{"product_id":"cinema-and-painting-how-art-is-used-in-film-paperback","title":"Cinema and Painting: How Art Is Used in Film - Paperback","description":"\u003cdiv\u003e\u003cp style=\"text-align: right;\"\u003e\u003ca href=\"https:\/\/reportcopyrightinfringement.com\/\" target=\"_blank\" rel=\"nofollow\"\u003e\u003cb\u003eReport copyright infringement\u003c\/b\u003e\u003c\/a\u003e\u003c\/p\u003e\u003c\/div\u003e\u003cp\u003eby \u003cb\u003eAngela Dalle Vacche\u003c\/b\u003e (Author)\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eThe visual image is the common denominator of cinema and painting, and indeed many filmmakers have used the imagery of paintings to shape or enrich the meaning of their films. In this discerning new approach to cinema studies, Angela Dalle Vacche discusses how 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 and modernity.\u003c\/p\u003e \u003cp\u003eSpecifically, Dalle Vacche explores Jean-Luc Godard's iconophobia (\u003ci\u003ePierrot Le Fou\u003c\/i\u003e) and Andrei Tarkovsky's iconophilia (\u003ci\u003eAndrei Rubleov\u003c\/i\u003e), Kenji Mizoguchi's split allegiances between East and West (\u003ci\u003eFive Women around Utamaro\u003c\/i\u003e), Michelangelo Antonioni's melodramatic sensibility (\u003ci\u003eRed Desert\u003c\/i\u003e), Eric Rohmer's project to convey interiority through images (\u003ci\u003eThe Marquise of O\u003c\/i\u003e), F. W. Murnau's debt to Romantic landscape painting (\u003ci\u003eNosferatu\u003c\/i\u003e), Vincente Minnelli's affinities with American Abstract Expressionism (\u003ci\u003eAn American in Paris\u003c\/i\u003e), and Alain Cavalier's use of still life and the close-up to explore the realms of mysticism and femininity (\u003ci\u003eThérèse\u003c\/i\u003e).\u003c\/p\u003e \u003cp\u003eWhile addressing issues of influence and intentionality, Dalle Vacche concludes that intertextuality is central to an appreciation of the dialogical nature of the filmic medium, which, in appropriating or rejecting art history, defines itself in relation to national traditions and broadly shared visual cultures.\u003c\/p\u003e\u003ch3\u003eBack Jacket\u003c\/h3\u003e\u003cp\u003eInstead of concentrating on surface similarities and notions like influence, it argues for an ongoing dialogue, a continuing relationship between cinema and painting that plays itself out in the norms of visual representation, in the historical changes of the 'eye.'\u003c\/p\u003e\u003ch3\u003eAuthor Biography\u003c\/h3\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eAngela Dalle Vacche is Associate Professor of Art History and teaches in the film studies program at Yale University. She is the author of \u003ci\u003eThe Body in the Mirror: Shapes of History in Italian Cinema\u003c\/i\u003e.\u003c\/p\u003e\n            \u003cdiv\u003e\n\u003cstrong\u003eNumber of Pages:\u003c\/strong\u003e 320\u003c\/div\u003e\n            \u003cdiv\u003e\n\u003cstrong\u003eDimensions:\u003c\/strong\u003e 0.71 x 8.96 x 5.96 IN\u003c\/div\u003e\n            \u003cdiv\u003e\n\u003cstrong\u003ePublication Date:\u003c\/strong\u003e March 01, 1996\u003c\/div\u003e\n            ","brand":"BooksCloud","offers":[{"title":"Default Title","offer_id":42111614845008,"sku":"9780292715837","price":61.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/9540\/0016\/files\/VU44ekU1K050YzdoSVhEeU9NcW5NZz09.webp?v=1772596270","url":"https:\/\/palm-malen-gift-shop-pmrc.myshopify.com\/products\/cinema-and-painting-how-art-is-used-in-film-paperback","provider":"Palm Malen Gift Shop -PMRC","version":"1.0","type":"link"}