Framing Pictures: Film and the Visual Arts (Edinburgh Studies in Film and Intermediality)

By Steven Jacobs

During the function motion pictures and documentaries of administrators together with Emmer, Erice, Godard, Hitchcock, Pasolini, Resnais, Rossellini and Storck, Jacobs examines the way in which movies 'animate' artistic endeavors via cinematic options, reminiscent of digital camera activities and modifying, or via integrating them right into a narrative.He explores how this 'mobilization' of the art is introduced into play in artwork documentaries and artist biopics, in addition to in function motion pictures containing key scenes positioned in museums. the stress among stasis and move can be mentioned when it comes to modernist cinema, which regularly comprises tableaux vivants combining pictorial, sculptural and theatrical parts. This pressure additionally marks the aesthetics of the movie nonetheless, that have encouraged favourite artwork photographers akin to Cindy Sherman and Jeff Wall.Illustrated all through, Jacobs' research of the presence of paintings in movie, along the omnipresence of the filmic snapshot in modern artwork museums, is a fascinating paintings for college students and students of movie and artwork alike.

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Simply as within the artwork documentaries made by means of Emmer, Storck, Haesaerts and Resnais, either Rossellini and Hitchcock use a hugely cellular digicam, a amazing modifying method and musical results to discover in addition to to animate the artistic endeavors on reveal. even if the works of art of their function films play an element within the narrative or have symbolical meanings, the spectator’s recognition can be thinking about plastic info. just like the filmmakers who created cutting edge artwork documentaries within the Nineteen Forties and Fifties, either Rossellini and Hitchcock examine the bounds of film by way of confronting it with different media and by way of juxtaposing circulate as opposed to stasis, narrative as opposed to iconic photographs, and cinematic area as opposed to pictorial floor.

Peucker, the cloth snapshot, p. 26. 17. See Brougher, ‘Hall of mirrors’, p. 119. 18. Peucker, the fabric snapshot, pp. 30–1. See additionally Peucker’s Incorporating photographs. 19. See Bonitzer, ‘Le plan-tableau’, in Décadrages, pp. 29–41. 20. Ruiz, Poetics of Cinema, p. fifty one. 21. Brougher, ‘Hall of mirrors’, pp. 116–19. 22. See Stoichita, The Pygmalion influence. See additionally Gross, The Dream of the relocating Statue; and Nead, The Haunted Gallery, pp. 58–68. 23. Peucker, the cloth picture, p. 26. 24. See Musser, The Emergence of Cinema, pp. 208–19.

In Video Hacking, he skilfully manipulates one of many scenes in Hitchcock’s North by means of Northwest. whilst it grew to become effortless to isolate and freeze a unmarried snapshot, Godard’s proposal of the primacy of pictures over plot in Hitchcock grew to become the purpose of departure for a number of artists, who emphasized the disconnection from the narrative. Pierre Bismuth’s sequence admire the useless (2001), for example, contains re-edited types of well-known films, finishing after the first homicide happens within the narrative. appreciate the useless (Vertigo) offers the first 4 mins and forty-two seconds of Vertigo.

Pearson, Eloquent Gestures, pp. 38–9. 12. Brewster, ‘Deep staging in French films 1900–1914’. thirteen. Liandrat-Guigues, Cinéma et sculpture. 14. Margulies, not anything occurs. 15. Michael Fried’s essay ‘Art and objecthood’ used to be initially released within the June 1967 factor of Artforum and has been anthologised again and again. sixteen. Peucker, the fabric picture, p. 26. 17. See Brougher, ‘Hall of mirrors’, p. 119. 18. Peucker, the cloth snapshot, pp. 30–1. See additionally Peucker’s Incorporating photographs. 19. See Bonitzer, ‘Le plan-tableau’, in Décadrages, pp.

Digital camera events facilitate, because it have been, the choice of specific components in those work and so they provide aspiring to a complete sequence of works. within the film on Hartung, in contrast, digicam events consultant us inside of a unmarried portray. The digital camera follows axes within the composition and is helping us to ‘read’ the portray. based on Resnais, there's not anything like taking a look at a painter’s paintings via a digital camera viewfinder to pass judgement on the cohesiveness of his portray as such. That used to be how I got here to determine via Gauguin, for instance – he simply didn’t rise up – yet it’s additionally how I got here to understand the formal values of Ernst.

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