By Susan Felleman
Bringing an artwork ancient standpoint 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 pics in Vertigo to the cinematic depiction of girls artists in Artemisia and Camille Claudel, Susan Felleman accommodates feminist and psychoanalytic feedback to bare person and collective views on intercourse, gender, id, trade, and class.
Probing greater than twenty motion pictures from the postwar period via modern instances, paintings within the Cinematic mind's eye considers quite a number structurally major artwork gadgets, artist characters, and art-world settings to discover how the medium of movie can magnify, reinvent, or recontextualize the opposite visible arts. Fluently conversing throughout disciplines, Felleman's learn brings a wide array of methodologies to undergo on questions akin to the evolution of the "Hollywood Love Goddess" and the pairing of the female with loss of life on screen.
A persuasive method of an attractive physique of movies, artwork within the Cinematic mind's eye illuminates a compelling and important aspect of the cinematic experience.
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Extra resources for Art in the Cinematic Imagination
Muir (Joseph Mankiewicz, 1947; photo courtesy of Jerry Ohlinger’s Movie Material Store). and adventures of a sea captain. In a most interesting twist here, the portrait, of a man, and the inspiration it provides a woman, reverses the usual formula of artist and muse. The manner in which the portrait and a whole complex of representational issues are integrated into a bittersweet story of love and death is more subtle than in Portrait of Jennie, and more moving. In a beautiful cinematic movement, the painting of Captain Grey initiates the relationship: while inspecting the haunted house, Mrs.
26 But contrary to Polan, I do not see this secularization as comprehensive. , Luck of the Irish, and Miracle on 34th Street, as well as two other ﬁlms that concern me here, The Ghost and Mrs. Muir and Portrait of Jennie, Polan suggests that rather than employing a sense of the ‘‘marvelous’’ that moves ‘‘toward the fantastic or toward horror,’’ these ﬁlms subordinate the supernatural ‘‘to a new faith in the psychological self. ’’ 27 Although this is more or less characteristic of some of the ﬁlms I have discussed, and perhaps most of Polan’s other examples, Joseph Mankiewicz’s 1947 The Ghost and Mrs.
Carroll’s mimetic accomplishment is constructed as murder, but in The Two Mrs. Carrolls it is construed as the result of psychopathological, not ineﬀable, supernatural forces. Not so in The Picture of Dorian Gray. Albert Lewin’s 1945 ﬁlm version of Oscar Wilde’s novel in fact enhances the supernatural aspect of the force that converts Dorian’s wish that contrary to fate, he should remain ever young, while the portrait should grow old instead. In the scene in which the wish is uttered, Dorian stands enthralled before the completed portrait as if before a mirror.