Moving Images

Cinema as an eye

This term can be translated in many ways depending on how cinema is perceived, but in my personal opinion, I regard cinema as a visual storytelling tool offered through someone else’s perceptiveness. We receive graphic impressions through projection of lights and use our senses as instruments to comprehend the stories. As observers we are placed in an immobilized position over our mental and emotional state when a film is being unfolded before us. However, we are also a part of the equation that will complete the storyline. A movie will not meet its objective without the presence of the spectators.

Frequently, a movie is constructed with the intention of allowing its audience to follow the characters from different angles in attempt to include them in their experiences. At times, the natures of these mental images are closely related to our previous occurrences and therefore sometimes our subjectivity can be challenged.

American film director and producer Martin Scorsese has exhibited a trademark editing by filming his character’s eyes from a very close up positions. These types of shots establish a sense of understanding of a particular characters intention. It also enables us to contribute a certain level of emotional participation with the actors throughout the film.


Enter or Exit!

As mentioned in our previous lecture, Cinema as a door is pretty self-explanatory. Basically, it is a metaphorical approach to a world of visual stories that the audience can unfold and unwrap through a characters eye. With the reference to the movie Hotel Chevalier, one key factor was perceived when Jason Schwartzman’s character Jack opened the door and his ex girlfriend played by Natalie Portman arrived in the screen. Considering that particular moment it was clear to us observers that her character would unit a piece of the story. A moment of silent communication was also noticeable when Jack confronted her about the bruises on her body. She obviously chose not to intricate him with an answer. Simultaneously, this approach opened and closed another allegorical door, which notably was left to the spectators personal interpretation.


An experienced director, I believe will have a keen interest in storytelling, who also separates reality with the illusion of cinema. A great story plot will blend these concepts additionally by crossing of boundaries. The screen should be a threshold to series of imaginations and dreams. In my personal opinion, a movie has accomplished its objectives by being a representative of our reality and experiences, but remains abstract enough.

Figuratively speaking, a door is a universal way of entering a new world. To elaborate, this can be in form of moving to a new country, starting or departing a profession, meeting a new person or the birth of a child. These are symbolically doors to a different  advances in life which may or many not offer new possibilities. Some doors are welcoming while others are straightforward slammed in your face but however we enter, we are prepared for the unexpected and the unknown. 



Critical Graphic Design Theory Course //



The lecture started by an introduction to the theoretical and critical studies of graphic design. We then discussed the term theory, which refers to system of ideas or set of principles that is intended to express a specific concept.

In an industry where design is rapidly changing it is important to analyze the tools provided by previous creators and utilize them accordingly.

Following through the lecture, we were given study options to choose from, which contained different elements in graphic design based on subjects that interests us as inspiring designers. These topics are going to highlight our individual interests in this course by giving us the possibility to assess each subject in-depth. What I think is interesting is the study of visual perception and the effect that it has on the spectators. As a result of this critical study we will also be provided with basic key knowledge and approaches to the field of graphic design.

We were then asked to define the word “critical”. In my opinion, being critical does not necessary suggest that one should criticize or cast judgments on certain ideas or prinicples, but rather reflect and reference them.



SWOT analysis based on assumptions made from first day at CTS term 2  Critical Graphic Design Theory course. 

Strength –  Diverse subjects, input and contributions, feedback, reflecting on ideas and      design within in the field of graphic design.

Weakness – Not enough time

Opportunities – Discover individuality, explore methods and techniques, develop          fundamental of design practice. visual problem solving.

Threats – Short course.  Not enough explanations will be given in regards to final essay.


Critical approach to design: