20.500.12556/DKUM-71942 Cindy Sherman: Nenaslovljeni filmski kader #21 Cindy Sherman: Untitled Film Still #21 Osrednja tema magistrske naloge je umetniško delo ameriške umetnice Cindy Sherman z naslovom Untitled Film Still #21, 1978 (prevod: Nenaslovljeni filmski kader #21), ki je del obširne serije Untitled Film Stills, 1977–1980 (prevod: Nenaslovljeni filmski kadri). Za temeljitejšo obravnavo njenega dela smo najprej teoretično obdelali zgodovino aranžirane portretne fotografije. V nadaljevanju smo razložili dejavnike, ki so vplivali na fotografsko ustvarjalnost Cindy Sherman, ki vključujejo njeno predhodno serijo A Play of Selves, 1976 (prevod: Igra jazov). V ta namen smo izpostavili umetnico Claude Cahun, ki je delovala vizualno primerljivo, vendar že pred Cindy Sherman, in sicer v 20. letih prejšnjega stoletja. Nadalje smo opredelili pojem postmodernizem, obdobje, v katerem je Shermanova ustvarjala in znotraj katerega se njena dela pogosto kritično vrednotijo. V magistrskem delu nadalje poglobljeno obravnavamo filmske in slikarske razsežnosti, ki dosegajo fotografska dela Cindy Sherman. S pomočjo raziskovalnih metod in uporabljenih virov smo analizirali in izpostavili ključne teoretske koncepte ter praktične pristope in metode, ki jih je delno možno estetsko obravnavati in s katerimi umetnica gradi fotografsko podobo. The main focus in this thesis is the American artist Cindy Sherman’s artwork titled Untitled Film Still #21, 1978, which is part of a comprehensive series called Untitled Film Stills, 1977-1980. As a more thorough study of her work, we first theoretically researched the history of arranged portrait photography. Next, we explained the factors influencing the photographic creativity of Cindy Sherman which include her preliminary series A Play of Selves, 1976. For this purpose, we set our focus on an artist Claude Cahun that worked visually similarly to Cindy Sherman, but in the 1920s. We explained the term “postmodernism” – the period – in which Cindy Sherman produced, within it her works are often critically assessed. Further, we thoroughly studied the dimensions encompassing the visual art fields of filmmaking and painting that embody the photographic works of Cindy Sherman. With the help of various research methods and used sources we analysed and emphasised main theoretical concepts, practical approaches, and methods that can be aesthetically studied with which she builds photographic image. Cindy Sherman portret avtoportret postmodernizem fotografija Cindy Sherman portrait self-portrait postmodernism photography true true false [K. Majerič] Slovenski jezik Angleški jezik Magistrsko delo/naloga 2018-09-04 21:37:10 2018-11-20 15:21:46 2022-08-01 21:46:15 2019-07-11 19:00:15 2018 0 Maribor 0 0000-00-00 NiDoloceno NiDoloceno NiDoloceno 0000-00-00 0000-00-00 0000-00-00 77.041.5Sherman C.(043.2) 24165128 URN:SI:UM:DK:AGIW4SRC MAG_Majeric_Karmen_2018.pdf MAG_Majeric_Karmen_2018.pdf 1 4E9BBCAF4296155FF617A6402133D127 098f2490982524d6cb00bf63ecf6206da695cdc90edfb5f44d6ef321648c03e5 40fee413-7c10-11eb-bb7a-00155d0001ca 20.500.12556/dkum/96833817-70b4-4309-b20f-a6b4a34531e4 https://dk.um.si/Dokument.php?lang=slv&id=128647 Pedagoška fakulteta 0 0 0