Description
Book SynopsisHow 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
Trade ReviewIn this ground-breaking study, the author shows how eight films variously define painting as an art. . . . For all the wide range of art references, the readings of the films are rigorous and sensitive as film criticism. This art historian knows film. * Choice *
Table of 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
