Visual analysis of symbol Ferrari(Based on Arnheim's concept) Essay

Visual analysis of symbol Ferrari(Based on Arnheim's concept) - Essay Example The film while on the process is nothing but a portrayal of the things that might have happened or will happen but not the actual. The film on the other hand, no matter how we say is just a portrayal of the real and not the actual is patronized by the audience in a way that they relate the things happening in the movie to real life. Arnheim relates this idea to Gestalt psychology which in simple words refers to looking at the whole rather than its parts. In the book by J. Dudley Andrews entitled Major Film Theories, Arnheim's idea on looking at the table as an unchanging rectangular table no matter how the eyes go near it is an example of the view as a whole. He said that a person as he looks at the table at one side or at another distance does not make the table's image change. It will still be the same rectangular table in the mind of the viewer. Instead of looking at it as a trapezoidal item as the position of the viewer changes, the form stays the same. That is because the person sees it as a whole and not of a specific angle or position. Understanding these things also need a clarification of the most important view that Arnheim used in the book Art and Visual Perception. He raised the point that in order for an art to be recognized as a material that is not a limited raw material, it should achieve a general pattern coherent to nature. He said that equilibrium must be achieved between the artist's ideas and the stimuli of the world. The query is not on the understandability of the object but on how the ideas can be related to people and the surrounding elements. He also warned that artists may create ambiguity once this general pattern is not achieved. In short, the possibility to attain vagueness is just at hand once there is no balance between the relevant elements of the world and the artist's ideas. Through this so called pattern, it is not hard to connect the ideas in the accepted reality to that of the artist. Motifs like rising and falling, dominance and submission, weakness and strength, harmony and discord, struggle and conformance, underlie all existence. We find them within our own mind and in our relations with other people, in the human community and in the events of nature. Perception and expression fulfills its spiritual mission only if we experience in it more than the resonance of our own feelings. It permits us to realize that the forces stirring in ourselves are only individual examples of the same forces acting throughout the universe (Art and Visual Perception, p. 434). All these ideas mentioned are present and can be seen with the Ferrari logo. The Prancing black stallion that gestures and introduces the famous name of the Italian car manufacturer in Maranello and Modena Italy is not seen as a standalone stallion, or even a yellow-filled horse symbolizing the country through the three colors green, white, and red. It represents Ferrari. The symbols mixed together create oneness through the meaning when people would utter "Ah Ferrari!" The question is not what the Stallion stands for or why there are three colors and so on. Anyone can say that Stallion is for racing and the three colors stand for the Italian flag or it can also be of another meaning. The emphasis is on the general pattern that it