Solaris And Mirror Analysis

How much can cinema change the world with its philosophical meanings about the world? By trying to use cinema as a tool, filmmakers themselves have discovered and made the audience experience another side of their life, through creating atmosphere with sounds and images, Cinema can make us feel the time in a space.

On the same hand poetry which is defined as a medium which can make connections in this dynamic world of possibilities through writing. A form of art which has an ocean of abstract spiritual apprehension of knowledge and curiosity, but also a sense of undeniable empathy in context, which is fundamentally relatable material to the reader/viewer. Poetry is a medium of art that perhaps raises more questions rather than finding any

Andrei Rublev's Russian Calvary scene exemplifies this concept, thanks in large part to its divergence from the painting to which it alludes. The very first shot of the sequence shows the Christ figure kneeling to drink from a stream, there is a cross visible on the ground behind him. The camera tilts up, as the procession passes, leaving the christ figure behind. For the duration of the procession, this figure remains apart from his followers, who, in turn, proceed solemnly behind him, scarcely interacting with one another, oblivious or perhaps indifferent to their fellow participants. Just before the crucifixion, the woman portraying Mary Magdalene throws herself in agony at the feet of the Christ figure, who walks away from her, unresponsive. The accompanying voice-over, Rublev's refutation of Theophane's cynical views of humankind and ruminations on Christ's crucifixion, loosely correspond with the action transpiring onscreen. Overall, a deep sense of the intrinsic and inescapable solitude of human existence characterizes the scene, and, indeed, the film as a

From its inception in the early days of the Italian Renaissance through the advent of the avant-garde, Western artists upheld the principles of linear perspective as the gold standard method to achieve the illusion of three-dimensional pictorial depth. That is, linear perspective enabled the artist to fabricate real space within the two- dimensional confines of the picture plane. This effect depends on the presence of a point or points (the vanishing-point(s)) within or contiguous to the picture plane where all “parallel” lines appear to