Proposal.docx THE RELATIONSHIP OF ANIMATIONS BY WILLAM KENTRIDGE AND THE EMERGENCE OF P

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Proposal.docx THE RELATIONSHIP OF ANIMATIONS BY WILLAM KENTRIDGE AND THE EMERGENCE OF POST-APARTHEID ART IN SOUTH AFRICA Name Institution I.Abstract a.With the use of the hermeneutics by Paul R... icoeur as the selected methodology, this paper explores the animated films by William Kentridge; Drawing for projection series (1989-1999) b.In this regard, it follows the contexts of the cultural, social, and political spheres of post-apartheid art in South Africa. c.Thereafter, the paper analyzes the visual symbols, and the metaphors utilized the in work. d.At last, the paper ends with the conclusion that animated films by Kentridge factor the four elements of the aesthetics. e.The elements are the fluidity and ambiguity within time, characters and pace and abstraction regarding symbolism about color and form. f.Other elements are the perpetual seeking for the human-oriented reminiscences and the newer meaning as well as the image accrued from the semantic form of a lacuna. g.In this regard, the researcher has hopes that this paper is capable of offering the interpretive viewpoint concerning the animated films by Kentridge. . Keywords: Kentridge, aesthetics, animation, hermeneutics II.Introduction a.The aesthetics, form, and content of the animated films by Kentridge from South Africa have given many options for artwork, studies and education in the education and visual arts fields b.This paper explores the content and the form of animated films by Kentridge on Drawings for Pr. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . .. .. . . . . . . . . . . . . . . . . . .. . . . . [Show More]

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