1. Clémence Poésy ....A Woman in the Sun


    from Shenlha Okar / Added

    14 Plays / / 0 Comments

    Edward Hopper, A Woman in the Sun, 1961.

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    • Videoclip hopperià


      from Nora Porta / Added

      103 Plays / / 0 Comments

      Videoclip de Bob Dylan "The Man in Me" a l'estil d'Edward Hopper.

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      • The Unexpected


        from Steve Harris / Added

        45 Plays / / 0 Comments

        A parable about plagues, death, and the transcendent power of a good deed. Stop motion animation. Special thanks to Edward Hopper and Ingmar Bergman.

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        • Edward Hopper's A Woman in the Sun


          from Raquel Fogel / Added

          26 Plays / / 0 Comments

          Masking a painting for VFX class

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          • Alone Together - Inspired by Nighthawks


            from Christian Druitt / Added

            74 Plays / / 0 Comments

            A moving image inspired by Edward Hopper's Nighthawks. Artist's Statement: For me, Edward Hopper’s 1942 painting, Nighthawks, is about loneliness. All four of the figures it features could be said to look as though they are alone, disconnected from one another, isolated – even though they are all together in a physical space. The figure who is closest to the viewer in the painting, and who has his back turned so that we cannot see his face, seems to be most isolated and tragically alone in the piece. I wanted to explore the relationship between the three “main characters” – the woman in red, the man next to her, and the isolated man – and I thought the best way to do so would be through a vignette of the scene, mainly focusing on their hands on the counter that has brought them together. I decided to focus primarily on the isolated man – the loneliest figure from the piece – and perhaps use the moving image I created to offer one further explanation of his story. I felt that faces were less important to the scene, as it would be too easy to read into the emotions of the characters, and that said emotion might be better expressed through the motions of their hands (or bodies) themselves. Also, faces are the way in which we connect and relate to each other, and so, the viewer, like the isolated man, cannot connect even with the couple that is only a few feet away. (Their connection is kept between themselves.) To reinforce his loneliness, I kept the isolated man’s back turned away from the viewer and juxtaposed him with the couple in the background, as in the painting. I wanted to use the motion of the woman in red and the man sitting next to her talking and laughing with each other to reinforce the isolated man’s loneliness – the couple interacts with each other, while he sits by himself. I have the isolated man rubbing his hands and tapping on the counter to show that he is perhaps anxious, or worried about something. At the end, he takes a photo of a woman out of his pocket and rubs it contemplatively; this is meant to suggest that once, he too had a woman in his life, and he is now left alone to miss her. The photo is in black and white, to keep with the 1940s aesthetic present in the painting. As the isolated man leans forward, his dark shoulder is meant to loom into the scene and draw the focus to the photo he is holding as he eclipses the couple in the background. I made sure to keep the red color of the woman’s clothing to draw the eye to the background initially, and provide further juxtaposition with the dark, huddled mass of the isolated man in the foreground. For my own wardrobe, I made sure to wear dark colors – a black suit jacket and a blue dress shirt – to keep with the wardrobe and colors of the painting. I mimicked as closely as I could the angular shape of the counter, and included two white mugs as props to match the painting and establish more of a diner feel. I tried to replicate the dusky, blue-green shadows and yellowish tones of the painting in the moving image, as well as the harsh, unidirectional lighting, as I believe they reinforce the somber tone of the scene; this was accomplished in part through careful lighting of the space, as well as color grading in editing. For the painting, Hopper used himself as a model for both of the seated men in the scene, and his wife, Jo, as the model for the woman in red – similarly, I used myself as the model for both men in my moving image, and my friend, Kat, as the woman in red. Two shots were painstakingly spliced together in editing in order for all three characters to be visually present in the scene at once. Nighthawks can be seen here: http://www.artic.edu/aic/collections/artwork/111628 , and the original is kept by the Art Institute of Chicago.

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            • // Edward Hopper


              from francisco aranda / Added

              10 Plays / / 0 Comments

              Edward Hopper (Nyack, 22 de julio de 1882 - Nueva York, 15 de mayo de 1967)

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              • Nighthawks


                from EMCA Angoulême / Added

                169 Plays / / 2 Comments

                Réalisé par Etienne MOLINIER © EMCA 2014

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                • A Day in the Nighthawks Diner


                  from Max Crider / Added

                  4 Plays / / 0 Comments

                  This is a video that recreates the painting "The Nighthawks" by Edward Hooper as a 3 Dimensional piece the audience can explore.

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                  • Teaser Brócolis (2014)


                    from Valentina Homem / Added

                    412 Plays / / 0 Comments

                    Brócolis é um curta de ficção, 12min40sec, filmado em película. Para saber mais, visite: http://brocolisfilme.com

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                    What are Tags?


                    Tags are keywords that describe videos. For example, a video of your Hawaiian vacation might be tagged with "Hawaii," "beach," "surfing," and "sunburn."