This article is an attempt at systematizing the views on artistic thinking and on the two modes of narrative technique: “image of history” and “history of images.” The adopted concept of criticism aims to extract and highlight what is most relevant at the start of the creative phenomenon of the film making process. It seems that the adopted method, consisting in simplified proofs derived from thought and from philosophical reasoning, may help to truly ground and systematize the concepts connected with film making also as intellectual structures, based on the idea of returning to the true nature of humanism. This approach seems quite risky, yet, however challenging for the author it may be, it also seems crucial from the point of view of organizing the knowledge of those studying the film arts.
Making an attempt to describe the threats to the development of artistic education, one should particularly emphasise the failure of noticing the mission of art and culture in the vision of a contemporary man. Above all, the threat is posed by the depreciating attitude of the mass media turning culture into entertainment and spiritual space merely into a battlefield for trivial and ordinary goods. The problem of globalization deeply afflicts culture, particularly artistic education. But are the tasks of artistic education as defined within the humanistic approach to the Culture of Man not fundamental to the future of “thinking art”? The matter is worth of a serious and continuous debate, irrespective of the political correctness and the pragmatic attitudes “for today”. However, particular responsibility lies with the didactics in the field of art.
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