Answer:
a) Baroque artists sought to convey figures full of emotion and energetic movement.
Explanation:
Baroque artists were trying hard to <u>express energy, emotion, movement, dynamics, and drama</u> through their art as well as their sculptures. We can look into works of some of the most famous Baroque sculptors like Bernini, Maderno or Mochi, to see <u>sculptures that are in movement, full of expression, details, emotions, and life. </u>
Renaissance was aiming more for a classic, realistic style that celebrated the figure and the simplicity, <u>while the Baroque style was full of life and drama, embodied through sharp contrasts, theatrical facial expressions, movement, and ornamentation. </u>
Lighting has come to be an important component of cinema's visual design. It is widely recognized that in film, as elsewhere, it can create a substantial emotional impact. A primordial response to darkness and light is a deep-seated element of human psychology that filmmakershave harnessed in order to influence the ways viewers respond to narrativedevelopment. On the one hand, deep shadows can make a character seem untrustworthy or conceal a host of horrors. On the other, bright, diffused lighting can provide comfort and reassurance or create the impression of an angelic countenance. Extremely bright light can cause discomfort, though, and can even be used as a weapon, as inRear Window(1954) andThe Big Combo(1955), where it dazzles the villains and halts their advance.
Brightness is only one variable of lighting that can contribute to the effect of a scene. The choices the cinematographer makes about what kinds of lights will be used, how many there will be, and where they will be placed all require careful consideration. Moreover, color andblack-and-white cinematography each allows for different lighting effects. Colored lighting can give rise to a range of subjective impressions that may be systematically used throughout a film for atmosphere, as in the moody and heavily stylizedBatman(1989), or for metaphorical significance, as inVertigo(1958) when Scottie (James Stewart) persuades Judy (Kim Novak) to transform her appearance into that of the dead Madeleine (Novak). When she emerges from her bathroom made over into Madeleine's image, she is bathed in a green light, its supernatural associations accentuating theuncanniness of the resurrection of her alter ego.
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The speed of the object because it is moving
