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基本説明
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, and on the relationship between artistic creativity and sexual difference.
Full Description
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.
Contents
List of Illustrations
Acknowledgments
Introduction. A Thematic and Intertextual Approach
Chapter 1. Vincente Minnelli's An American in Paris: Painting as Psychic Upheaval
Chapter 2. Michelangelo Antomom's Red Desert: Painting as Ventriloquism and Color as Movement
Chapter 3. Eric Rohmer's The Marquise of O: Painting Thoughts, Listening to Images
Chapter 4. Jean-Luc Godard's Pierrot le Fou: Cinema as Collage against Painting
Chapter 5. Andrei Tarkovsky's Andrei Rublev: Cinema as the Restoration of Icon Painting
Chapter 6. F. W Murnau's Nosferatu: Romantic Painting as Horror and Desire in Expressionist Cinema
Chapter 7. Kenji Mizoguchi's Five Women around Utamaro: Film between Woodblock Printing and Tattooing
Chapter 8. Alain Cavalier's ThÉrÈse: Still Life and the Close-Up as Feminine Space
Notes
Bibliography
Index
