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VIZUÁLNA KOMPOZÍCIA FARIEB AKO ESTETICKÁ KVALITA FILMU

100%
Mergeš J.
ESPES
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2015
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vol. 4
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issue 2
47 – 59
EN
The paper deals with the visual composition of colour and its applying to the art of cinema, highlighting the importance of colour as an element in the mise-en-scène of a cinematographic work. Despite the fact that we live in a world composed of colours and perceive them in an active way, the colour as an aesthetic means of the film is not often taken as object of interest. It is mainly caused by secondary nature of colours perception of the cinematographic work at the expense of the picture as a whole. The colour generally acts in the film realistically, and therefore rarely comes to the fore. A closer look at its function in mise-en-scène and narratives proves that the motivation of choosing colours in the film is clearly identified as conditional. This paper attempts to identify and summarize the typology of the above outlined motivations.
2

ROZLIŠOVACIA SPÔSOBILOSŤ FARBY AKO OZNAČENIA SPÔSOBILÉHO BYŤ SAMOSTATNÝM PREDMETOM OCHRANNEJ ZNÁMKY

86%
Zlocha Ľ.
Právny obzor. Teoretický časopis pre otázky štátu a práva (Juridical Review. Theoretical journal for the questions of state and law)
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2015
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vol. 98
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issue 1
72 – 84
EN
The author analyses the distinctive power of colour as marking capable of being autonomous subject of a trademark and the conditions that must be fulfilled for such abstract colour marking to be entered into the register of trade marks. The core of examination of this issue is the case-law of the Court of Justice of the European Union, through which the Court of Justice provides binding interpretations for individual provisions of the Directive 2008/95/EC of the European Parliament and of the Council to approximate the laws of the Member States relating to trade marks.
3
Content available remote

STEREOTYP AKO OBRAZ

86%
Dudková J.
Slovenské divadlo (Slovak Theatre)
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2012
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vol. 60
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issue 1
13 – 33
EN
The concept of stereotype is closely linked with the concept of image. First, the authoress elucidates the concept of stereotype with respect to its anchoring in collective imaginary, where, according to Homi K. Bhabha, it functions as a fetish pendant. Later, she focuses on the use of stereotypes in audio visual media. She draws the reader’s attention to deconstructing the stereotype as a component part of representation strategies, the role of which is maintaining the power structures. The emphasis is especially laid on stereotypes of the race as a specific kind of social stereotypes. These, due to an obvious visibility of the difference in skin colour (and the impossibility of cover-up) count on a specific set-up of the visual field. An individual with a different skin colour functions as the object of the gaze. His/her image (for instance, in various audio visual and visual media) oftentimes behaves as a synecdoche, metonymy or metaphor. The paper contains examples of Slovak documentary films and TV series, which illustrate some other forms of stereotype functioning – as recognised caricature, or, as distorted, „incorrect“ reality image.
4

SVETLO A FARBA

72%
Scala A.
Filozofia (Philosophy)
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2017
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vol. 72
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issue 4
271 – 282
EN
Philosophy and visual arts seemed to agree: from an intelligible point of view, colours are submitted to the light despite the sensible fact that no light is visible without colour. The colour is submitted to the drawing as secondary qualities are to primary ones; colours are unable to create forms or figures. When Newton discovered that white differs from other colours, the latter achieved a new status especially in visual arts: they achieved a certain freedom from drawing. A long time after Newton, Kupka came. But between Newton and Kupka, Goethe wrote his Theory of colours and criticized Newton’s indifference to the visual experience. According to Goethe, colours are produced by the world itself, i.e. by a certain degree of turbidity in the air. So colours are no more obliged to give credit to the drawing as a paradigm of the forms. As Robert Delaunay says, colours create forms.
5

IN SEARCH OF A NEW ART: VOLDEMARS MATVEJS AT THE CROSSROADS OF EXPLORING NON-EUROPEAN CULTURE AND SCIENTIFIC DISCOVERIES IN THE EARLY 20TH CENTURY (Nakotnes makslu meklejot: Voldemars Matvejs arpuseiropas kulturu petniecibas un 20. gs. sakuma zinatne

72%
Buzinska I.
Makslas Vesture un Teorija
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2010
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vol. 13
35-45
EN
The early 20th century brought rapid changes in scientific and technological developments, politics, government and social behaviour, prompting a radical reassessment of art. Theoretical works by Voldemars Matvejs (1877-1914) - 'The Russian Secession' (1910), 'The Principles of New Art' (1912), 'The Principles of Creativity in Plastic Arts. Texture' (1914), 'The Art of the Easter Island' (1914), introduction to the selection of Chinese poetry 'Chinese Pipe' (1914) and 'Negro Art' (1919) - reflect all the peculiarities of the early 20th century modernism. The article aims to reveal the significance of several scientific discoveries and terms in the theoretical works of Matvejs and his contemporaries. The article begins with an examination of two sources that influenced Matvejs' worldview. This developed partly out of the philosophy of nature (Naturphilosophie) of the time, featuring naturalistic overtones partly related to the scientific examining of the human mind. Matvejs' notebooks contain the name of the German physiologist Max Verworn (1863-1921) who dealt with both experimental physiology and the psychology of art. Mysticism was of no lesser importance for Matvejs' theories that endowed every natural process with a mythical significance; in this respect he was hardly unique among the representatives of modernism. It is important to note that Matvejs was familiar with the German Neo-Kantian philosopher and historian Georg Mehlis' (1878-1942) work Formen der Mystik. The idea of 'origins' was related to nature and the effects of the forces of the outer (macro) world. However, it was equally important to find some elementary particle.
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