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"This learned and heavy volume should be placed on the shelves of every art historical library."—E. H. Gombrich, New York Review of Books "This is an engaged and passionate work by a writer with powerful convictions about art, images, aesthetics, the art establishment, and especially the discipline of art history. It is animated by an extraordinary erudition."—Arthur C. Danto, The Art Bulletin "Freedberg's ethnographic and historical range is simply stunning. . . . The Power of Images is an extraordinary critical achievement, exhilarating in its polemic against aesthetic orthodoxy, endlessly fascinating in its details. . . . This is a powerful, disturbing book."—T. J. Jackson Lears, Wilson Quarterly "Freedberg helps us to see that one cannot do justice to the images of art unless one recognizes in them the entire range of human responses, from the lowly impulses prevailing in popular imagery to their refinement in the great visions of the ages."—Rudolf Arnheim, Times Literary Supplement
Plato is well known both for the harsh condemnations of images and image-making poets that appear in his dialogues and for the vivid and intense imagery that he himself uses in his matchless prose. Through their resemblance to true reality, images have the power to move their viewers to action and to change themselves, but because of their distance from true reality, that power always remains problematic. Two recurrent problems addressed here are how an image resembles what it represents and how to avoid mistaking that image for what it represents. Plato and the Power of Images comprises twelve chapters on the ways Plato has used images, and the ways we could, or should, understand their status as images.
In The Power of Pictures book and companion DVD, Beth Olshansky introduces teachers to her innovative art-based approach to literacy instruction. Widely practiced in classrooms across the country, the model has been proven by research to improve literacy achievement with a wide range of learners, especially those who struggle with verbal skills. At the heart of her approach is the Artists/Writers Workshop. Through study of quality picture books and hands-on art experiences, students learn to visualize, “paint pictures with words,” and ultimately create their own extraordinary artistic and literary work. The book and DVD explain how any teacher can successfully use this process to enable all students, particularly low performers, to make dramatic gains in both reading and writing.
Educational practice and theory in the 21st century are struggling with the abundance of digital images. In a culture that was for centuries predominantly verbal, images present a difficulty, but they must be recognized as a blessing rather than as a curse. Not only emotions but also abstract thought inevitably involve images, mental and physical.
Real places and events are constructed and used to symbolize abstract formulations of power and authority in politics, corporate practice, the arts, religion, and community. By analyzing the aesthetics of public space in contexts both mundane and remarkable, the contributors examine the social relationship between public and private activities that impart meaning to groups of people beyond their individual or local circumstances. From a range of perspectives—anthropological, sociological, and socio-cultural—the contributors discuss road-making in Peru, mass housing in Britain, an unsettling traveling exhibition, and an art fair in London; we explore the meaning of walls in Jerusalem, a Zen garden in Japan, and religious themes in Europe and India. Literally and figuratively, these situations influence the ways in which ordinary people interpret their everyday worlds. By deconstructing the taken for- granted definitions of social value (democracy, equality, individualism, fortune), the authors reveal the ideological role of imagery and imagination in a globalized political context.
This book is a unique exploration of the transformational process that turns film's raw material into deeply moving and provocative experiences. It takes key moments in films as examples of this process and examines how the moment is staged, how visual composition is used, how narrative is structured, how colour, light and music are handled, and how to get inside what it is like to be a fictional character that we really care about. The book also focuses on the deeply personal nature of the filmmaker's creative process, taking the international film director Vincent Ward as an example. Vincent Ward has been described as "one of film's great image-makers." The book looks into the deep sources of this ability, and by doing so provides new insights into the nature of creativity in film. The book is illustrated with a wealth of film images that are used to analyse in depth how scenes are actually constructed, including computer-generated 3-D simulations of staging, camera positioning, and movement. The sections on colour, light, and music explore how intense audio-visual experiences are produced. A section on 'what it is like' offers a new approach to understanding why we care about the people we watch on the screen.