By Susan Felleman
Bringing an paintings ancient viewpoint to the area of yankee and ecu 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 pictures in Vertigo to the cinematic depiction of ladies artists in Artemisia and Camille Claudel, Susan Felleman accommodates feminist and psychoanalytic feedback to bare person and collective views on intercourse, gender, identification, trade, and class.
Probing greater than twenty movies from the postwar period via modern instances, artwork 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 talking throughout disciplines, Felleman's examine brings a vast array of methodologies to endure on questions similar to the evolution of the "Hollywood Love Goddess" and the pairing of the female with dying on screen.
A persuasive method of an attractive physique of movies, artwork within the Cinematic mind's eye illuminates a compelling and important side of the cinematic experience.
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Additional resources for Art in the Cinematic Imagination
Carrolls is a particularly interesting ﬁlm in this context, because Mr. Carroll is the portraitist. Doane’s analysis of the role of the portraits in this ﬁlm depends on a somewhat inaccurate stylistic assessment. ’’ 15 But it is not abstraction that is characteristic of Mr. Carroll’s portraits of his wives. 16 This employment of a kind of speculative or magic realism is also used for the portrait in The Picture of Dorian Gray, both the novel and the 1945 Hollywood ﬁlm version, which is discussed below.
Because, of course, as the reincarnation of the long-dead beloved, she is dead again, she is already dead; she has been always already dead. 19 Pandora conveys this paradox with art. The setting, a Spanish ﬁshing village on the Mediterranean coast, is also an archaeological site, according to its narrator, Geoﬀrey Fielding. Antiquities, especially fragments of Greco-Roman sculpture, abound, and key scenes ﬁnd the protagonists watched by the ‘‘gods,’’ and even interacting with them. Another scene shows a man in Oedipal conﬂict with his dead father by way of a portrait of the patriarch.
When Mifanwy objects to ‘‘becoming one of those dolls in your cupboards,’’ Mangin refutes Veronica’s story, insisting that there have been no others and that he has been waiting for Mifanwy alone; he must tell her something ‘‘puzzling and strange . . ’’ Drawing aside a black drapery, he reveals a monumental painted portrait of Mifanwy, dressed exactly as she is in the scene. ’’ exclaims its seeming model. ’’ He indicates a brass plate at the base of the picture, which she reads aloud. ‘‘Portrait of a Lady, attributed to Cristofano Lori, 1486!