The Draughtsman’s Contracts. The Draughtsman’s ...
Type de document :
Partie d'ouvrage
URL permanente :
Titre :
The Draughtsman’s Contracts. The Draughtsman’s Contract (Peter Greenaway, 1982)
Auteur(s) :
Titre de l’ouvrage :
Art-historical Moments in Cinema
Éditeur :
Aracne (Milan)
Date de publication :
2020
Résumé en anglais : [en]
Given the abundance of previous publications focused on the
intersections between cinema and the history of art, it is worth
stating at the outset that the originality of this project lies in its
capacity to analyse the ...
Lire la suite >Given the abundance of previous publications focused on the intersections between cinema and the history of art, it is worth stating at the outset that the originality of this project lies in its capacity to analyse the medium of film, and particularly fiction Page 2 sur 2 film — from Peter Greenaway to Michelangelo Antonioni, Brian De Palma, Chris Marker and Alex Garland — as an instru-ment rather than as an object of (art)history. Above all else, this implies becoming aware not so much of the presence of artworks and their significance with respect to the related events, but of the ways in which the fiction itself, through certain motifs (windows, chairs, serpentine lines), visual or optical qualities (contrast of black and white, transparency) or even symbolic gestures (signing, designating or combining) evolves into a figuration of the history of art. Where in the film do these art-historical moments arise and what provokes them? How do these moments contribute to history as a discipline? In what ways does the film reinvent the theory or history of art? The authors of this volume have attempted to answer to such intriguing questions in diverse ways, involving the various ideas of Leon Battista Alberti, William Hogarth, Aloïs Riegl, Michel Carrouges, or Rosalind Krauss.Lire moins >
Lire la suite >Given the abundance of previous publications focused on the intersections between cinema and the history of art, it is worth stating at the outset that the originality of this project lies in its capacity to analyse the medium of film, and particularly fiction Page 2 sur 2 film — from Peter Greenaway to Michelangelo Antonioni, Brian De Palma, Chris Marker and Alex Garland — as an instru-ment rather than as an object of (art)history. Above all else, this implies becoming aware not so much of the presence of artworks and their significance with respect to the related events, but of the ways in which the fiction itself, through certain motifs (windows, chairs, serpentine lines), visual or optical qualities (contrast of black and white, transparency) or even symbolic gestures (signing, designating or combining) evolves into a figuration of the history of art. Where in the film do these art-historical moments arise and what provokes them? How do these moments contribute to history as a discipline? In what ways does the film reinvent the theory or history of art? The authors of this volume have attempted to answer to such intriguing questions in diverse ways, involving the various ideas of Leon Battista Alberti, William Hogarth, Aloïs Riegl, Michel Carrouges, or Rosalind Krauss.Lire moins >
Langue :
Anglais
Audience :
Non spécifiée
Établissement(s) :
Université de Lille
Collections :
Date de dépôt :
2021-06-13T09:53:01Z