Name: Cinema and Painting: How art is Used in Film (en Inglés)
Price: 165.44 PEN
Availability: InStock
Author: Angela Dalle Vacche
ISBN: 9780292715837

portada Cinema and Painting: How art is Used in Film (en Inglés)

Formato

Libro Físico

Editorial

University Of Texas Press

Autor

Angela Dalle Vacche

Año

1996

Idioma

Inglés

N° páginas

320

Encuadernación

Tapa Blanda

Peso

1.15

ISBN

0292715838

ISBN13

9780292715837

N° edición

Categorías

Historia del cine

Cinema and Painting: How art is Used in Film (en Inglés)

Angela Dalle Vacche (Autor) · University Of Texas Press · Tapa Blanda

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Reseña del libro "Cinema and Painting: How art is Used in Film (en Inglés)"

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.