Cinema and Painting How Art Is Used in Film (Paperback)
|Author: Angela Dalle Vacche|
$34.48 + $3.75 SHIPPING
EARN 35 RAKUTEN SUPER POINTS™Get rewarded when you shop! Earn 1 point per dollar spent. That's like getting cash back on every purchase. Easy to see matured points in checkout. Use points just like cash.Learn More
What are Rakuten Super Points™?
CONDITION: Brand New
|Instead of concentrating on surface similarities and notions like influence, it argues for an ongoing dialogue, a continuing relationship between cinema and painting that plays itself out in the norms of visual representation, in the historical changes of the 'eye.'|
From the Publisher:
Instead of concentrating on surface similarities and notions like influence, it argues for an ongoing dialogue, a continuing relationship between cinema and painting that plays itself out in the norms of visual representation, in the historical changes of the 'eye.'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.