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Every film fan should own at least a couple “Making-of” books. These books might not meet the sheer wealth of material the special features DVD or Blu-ray can offer, but they can make great reference material you can pull off your shelf at any time or have sitting on your coffee table if you just want to kill some time and look at some gorgeous concept art.The best making-of books offer an excellent blend of informative material coupled with high-quality images, and with the release of Prometheus, two new making-of books have hit shelves:. One is an example of how to a making-of book wrong, and the other is an example of how to do it right.THE BOOK OF ALIENPaul Scanlon and Michael Gross‘ The Book of Alien faces two problems before you even crack open the front cover. First, it has an uphill battle against the masterful Alien Quadrilogy and Alien Anthology box sets. The special features on these sets are about as close as you can get to feeling like you were actually on the set of Ridley Scott‘s 1979 sci-fi horror film. It’s tough to compete with hearing Scott talk about the film on a commentary track, or watching an interview with screenwriter Dan O’Bannon.The other major problem is that the book feels cheap.
It’s a flimsy paperback and after only a few times flipping through, the first few pages had fallen out. It’s definitely not a book to show off on your coffee table and it will disappear on your shelf if you want to pull it as reference material. It’s a telling sign of the book’s half-finished feeling.Inside, you can find a wealth of concept art from Ron Cobb and H.R. Giger along with tons of set photos. The problem is that the low page count forces all of these great images to be crammed together in the pages, and this crowded layout diminishes the impact of the images. For example, one caption reads how the bridge was “encrusted with detail and hundreds of working parts”, and then you only get a tiny 2″ by 2″ picture. How is that supposed to compete with a Blu-ray where you can show that same picture in HD on your giant TV screen?However, you do get the advantage of following along the evolution of a design across a few pages rather than seeing it through a structured documentary or clicking page-by-page through a gallery.
Of paintings from different art periods and to rate their visual complexity, or their aesthetic appeal. During these two tasks, their eye movements. Asking viewers about their aesthetic judgments, and indi- rectly, by observing how their eyes. From www.prometheus-bildarchiv.de - an online library which provides access to a. With an introduction by Scott himself, this lavish book will be the only publication to accompany Prometheus. Stunning production art and behind the scenes photos will grant the reader a window on the process of creating this astounding new epic.
There are some great pages where you get to see the evolution of the Nostromo and the space jockey, although I would have liked to have seen more sketches and concept art for the xenomorph. There’s also a great image of Sigourney Weaver on the lawn at Shepperton Studios firing off a gigantic blast from the flamethrower.As for the written introductions to each section (Nostromo, Planetoid, Alien), they feel dry and should have been interspersed with more images to break up the text. It also doesn’t help that the weird positioning of the margins make the text seem crammed into the pages. But if you can get past the dry prose, you’ll find a lot of fascinating facts about the production and great quotes from Scott, Cobb, O’Bannon, and other behind-the-scenes players. For example, O’Bannon makes the great point about how the xenomorph has no home. “The alien is not only savage,” he notes, “it’s also quite ignorant.” It’s a cool comment, although it makes me think of a bunch of xenomorphs sitting in a classroom and learning the properties of acid blood.The Book of Alien feels like a rough draft of a much better book.
Alien is one of the best science fiction films of all-time and I hope one day we’ll get a serious making-of book that gives the movie the respect it deserves.Rating: CPROMETHEUS: THE ART OF THE FILMMark Salisbury‘s Prometheus: The Art of the Film is a far better read even if you weren’t enamored of the film’s plot. Ridley Scott’s return to the Alien franchise had an enormous budget and production designer Arthur Max took advantage of it to make a movie that shared a look with the 1979 film, but wasn’t totally beholden to it. He also drew inspiration from some of Ron Cobb’s Alien concept art, so The Book of Alien may not be a bad companion if you’re planning to pick up Prometheus.Of course, Prometheus has a bit of an advantage since the Blu-ray hasn’t been released, and we don’t know what special features it will have. If you want to soak in the terrific behind-the-scenes material right now, then Art of the Film is a way to go. The hardcover volume is filled with big, glossy photos, neatly laid out alongside commentary from the filmmakers.Another great feature of Salisbury’s book is that it contains concept art for stuff that didn’t make it into the final film. For example, early drafts featured a scene where Shaw ( Noomi Rapace) and Holloway ( Logan Marshall-Green) visit Peter Weyland ( Guy Pearce) on Mars, which is being colonized by Weyland Industries.
The most you see of this landscape in the film is when Weyland’s hologram is briefing the crew.Both books show you the roads not taken in movies, which I always find fascinating. Prometheus: The Art of the Film just does it so much better than The Book of Alien. Prometheus‘ making-of book feels far more meticulous, with chapters devoted to mammoth sets like the Ampule Chamber (where they find the giant stone head) down to brief chapters on minor locations like the ship’s cargo bay. For fans of Prometheus, The Art of the Film is a must-buy even if you’re planning on picking up the Blu-ray down the line.
For those who simply admire the visuals of Prometheus removed from the actual story, it’s still a strong read although at $40 it could stand to show a bit more insight into the development of the plot and not just the visuals. However, it’s still a worthy addition to any movie-lover’s collection of making-of books.Rating: B+.
Prometheus depicted in a sculpture by, 1762 In, Prometheus (;: Προμηθεύς, pronounced, possibly meaning 'forethought') is a, and figure who is credited with the, and who defies the gods by, an act that enabled progress. Prometheus is known for his intelligence and as a champion of humankind and also seen as the author of the human arts and sciences generally. He is sometimes presented as the father of, the hero of the Greek flood story.The punishment of Prometheus as a consequence of the theft is a major theme of his mythology, and is a popular subject of both ancient and modern art., king of the, sentenced the Titan to eternal torment for his transgression. The immortal Prometheus was bound to a rock, where each day an eagle, the emblem of Zeus, was sent to feed on his liver, which would then grow back overnight to be eaten again the next day.
Art Of Prometheus Pdf Viewer Pdf
(In ancient Greece, the liver was often thought to be the seat of human emotions.) Prometheus is freed at last by the.In another myth, Prometheus establishes the form of practiced in. Evidence of a to Prometheus himself is not widespread. He was a focus of religious activity mainly at, where he was linked to and, other Greek deities of creative skills and technology.In the, Prometheus became a figure who represented human striving, particularly the quest for scientific knowledge, and the risk of overreaching. In particular, he was regarded in the as embodying the lone genius whose efforts to improve human existence could also result in tragedy:, for instance, gave The Modern Prometheus as the subtitle to her novel (1818). Contents.EtymologyThe etymology of the theonym prometheus is debated.
The classical view is that it signifies 'forethought,' as that of his brother denotes 'afterthought'. Gives Prometheus the variant name of Ithas, and adds 'whom others call Ithax', and describes him as the Herald of the Titans. Remarks that these names are 'not transparent', and may be different readings of the same name, while the name 'Prometheus' is descriptive.It has also been theorised that it derives from the that also produces the pra math, 'to steal', hence pramathyu-s, 'thief', with 'Prometheus', the thief of fire. The of fire's theft by is an analogue to the Greek account. Pramantha was the fire-drill, the tool used to create fire.
The suggestion that Prometheus was in origin the human 'inventor of the fire-sticks, from which fire is kindled' goes back to in the first century BC. The reference is again to the 'fire-drill', a worldwide primitive method of using a vertical and a horizontal piece of wood to produce fire by friction.
Myths and legends Possible Sources. The Torture of Prometheus, painting by (1646-1648).The oldest record of Prometheus is in, but stories of by a trickster figure are widespread around the world. Some other aspects of the story resemble the Sumerian myth of (or Ea in later Babylonian mythology) who was also a bringer of civilisation who protected humanity against the other gods. That Prometheus descends from the Vedic fire bringer was a suggestion made in the 19th century which lost favour in the 20th century but is still supported by some. Oldest legends Hesiod's Theogony and Works of the Days TheogonyThe first recorded account of the Prometheus myth appeared in the late 8th-century BC epic poet 's. He was a son of the by, one of the. He was brother to,.
Hesiod, in Theogony, introduces Prometheus as a lowly challenger to 's omniscience and omnipotence.In the , a sacrificial meal marking the 'settling of accounts' between mortals and immortals, Prometheus played a trick against Zeus. He placed two offerings before the Olympian: a selection of beef hidden inside an ox's stomach (nourishment hidden inside a displeasing exterior), and the bull's bones wrapped completely in 'glistening fat' (something inedible hidden inside a pleasing exterior). Zeus chose the latter, setting a precedent for future sacrifices. Henceforth, humans would keep that meat for themselves and burn the bones wrapped in fat as an offering to the gods. This angered Zeus, who hid fire from humans in retribution. In this version of the myth, the use of fire was already known to humans, but withdrawn by Zeus. Prometheus, however, stole fire back in a and restored it to humanity.
This further enraged Zeus, who sent the first woman to live with humanity (, not explicitly mentioned). The woman, a 'shy maiden', was fashioned by out of clay and Athena helped to adorn her properly.
Hesiod writes, 'From her is the race of women and female kind: of her is the deadly race and tribe of women who live amongst mortal men to their great trouble, no in hateful poverty, but only in wealth'. Prometheus Brings Fire. Prometheus brings fire to mankind as told by Hesiod, with its having been hidden as revenge for the trick at Mecone.Prometheus is chained to a rock in the for eternity, where his liver is eaten daily by an eagle, only to be by night, due to his immortality. The eagle is a symbol of Zeus himself. Years later, the Greek hero slays the eagle and frees Prometheus from his torment.Works and DaysHesiod revisits the story of Prometheus and the theft of fire in. In it the poet expands upon Zeus's reaction to Prometheus's deception. Not only does Zeus withhold fire from humanity, but 'the means of life' as well.
Had Prometheus not provoked Zeus's wrath, 'you would easily do work enough in a day to supply you for a full year even without working; soon would you put away your rudder over the smoke, and the fields worked by ox and sturdy mule would run to waste'.Hesiod also adds more information to Theogony's story of the first woman, a maiden crafted from earth and water by Hephaestus now explicitly called Pandora (' all gifts'). Zeus in this case gets the help of Athena, Aphrodite, Hermes, the and the. After Prometheus steals the fire, Zeus sends Pandora in retaliation. Despite Prometheus' warning, Epimetheus accepts this 'gift' from the gods. From which were released mischief and sorrow, plague and diseases. Pandora shuts the lid of the jar too late to contain all the evil plights that escaped, but Hope is left trapped in the jar because Zeus forces Pandora to seal it up before Hope can escape.InterpretationAngelo Casanova, professor of Greek literature at the University of Florence, finds in Prometheus a reflection of an ancient, pre-Hesiodic -figure, who served to account for the mixture of good and bad in human life, and whose fashioning of humanity from clay was an Eastern motif familiar in. As an opponent of Zeus he was an analogue of the and, like them, was punished.
As an advocate for humanity he gains semi-divine status at Athens, where the episode in Theogony in which he is liberated is interpreted by Casanova as a post-Hesiodic interpolation.According to the German classicist, in Hesiod's scriptures, Prometheus represents the 'descent of mankind from the communion with the gods into the present troublesome life'. The Lost TitanomachyThe is a lost epic of the cosmological struggle between the Greek gods and their parents, the Titans, and is a probable source of the Prometheus myth. Along with the works of. Its reputed author was anciently supposed to have lived in the 8th century BC, but has argued that it can't be earlier than the late 7th century BC. Presumably included in the Titanomachy is the story of Prometheus, himself a Titan, who managed to avoid being in the direct confrontational cosmic battle between Zeus and the other against and the other Titans (although there is no direct evidence of Prometheus' inclusion in the epic). West notes that surviving references suggest that there may have been significant differences between the Titanomachy epic and the account of events in Hesiod; and that the Titanomachy may be the source of later variants of the Prometheus myth not found in Hesiod, notably the non-Hesiodic material found in the of.
Athenian traditionThe two major authors to have an influence on the development of the myths and legends surrounding the Titan Prometheus during the Socratic era of greater Athens were. The two men wrote in highly distinctive forms of expression which for Aeschylus centered on his mastery of the literary form of Greek tragedy, while for Plato this centered on the philosophical expression of his thought in the form of the various dialogues he wrote or recorded during his lifetime.Aeschylus and the ancient literary tradition, perhaps the most famous treatment of the myth to be found among the, is traditionally attributed to the 5th-century BC Greek tragedian. At the centre of the drama are the results of Prometheus' theft of fire and his current punishment. The playwright's dependence on the Hesiodic source material is clear, though Prometheus Bound also includes a number of changes to the received tradition. It has been suggested by that these changes may derive from the now lost epicBefore his theft of fire, Prometheus played a decisive role in the, securing victory for Zeus and the other Olympians.
Zeus' torture of Prometheus thus becomes a particularly harsh betrayal. The scope and character of Prometheus' transgressions against Zeus are also widened. In addition to giving humanity fire, Prometheus claims to have taught them the arts of civilisation, such as writing, mathematics, agriculture, medicine, and science. The Titan's greatest benefaction for humanity seems to have been saving them from complete destruction. In an apparent twist on the myth of the so-called Five found in Hesiod's Works and Days (wherein Cronus and, later, Zeus created and destroyed five successive races of humanity), Prometheus asserts that Zeus had wanted to obliterate the human race, but that he somehow stopped him. Heracles freeing Prometheus from his torment by the eagle ( cup, c. 500 BC)Moreover, Aeschylus anachronistically and artificially injects, another victim of Zeus's violence and ancestor of Heracles, into Prometheus' story.
Finally, just as Aeschylus gave Prometheus a key role in bringing Zeus to power, he also attributed to him secret knowledge that could lead to Zeus's downfall: Prometheus had been told by his mother, who in the play is identified with (Earth), of a potential marriage that would produce a son who would overthrow Zeus. Fragmentary evidence indicates that Heracles, as in Hesiod, frees the Titan in the trilogy's second play,. It is apparently not until Prometheus reveals this secret of Zeus's potential downfall that the two reconcile in the final play, or Prometheus Pyrphoros, a lost tragedy by Aeschylus.Prometheus Bound also includes two mythic innovations of omission. The first is the absence of 's story in connection with Prometheus' own. Instead, Aeschylus includes this one oblique allusion to Pandora and her jar that contained Hope (252): 'Prometheus caused blind hopes to live in the hearts of men.' Second, Aeschylus makes no mention of the sacrifice-trick played against Zeus in the Theogony. The four tragedies of Prometheus attributed to Aeschylus, most of which are lost to the passages of time into antiquity, are Prometheus Bound ( Prometheus Desmotes), Prometheus Unbound ( Lyomenos), Prometheus the Fire Bringer ( Pyrphoros), and Prometheus the Fire Kindler ( Pyrkaeus).The larger scope of Aeschylus as a dramatist revisiting the myth of Prometheus in the age of Athenian prominence has been discussed by William Lynch.
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Lynch's general thesis concerns the rise of humanist and secular tendencies in Athenian culture and society which required the growth and expansion of the mythological and religious tradition as acquired from the most ancient sources of the myth stemming from Hesiod. For Lynch, modern scholarship is hampered by not having the full trilogy of Prometheus by Aeschylus, the last two parts of which have been lost to antiquity. Significantly, Lynch further comments that although the Prometheus trilogy is not available, that the Orestia trilogy by Aeschylus remains available and may be assumed to provide significant insight into the overall structural intentions which may be ascribed to the Prometheus trilogy by Aeschylus as an author of significant consistency and exemplary dramatic erudition., in his research guide for Aeschylus, has summarised some of the critical attention that has been applied to Aeschylus concerning his general philosophical import in Athens. As Bloom states, 'Much critical attention has been paid to the question of theodicy in Aeschylus. For generations, scholars warred incessantly over 'the justice of Zeus,' unintentionally blurring it with a monotheism imported from Judeo-Christian thought.
The playwright undoubtedly had religious concerns; for instance, suggests that his treatment of time flows directly out of his belief in divine justice. But it would be an error to think of Aeschylus as sermonising. His Zeus does not arrive at decisions which he then enacts in the mortal world; rather, human events are themselves an enactment of divine will.'
According to, regarding the religious import of Aeschylus, 'In Aeschylus, as in Homer, the two levels of causation, the supernatural and the human, are co-existent and simultaneous, two ways of describing the same event.' Rosenmeyer insists that ascribing portrayed characters in Aeschylus should not conclude them to be either victims or agents of theological or religious activity too quickly. As Rosenmeyer states: 'The text defines their being. For a critic to construct an Aeschylean theology would be as quixotic as designing a typology of Aeschylean man. The needs of the drama prevail.' In a rare comparison of Prometheus in Aeschylus with Oedipus in Sophocles, Harold Bloom states that 'Freud called Oedipus an 'immoral play,' since the gods ordained incest and parricide.
Oedipus therefore participates in our universal unconscious sense of guilt, but on this reading so do the gods'. 'I sometimes wish that Freud had turned to Aeschylus instead, and given us the Prometheus complex rather than the Oedipus complex.' States that in contrast to Hesiod's, in Aeschylus' oeuvre, Prometheus stands for the 'Ascent of humanity from primitive beginnings to the present level of civilisation.' Plato and philosophy, in her study 'The Myth of Prometheus', attributes Plato in the as an important contributor to the early development of the Prometheus myth.
Raggio indicates that many of the more challenging and dramatic assertions which Aeschylean tragedy explores are absent from Plato's writings about Prometheus.As summarised by Raggio,After the gods have moulded men and other living creatures with a mixture of clay and fire, the two brothers Epimetheus and Prometheus are called to complete the task and distribute among the newly born creatures all sorts of natural qualities. Epimetheus sets to work but, being unwise, distributes all the gifts of nature among the animals, leaving men naked and unprotected, unable to defend themselves and to survive in a hostile world. Prometheus then steals the fire of creative power from the workshop of and Hephaistos and gives it to mankind.Raggio then goes on to point out Plato's distinction of creative power ( techne), which is presented as superior to merely natural instincts ( physis).For Plato, only the virtues of 'reverence and justice can provide for the maintenance of a civilised society – and these virtues are the highest gift finally bestowed on men in equal measure.' The ancients by way of Plato believed that the name Prometheus derived from the Greek pro- (before) + manthano (intelligence) and the - eus, thus meaning 'Forethinker'.In his dialogue titled Protagoras, contrasts Prometheus with his dull-witted brother, 'Afterthinker'.
In Plato's dialogue, Protagoras asserts that the gods created humans and all the other animals, but it was left to Prometheus and his brother to give defining attributes to each. As no physical traits were left when the pair came to humans, Prometheus decided to give them fire and other civilising arts. Athenian religious dedication and observanceIt is understandable that since Prometheus was considered a Titan and not one of the Olympian gods that there would be an absence of evidence, with the exception of Athens, for the direct religious devotion to his worship. Despite his importance to the myths and imaginative literature of ancient Greece, the religious cult of Prometheus during the and seems to have been limited. Writing in the 2nd century AD, the satirist points out that while temples to the major Olympians were everywhere, none to Prometheus is to be seen. Prometheus watches Athena endow his creation with reason (painting by, 1877)Some two dozen other Greek and Roman authors retold and further embellished the Prometheus myth from as early as the 5th century BC (, ) into the 4th century AD.
The most significant detail added to the myth found in, e.g., and was the central role of Prometheus in the creation of the human race. According to these sources, Prometheus fashioned humans out of clay.Although perhaps made explicit in the Prometheia, later authors such as, the, and would confirm that Prometheus warned Zeus not to marry the sea nymph. She is consequently married off to the mortal, and bears him a son greater than the father –, Greek hero of the. Pseudo-Apollodorus moreover clarifies a cryptic statement (1026–29) made by Hermes in Prometheus Bound, identifying the centaur as the one who would take on Prometheus' suffering and die in his place. Mythological narrative of Prometheus by (1515)After the writings of both Boccaccio and Ficino in the late Middle Ages about Prometheus, interest in the Titan shifted considerably in the direction of becoming subject matter for painters and sculptors alike. Among the most famous examples is that of from about 1510 presently on display at the museums of Munich and Strasburg (see Inset).
Raggio summarises the Munich version as follows; 'The Munich panel represents the dispute between Epimetheus and Prometheus, the handsome triumphant statue of the new man, modelled by Prometheus, his ascension to the sky under the guidance of Minerva; the Strasburg panel shows in the distance Prometheus lighting his torch at the wheels of the Sun, and in the foreground on one side, Prometheus applying his torch to the heart of the statue and, on the other, Mercury fastening him to a tree.' All the details are evidently borrowed from 's Genealogiae.The same reference to the Genealogiae can be cited as the source for the drawing by presently located in the Pierpont Morgan Library in New York City.
Art Of Prometheus Pdf Viewer Software
In the drawing, a very noble rendering of Prometheus is presented which evokes the memory of Michelangelo's works portraying Jehovah. This drawing is perhaps one of the most intense examples of the visualisation of the myth of Prometheus from the Renaissance period.Writing in the late British Renaissance, William Shakespeare uses the Promethean allusion in the famous death scene of Desdemona in his tragedy of Othello. Othello in contemplating the death of Desdemona asserts plainly that he cannot restore the 'Promethean heat' to her body once it has been extinguished.
For Shakespeare, the allusion is clearly to the interpretation of the fire from the heat as the bestowing of life to the creation of man from clay by Prometheus after it was stolen from Olympus. The analogy bears direct resemblance to the biblical narrative of the creation of life in Adam through the bestowed breathing of the creator in Genesis. Shakespeare's symbolic reference to the 'heat' associated with Prometheus's fire is to the association of the gift of fire to the mythological gift or theological gift of life to humans.Post-Renaissance.
See also:The myth of Prometheus has been a favourite theme of and literature in the post- and post- tradition and, occasionally, in works produced outside the.Post-Renaissance literary artsFor the, Prometheus was the rebel who resisted all forms of institutional tyranny epitomised by Zeus – church, monarch, and patriarch. The Romantics drew comparisons between Prometheus and the spirit of the, the of 's, and the divinely inspired poet or artist. Prometheus is the lyrical 'I' who speaks in 's poem (written c. 1772–74, published 1789), addressing God (as Zeus) in accusation and defiance. In (1820), a four-act lyrical drama, rewrites the lost play of Aeschylus so that Prometheus does not submit to Zeus (under the Latin name Jupiter), but instead supplants him in a triumph of the human heart and intellect over tyrannical religion. 's poem 'Prometheus' also portrays the Titan as unrepentant. As documented by Olga Raggio, other leading figures among the great Romantics included Byron, Longfellow and Nietzsche as well.
's 1818 novel is subtitled 'The Modern Prometheus', in reference to the novel's themes of the over-reaching of modern humanity into dangerous areas of knowledge.Goethe's poems.
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