By Susan Felleman
Bringing an artwork old viewpoint to the area of yank and eu movie, artwork within the Cinematic mind's eye examines the ways that motion pictures have used artworks and artists themselves as cinematic and narrative motifs. From using snap shots in Vertigo to the cinematic depiction of girls artists in Artemisia and Camille Claudel, Susan Felleman comprises feminist and psychoanalytic feedback to bare person and collective views on intercourse, gender, identification, trade, and class.
Probing greater than twenty motion pictures from the postwar period via modern occasions, paintings within the Cinematic mind's eye considers a number of structurally major paintings items, artist characters, and art-world settings to discover how the medium of movie can magnify, reinvent, or recontextualize the opposite visible arts. Fluently conversing throughout disciplines, Felleman's examine brings a vast array of methodologies to undergo on questions reminiscent of the evolution of the "Hollywood Love Goddess" and the pairing of the female with dying on screen.
A persuasive method of a fascinating physique of flicks, artwork within the Cinematic mind's eye illuminates a compelling and critical aspect of the cinematic experience.
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Additional info for Art in the Cinematic Imagination
20 The ensuing scene revolves around the uncanniness of this narrative puzzle—that someone she’s never met would be portraying her, moreover as the legendary Pandora. Mystiﬁed and provoked by this conundrum, Pandora A Form of Necrophilia 35 Pandora and the Flying Dutchman (Albert Lewin, 1951; photo courtesy of the Museum of Modern Art Film Stills Archive). lashes out at the picture and literally defaces it (this makes her the second of three female iconoclasts discussed in this chapter). But the painter is strangely unperturbed by her assault, even welcomes it—in worthy surrealist fashion—as an improvement, one that introduces chance.
The ﬁlm’s third reel, with its monochromatic tinting of black-and-white footage, enhances the sense that its events are occurring in another, other-worldly register. The ﬁnal Technicolor insert of the (really rather prosaic) portrait being admired by romantic schoolgirls in the Metropolitan Museum of Art recalls the use of color insert in The Picture of Dorian Gray. The naturalism of these black-andwhite ﬁlms is gravely undermined by the sudden shock of Technicolor, which enhances the supernatural properties of the portraits.
5 The painted portrait, the photographic portrait, and the narrative cinema (excepting animated narratives) are each constituted by the two-dimensional traces of ‘‘real’’ corporeal bodies. When Alberti wrote of painting’s ability to ‘‘make the dead seem almost alive,’’ he was focusing on mimetic portraiture. For other genres and modes of painting, be they landscape, still life, history painting, icons, or nonrepresentational works, do not require, even if they imply, a speciﬁc, singular subject who has been.
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