Final Summary Post: Film and the sublime experience


I spent most of the time on this project researching art across various media, poetry, and aesthetic analyses of the sublime, as well as trends in how it has been interpreted by artists over the years. In my analysis of the works I studied I paid attention to two main categories of information:

> thematic elements: common motifs, symbols, and interpretations of what ‘the sublime’ means

> technical elements: what technical strategies work best for getting the ideas across, in various media. [Read more…]

Film and the sublime experience: a few thoughts on methods

Project: to articulate and express the sublime feeling via experimental short film. Abstract here.

Here’s a few thoughts on how the various of elements of the experimental film I’ve been working on:


Narrativity has spurred my most difficult challenges in planning the film. An important question to consider was: to what extent should the film avoid a “clear” narrative like what we’re used to seeing in the movies? [Read more…]

The sublime experience, post 2

Project: to articulate and express the sublime feeling via experimental short film. Abstract here.

Gustave Doré’s illustration of Dante’s Paradiso, canto 31.

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The sublime experience post 1

John Martin, “The Great Day of His Wrath” (1851-3)

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Compiling images for World Film Locations: Havana

Hello all!  Exciting news to report on World Film Locations: Havana– after spending three busy, busy days working in Williamsburg with my professor, editor, and co-author, the book has come together beautifully!  Together, we compiled the book’s scene description essays (those that have already been submitted by fellow co-authors and contributors), “spotlight” essays, and graphics.  By nature of being devoted to film and visual arts, the book strongly emphasizes its images.  For every film that it features (a whopping 47 movies!), the book contains accompanying imagery, in the form of multiple still frames (screen shots, if you will) from each film.  By providing the reader with these specially selected screen grabs, the book’s graphic design adds a visual richness to the film descriptions.   In addition to contributing three original film descriptions to the book, I am in charge of selecting, formatting, and compiling the screen grabs, a responsibility- and privilege- that I am greatly enjoying.  While in Williamsburg, I worked with Troy Davis of the Swem Media Center to learn the process of taking still frames from our films.  Two software downloads, multiple lessons, and a file of mistaken screen shots later, I was in business.  The following will detail my work with the screen grabs, or as I’m deeming it, “Emma’s foray into the world of book design.”

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