By Angela Dalle Vacche
The visible photo is the typical denominator of cinema and portray, and certainly many filmmakers have used the imagery of work to form or improve the that means in their movies. during this discerning new method of cinema stories, Angela Dalle Vacche discusses how using pictorial resources in movie permits 8 filmmakers to touch upon the interaction among the humanities, at the dialectic of observe and photo, at the courting among inventive creativity and sexual distinction, and at the rigidity among culture and modernity.
Specifically, Dalle Vacche explores Jean-Luc Godard's iconophobia (Pierrot Le Fou) and Andrei Tarkovsky's iconophilia (Andrei Rubleov), Kenji Mizoguchi's break up allegiances among East and West (Five girls round Utamaro), Michelangelo Antonioni's melodramatic sensibility (Red Desert), Eric Rohmer's undertaking to exhibit interiority via photographs (The Marquise of O), F. W. Murnau's debt to Romantic panorama portray (Nosferatu), Vincente Minnelli's affinities with American summary Expressionism (An American in Paris), and Alain Cavalier's use of nonetheless existence and the close-up to discover the geographical regions of mysticism and femininity (Thérèse).
While addressing problems with effect and intentionality, Dalle Vacche concludes that intertextuality is crucial to an appreciation of the dialogical nature of the filmic medium, which, in appropriating or rejecting paintings background, defines itself when it comes to nationwide traditions and widely shared visible cultures.
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Extra resources for Cinema and Painting: How Art Is Used in Film
The painter was indebted to the Fauvists, Van Gogh, Gauguin and Matisse, whose works he saw at Bernheim’s, for his encounter with absolute colour. To Cézanne and the Cubists he owed the geometric framework of his paintings between 1911 and 1914 and the elements of his plastic grammar. But his individuality resisted all theoretic limits. “Let them eat their square pears on their triangular tables! 7” he cried vehemently, speaking of the Cubists. A true creator, Chagall borrowed from Cubism only that which served his personal vision.
Qxp 5:45 PM 20/06/2007 Page 58 44. Lovers in Grey (1916), Oil on cardboard, 69 x 49 cm, Collection Ida Chagall, Paris. qxp 5:45 PM 20/06/2007 Page 59 3:02 PM Page 59 45. Bella with a White Collar (1917), Oil on canvas, 149 x 72 cm, Collection of the artist’s family, France. qxp 5:45 PM 20/06/2007 Page 60 46. Double Portrait with a Wineglass (1917), Oil on canvas, 233 x 136 cm, Musée national d’art moderne, Centre Georges-Pompidou, Paris. 47. 5 cm, Russian Museum, St Petersburg. qxp 5:45 PM 20/06/2007 Page 62 48.
The artist not only looked at paintings but got to know people. Talented people were drawn to him, sensing in him a true colleague; thus he became friends with Guillaume Apollinaire, Max Jacob and Blaise Cendrars. Apollinaire was the first to mention Chagall’s name in print, in 1911, when the artist exhibited at the Salon des Indépendants. Apollinaire’s sharpedged verses, often blending into type-set hieroglyphic drawings (calligrams), were for the artist a school of clarity and creative courage, a lesson in the daring logic of twentieth-century thought.
Cinema and Painting: How Art Is Used in Film by Angela Dalle Vacche