scribbles of an intoxicated "man-child" And I come

Marshall McLuhan says, “The medium is the message”. The way media represent the message can have huge impact on people’s everyday life. According to Korstanje Maximiliano (2012) “Movies, films and documental TV programs not only reflect the gaze of directors and players, but also the mind of whole society. Social anthropology discovered from many years ago that movies are associated to the construction of narratives and archetypes which exerts considerable influence in public opinion.” Movies and TV episodes could quietly and deeply influence people’s mind and people were hard to control it.

The romantic idea of the auteur is described by film theoretician, André Bazin, observing the film form as an idealistic phenomenon. Through the personal factor in artistic creation as a standard reference, Bazin primarily refers to an essential literary and romantic conception of the artist as central. He considers the relationship between film aesthetics and reality more important than the director itself and places cinema above paintings. He described paintings as a similar ethical creation to film stating a director ‘can be valued according to its measurements and the celebrity of the signature, the objective quality of the work itself was formerly held in much higher esteem.’ (Bazin, 1967: 250). Bazin contemplates the historical and social aspects that indeed hinder a director’s retribution to their own personalised film, thus en-companying their own ideological judgement upon the world ‘more so in cinema where the sociological and historical cross-currents are countless.’ (Bazin, 1967: 256)

By analyzing the historical contexts of these specific movements, we take a deeper look at society's social, religious, economic, and political conditions that existed during a certain time and place. These relevant factors profuse mass influence into a filmmakers decisions while in the production process of a film. Additionally, these components have the role of establishing distinct trends in the film industry. Each movement has its own purpose for creating each film in regards to a stylistic standpoint.