Cinema and Painting: How Art Is Used in Film

الغلاف الأمامي
University of Texas Press, 1996 - 303 من الصفحات

The visual image is the common denominator of cinema and painting, and indeed many filmmakers have used the imagery of paintings to shape or enrich the meaning of their films. In this discerning new approach to cinema studies, Angela Dalle Vacche discusses how the use of pictorial sources in film enables eight filmmakers to comment on the interplay between the arts, on the dialectic of word and image, on the relationship between artistic creativity and sexual difference, and on the tension between tradition and modernity.

Specifically, Dalle Vacche explores Jean-Luc Godard's iconophobia (Pierrot Le Fou) and Andrei Tarkovsky's iconophilia (Andrei Rubleov), Kenji Mizoguchi's split allegiances between East and West (Five Women around Utamaro), Michelangelo Antonioni's melodramatic sensibility (Red Desert), Eric Rohmer's project to convey interiority through images (The Marquise of O), F. W. Murnau's debt to Romantic landscape painting (Nosferatu), Vincente Minnelli's affinities with American Abstract Expressionism (An American in Paris), and Alain Cavalier's use of still life and the close-up to explore the realms of mysticism and femininity (Thérèse).

While addressing issues of influence and intentionality, Dalle Vacche concludes that intertextuality is central to an appreciation of the dialogical nature of the filmic medium, which, in appropriating or rejecting art history, defines itself in relation to national traditions and broadly shared visual cultures.

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INTRODUCTION A Thematic and Intertextual Approach
Red Square and Black Square by Kazimir Malevich
The Lle of the Dead by Arnold Bocklin
The Cross in the Mountains by Caspar David Friedrich
The opening view in Nosferatu
The Red Tower in Halle by Ernst Ludwig Kirchner i76 FIGURE 49 The heavy door of the vampires castle in Nosferatu
The Churchyard by Caspar David Friedrich 77
Woman before the Setting Sun by Caspar David Friedrich 6j FIGURE 53 The real estate agent Knock as a scarecrow after turning into a scapegoat in ...
Before the Mirror by Georg Friedrich Kersting i92 FIGURE 56 The vampire at sunrise in Nosferatu
An Oiran A Courtesan by Kitagawa Utamaro
Utamaro paints the body in Five Women around Utamaro
Introspective clothing in Therese
Woman with a Parrot by Edouard Manet 2J2 FIGURE 63 Shoes by Vincent van Gogh 2JJ FIGURE 64 Therese as Joan of Arc in Therese
The Young Virgin by Francisco de Zurbaran 2j6 FIGURE 66 Christ the Redeemer by Quirizio da Murano 2J i
Catherine Motichet as Therese falling ill in Therese

The crowd as a moving strip of photographic negatives in Nosferatu

طبعات أخرى - عرض جميع المقتطفات

عبارات ومصطلحات مألوفة

حول المؤلف (1996)

Angela Dalle Vacche is Associate Professor of Art History and teaches in the film studies program at Yale University. She is the author of The Body in the Mirror: Shapes of History in Italian Cinema.

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