Cinema and Painting: How Art Is Used in FilmUniversity 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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النتائج 1-5 من 47
عذرًا، محتوى هذه الصفحة مقيَّد.
عذرًا، محتوى هذه الصفحة مقيَّد.
عذرًا، محتوى هذه الصفحة مقيَّد.
عذرًا، محتوى هذه الصفحة مقيَّد.
عذرًا، محتوى هذه الصفحة مقيَّد.
المحتوى
List of Illustrations ix | 69 |
Red Square and Black Square by Kazimir Malevich | 155 |
The Isle of the Dead by Arnold Böcklin | 169 |
The Monk by the Sea by Caspar David Friedrich | 172 |
Ellen as a Rückenfigur in Nosferatu | 173 |
The Cross in the Mountains by Caspar David Friedrich | 174 |
The opening view in Nosferatu | 176 |
The heavy door of the vampires castle in Nosferatu | 177 |
An Oiran A Courtesan by Kitagawa Utamaro | 213 |
Utamaro paints the body in Five Women around Utamaro | 216 |
Introspective clothing in Thérèse | 227 |
Woman with a Parrot by Edouard Manet | 232 |
Shoes by Vincent van Gogh | 233 |
Thérèse as Joan of Arc in Thérèse | 237 |
The Young Virgin by Francisco de Zurbarán | 238 |
Christ the Redeemer by Quirizio da Murano | 241 |
Biedermeier decor in Nosferatu | 183 |
Woman before the Setting Sun by Caspar David Friedrich | 185 |
The crowd as a moving strip of photographic negatives in Nosferatu | 186 |
Before the Mirror by Georg Friedrich Kersting | 192 |
The vampire at sunrise in Nosferatu | 195 |
Catherine Mouchet as Thérèse falling ill in Thérèse | 243 |
INTRODUCTION A Thematic and Intertextual Approach | 247 |
Bibliography | 267 |
293 | |
طبعات أخرى - عرض جميع المقتطفات
Cinema and Painting: How Art is Used in Film <span dir=ltr>Angela Dalle-Vacche</span> لا تتوفر معاينة - 1996 |