By Laura M. Sager Eidt
This cutting edge interdisciplinary learn compares the makes use of of portray in literary texts and flicks. In constructing a framework of 4 sorts of ekphrasis, the writer argues for the growth of the idea that of ekphrasis by means of demonstrating its applicability as interpretive software to movies in regards to the visible arts and artists. studying chosen artworks via Goya, Rembrandt, and Vermeer and their ekphrastic therapy in a number of texts and movies, this booklet examines how the medium of ekphrasis impacts the illustration of the visible arts with a purpose to express what the diversities suggest approximately matters resembling gender roles and the functionality of paintings for the development of a private or social id. as a result of its hugely cross-disciplinary nature, this ebook is of curiosity not just to students of literature and aesthetics, but additionally for students of movie reviews. by means of offering an cutting edge method of discussing non-documentary movies approximately artists, the writer exhibits that ekphrasis is an invaluable device for exploring either aesthetic issues and ideological concerns in movie. This examine additionally addresses artwork historians because it offers with the reception of significant artists in eu literature and movie during the twentieth century.
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Extra resources for Writing and Filming the Painting: Ekphrasis in Literature and Film. (Internationale Forschungen Zur Allgemeinen & Vergleichenden Literaturwissenschaft)
It was a painting that showed the total incompatibility of two cultures, their customs and religions; the aesthetic and moral superiority of the weaker, subjugated people and the decadent, repressive inferiority of the stronger, dominant people. If instead of Vaeoho [his last Tahitian wife] you had set up house with a mahu, he would probably still be here caring for you, […]. ” Here, the narrator abstracts from the previous description and proceeds to an interpretation of the painting and its significance for Gauguin.
A bout de soufflé, dir. by Jean-Luc Godard, perf. by Georges de Beauregard, François Truffaut, Jean-Paul Belmondo, Liliane David, and Jean Seberg, 1960, DVD, WinStar TV & Video, 2001. harmonious, one loving yet conflictive, and one conflictive and deceptive. Patricia projects herself onto the female images of her reproductions (another example is Renoir’s portrait of Mlle. Irene Cahen d’Anvers, 1880), using the images to cover up her true, deceitful self. The attributive category also includes texts or films that refer to ideas or conventions associated with the plastic arts (thus merging with Robillard’s associative category), or to what Yacobi has called “ekphrastic model,” that is, a type or genre of paintings.
12 In short, by inviting the viewer to compare painting and photograph, Struth places his work in the tradition of the paragone, the rivalry between the arts. But his photographs not only provoke comparison with painting, but also with one of the younger media: film. ” 13 Moreover, as a series they represent a montage of different takes of similar motifs seen at different distances and angles. Each photograph by itself can be seen as a film still or a mise-en-scène of a moment in a narrative sequence.