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To me it seems a lot simpler. The perspective of the shot juxtaposes a lone man always against something much larger than himself - facing it head on. It's an a
by zenogais 14y ago
To me it seems a lot simpler. The perspective of the shot juxtaposes a lone man always against something much larger than himself - facing it head on. It's an archetypically heroic pose. If it has to do with anything Kantian I'd think it would have less to do with his moral philosophy and more to do with the realm of the noumena and phenomena and his transcendental philosophy as contemplated by a lone man who for the first time sees something of the shape of things from a vantage point above the fog.
- JumpCrisscross 14y agoThe abstract archetype is a collective cultural event, expressed through various forms and media, but derived from a shared system of values and its corollaries (it's less a spontaneous eruption of the "collective conscience" than an emergent property of the value system). Yes, the spiritual wanderer contemplating existence is a Western archetype of indeterminable root. Yet the Wanderer is a specific concrete precipitation which propagates forward in time but does not appear to have any precedent (to a certain, albeit arbitrary, level of pattern-matching strictness). Thus, while the Wanderer does not monopolise the archetype, it does lie at the root of a specific visual heritage of that archetype.
- olavk 14y agoThe heroic pose may be timeless, but in Friedrichs painting it has a novel (I believe) interpretation in that we see the hero from the back, and he is dark and unspecific, while the vista is bright. So rather than focus on the hero as an object (as we do with e.g. Michelangelo David), we identify with the hero (because he is "generic" and have the same position as we have relative to the image) and contemplate the vista along with him. We become the hero. I believe this is the effect that the movie posters also strive for.