Cinema and Painting: How Art Is Used in Film

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University of Texas Press, 1996 - 303 ページ

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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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
Index
293
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著者について (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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