Needless to say, this hyper - atmospheric art film is a
little too reliant on its environment, but the deep snow setting of this lyrically bleak drama was always going to be instrumental in the establishment of both tone and
aesthetic value, and sure enough, this film's beautiful environment goes complimented by cinematography by Bedřich Baťka which, while held back by a black - and - white palette, is playful enough in lighting and scope to attract you into this film's handsome world.
A text that is almost entirely, rather than only momentarily, diagnostic in orientation is Barbara Rose's excellent, and unfortunately
little remembered, «The
Value of Didactic Art» of 1967, which ambitiously lays out the terms of a particular shift where works of art — those inheritors of the precedent of Duchamp's unassisted readymade — began to derive their value and significance from visually presenting a particular argument, rather than by engaging the viewer in primarily aesthetic terms, which this didactic art rendered at best marginal or incide
Value of Didactic Art» of 1967, which ambitiously lays out the terms of a particular shift where works of art — those inheritors of the precedent of Duchamp's unassisted readymade — began to derive their
value and significance from visually presenting a particular argument, rather than by engaging the viewer in primarily aesthetic terms, which this didactic art rendered at best marginal or incide
value and significance from visually presenting a particular argument, rather than by engaging the viewer in primarily
aesthetic terms, which this didactic art rendered at best marginal or incidental.