Art and Film

Art plays a key role in the lives of Woody Allen's film characters. Many of them are writers, filmmakers or musicians; others, although not artists themselves, display a keen sensibility to appreciate art. The purpose of this article is to explore how this characterization trait significantly determines the nature of the characters, the ways in which they interact with each other, and even the fate they deserve within the plot. Art, in its many different manifestations, helps these characters infuse their lives with a boundless vitality, at the same time that it becomes a source of beauty and refuge. Furthermore, art plays a vital role in shaping romantic relationships as well as in enabling characters to achieve self-knowledge, both of which come close to the idea of happiness in Woody Allen's poetic universe. At the same time, together with this recognition of the redeeming potential of art, a poetic punishment is inflicted frequently in Allen's films on the characters that approach art with spurious intentions, as well as a stern warning of the vital unhappiness to which its enshrinement leads.

German-language essay about the interplay between cinema and art, using selected films of Stanley Kubrick in order to show how the British cinematic mastermind perused works from the history of painting and classical music for the narrato-aesthetic design of his films.

In this article I am considering the situation of interactivity and interactive film in the institutional context of the cinema that is outlined by the rules of cinematographic industry. I draw attention to the fact that despite the ongoing digitalization in all cinematographic areas: production, distribution, presentation, and reception, interactivity is seen as a non-film feature and, as a consequence, it is marginalized. Cinematography opens up to any digital technological innovations that do not violate a standard model of film experience. Interactivity is seen here as a feature of games and not of films. An interactive film that is thrown to the periphery of institutionalized cinema, becomes a phenomenon of audiovisual avant-garde that is a common part of both cinema and art.

Painter and filmmaker, Julian Schnabel has directed a film that constitutes a radical approach to Vincent van Gogh. In contrast with other feature films focused on the Dutch painter, Schnabel downplays the historical facts and the speculations regarding the artist’s death in order to imagine his most intimate and mysterious side, his relationship with the world and with God. ‘At Eternity’s Gate’ seems to affirm that the entire life of Van Gogh had its roots in the unique connection which he had with everything that surrounded him. Schnabel is aware that only a painter could glimpse Van Gogh’s relationship with the world and that only a visual medium (i.e. film) could render account of such an inexplicable mystery.

Made by British avant-garde filmmaker Derek Jarman about the life of the celebrated 17th-century Italian Baroque painter, Caravaggio (1986) makes use of tableaux vivants in order to create both a biopic and a thinly veiled semi-autobiographical movie. Jarman appropriates the events of the life of Caravaggio and presents them in a way that straddles the line between historical accuracy and artistic leeway. This prompts the question of why did Jarman choose to depict the tableaux in the way that he did? More importantly, how does intermediality affect the transformation of the paintings into tableaux vivants? The aim of this paper is to argue that Jarman’s choices were driven by his idiosyncratic ideas and to explore the web of connections between the tableaux vivants and the paintings.

The idea here is to provide a clear, arguable definition, in order to clarify some of the ongoing discussions about what counts as ink painting. These debates are especially important given the claim that Chinese ink painting should be considered as the central Chinese contemporary art. It has a 3,000 year history, and it is not centrally or necessarily influenced by the West like so much Chinese art of the last few generations. One of the things standing in the way of a general acceptance of ink painting is that there is no general agreement about what counts as ink painting: is it the use of ink? Rice paper? Traditional techniques? Can photographs influenced by ink painting count? Can Gu Wenda's paintings count? Xu Bing's calligraphy? Ai Weiwei's architecture, furniture, or painted vases?

The definition proposed here is non-visual: I suggest that it is helpful to think of ink painting as not dependent on any particular materials,  but rather on the quality and nature of its references to the past. In that sense, much of Chinese contemporary art is neither ink painting nor especially Chinese; and much contemporary Chinese ink painting does not use ink, paper, or traditional brush marks.

The essay is unpublished. It was commissioned, fully edited, paid, and then rejected, for an exhibition of contemporary ink painting at the Metropolitan Museum of Art, 2012-13. (It was rejected because it is more art criticism than art history. Exhibition catalog essays for larger museums need to appear as art history and scholarship, and not as criticism or theory, even if the exhibition they accompany is itself a critical or theoretical contribution.)

Italian filmmaker Federico Fellini (1920-1993) is one of the most renowned figures in world cinema. Director of a long list of critically acclaimed motion pictures, including La strada, La dolce vita, 8½, and Amarcord, Fellini's success helped strengthen the international prestige of Italian cinema from the 1950s onward. Often remembered as an eccentric auteur with a vivid imagination and a penchant for quasi-autobiographical works, the carnivalesque, and Rubenesque women, Fellini's inimitable films celebrate the creative potential of cinema as a medium and also provide thought-provoking evocations of various periods in Italian history, from the years of fascism to the age of Silvio Berlusconi's media empire.

In Making a Film Fellini discusses his childhood and adolescence in the coastal town of Rimini, the time he spent as a cartoonist, journalist, and screenwriter in Rome, his decisive encounter with Roberto Rossellini, and his own movies, from Variety Lights to Casanova. The director explains the importance of drawing to his creative process, the mysterious ways in which ideas for films arise, his collaborations with his wife, Giulietta Masina, his thoughts on fascism, Jung, and the relationship between cinema and television. Often comic, sometimes tragic, and rife with insightful comments on his craft, Making a Film sheds light on Fellini's life and reveals the motivations behind many of his most fascinating movies.

Available in its entirety for the first time in English, this volume contains the complete translation of Fare un film, the authoritative collection of writings edited and reworked by Fellini and initially published by Giulio Einaudi in 1980. The text includes a new translation of the Italo Calvino essay "A Spectator's Autobiography," an introduction by Italian film scholar Christopher B. White, and an afterword by Fellini's longtime friend and collaborator Liliana Betti.

The article proposes that Michelangelo Antonioni's films "The Red Desert" and "Blow Up" were deeply influenced by the director's enthusiasm for the abstract-expressionist paintings of Mark Rothko. 
It begins by recounting Antonioni's special visit to Rothko's studio when in New York for the premier of "L'Eclisse", and the film-maker's uttered responses upon seeing artist's vaporous abstractions in situ.  The article then discusses Antonioni's known use of values derived from modern art to compose with his cinecamera to that point, then carefully shows overt correspondances between Rothko's art and the handling of colour within his next film, "The Red Desert".  Specific scenes are used to demonstrate the points, indicating clear connections with Rothko's "misty" work.
The analysis then shows how the visual puzzles posed in Antonioni's next film, "Blow Up", directly connected with contemporary discussions of abstract art - including Rothko's work - as well as the phenomenology of perception.  Close attention is paid to the crucial scene set in an artist's studio featured within the film, and how the director presents the interpretation of blown up photographs.
6pp.

This book is about representations of the body in all fields (fine art, medicine, ethnography, racial studies, biology). It is intended for artists, art students, and people interested in theories of art.

This is the 2021 revision. Every couple of years I rewrite and update this book. The original was published by Stanford University Press in 1999 and is now out of print. This revision (the third "edition") includes examples from contemporary art, and assignments for classroom use.

All comments & questions are welcome!

Le cinéma (ce qu'on appelle cinéma), qui n'est pas encore qu'au principe, deviendra au terme de son évolution la plus formidable trouvaille du monde, en ce sens qu'il dressera devant l'humanité une surhumanité ainsi qu'en face de la création une surcréation. Ce cinéma futur multipliera de ses natures la Nature » Saint-Pol-Roux (1925-1930), Cinéma Vivant, Rougerie, 1972, p. 15. ! Our analysis will be based on the Freudian theories applied to the narration of the three first movies which chronologically form the "second trilogy" of the Star Wars 1)Saga: Star Wars (1977, re-baptized Episode IV, A New Hope in 1999), 2) The Empire Strikes Back (1980, Episode V), 3) Return of the Jedi (1983, Episode VI), and the first edition of the biography of Georges Lucas written in 1983, Skywalking: The Life and Films of George Lucas by Dale Pollock.

Since its beginnings, cinema has been a magnificent vehicle for representing architecture. With few exceptions, physical spaces are resorted to as setting and backdrop to the plot. 1 In the background, the architecture providing this setting may easily be overlooked. Architecture appears first as a three-dimensional physical space -real locations, sets, sceneries, buildings, monuments, etc. -and then as a cinematic space: a two-dimensional image projected onto the screen. 2 In historical films, appropriate architecture, along with locations, costumes, decorations and attrezzo create the vital cohesion between character and storyline, being all necessary for comprehensive recreations of a given context. 3 As a consequence, the period depicted needs to be investigated with an -more or less accurate -eye to its literary sources, its arts, and its architecture in order to convey its image as effectively as possible.

Welche Möglichkeiten hat ein Kunsthistoriker einen Film spezifisch zu analysieren? Ist das Fotogramm oder die Einstellung sein Forschungsgegenstand? Oder etwa die Wechselwirkung zweier Fotogramme, zweier Einstellungen? Der Künstlerfilm in all seinen Formen, also die vielfältigen Beziehungen von Bildender Kunst und Filmkunst, standen seit Beginn der kunsthistorischen Betrachtungen des Mediums in einem besonderen Fokus kunstwissenschaftlicher Neuorientierungen. Am Beispiel eines „prototypischen Künstlerfilms“, Jacques Rivettes „La Belle Noiseuse“ von 1991 untersucht der Autor, wie sich eine fotografische Filmanalyse verstehen und anwenden ließe. Ausgehend von klassischen Schriften, die die ästhetischen, bildnerischen Funktionen der Kamera theoretisieren, wird somit ein Zugang versucht, der, in Ergänzung zur vergleichenden filmhistorischen Analyse, zur filmpsychologischen Analyse und der feministischen Rezeption des Films, die Reflexionsebenen erweitern soll.

Dreams That Money Can Buy acts as a bridge between fields-between experimental and feature film, between an artwork in itself and a film about art. Its frame story utilizes Surrealistic techniques, such as the dreamlike (onirique) narrative and the investigation of the subconscious, within which Richter featured a heterogeneous display of art in motionart of all media, from sculpture, painting, and printmaking to photography and film. The film employs works of art as staffage, both as carriers of symbolic meaning and as works for their own sake. Since movement and rhythm were important elements throughout the avantgardes of the early twentieth century, these works are especially suited for being shown as turning, pending, descending. Dreams That Money Can Buy illustrates a possibility of how to integrate visual art in the film medium, as well as how an artist can make a film about art history. Siegfried Kracauer recognized that Richter "transfers the essential content of modern art to the screen. Modern art, as it appears in this film, intertwines the region of pure forms with the virgin forest of the human soul." 37 Richter's interdisciplinary practice during the 1940s was situated in an émigré milieu, which shaped the cultural and social conditions of his artistic production as well as its reception.

"The material nature of painting is considered as a leading actor throughout art history, as well as the source of its viability as a contemporary medium of artmaking in contemporary art practice.
Viewing painting in the context of its art historical present, this manuscript examines painting’s history in art, its death by art theory, and its resurrection in various forms in contemporary art practice. In this context, prevailing art historical theories are examined in order to position painting in contemporary society.
The rhizomatic web theorized by DeLeuze is revisited to both explain and expand the material presence of paint in conceptual art practice, as well as to connect art theory, art history and art-making. In this context, painting is considered as a complex mode of thinking and positioned as both a post-modern avant-garde strategy and a medium of artistic significance in a post-medium age.
Integral to the discussion is resonance, the quality embodied in a work of art that continues to engage the viewer in visceral communication over time. Resonance is therefore a determining characteristic in the viability of painting in any age.
The role of materiality in resonance is explored and identified as the embodiment of painting’s ontology. This is materiality of surface and beyond, distilled from the characteristics of the paint, the painter’s experience with the paint, and its presentation to the viewer in such a way as to evoke a visceral response.
Painting is alive; painting has evolved and is yet evolving. Even now, painting is reconfiguring and reinventing itself in the artifacts themselves as well as in the context of contemporary art theory."

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Izloženosti, drugo poglavlje dugoročnog, suradničkog projekta WEIYTH - Gdje se sve tek treba dogoditi odvija se u Banja Luci, Mostaru i Sarajevu, kroz izložbu, seminare, radionice i seriju novih produkcija. Projekt je započeo suradnjom Ivane Bago i Antonie Majače s timom kustosica i kustosa (Anselm Franke, Ana Janevski, Vit Havranek & Zbynek Baladran, Erden Kosova, Nina Montmann, Jelena Vesić) koja je rezultirala izložbom Možeš li govoriti o tome? – Da, mogu u Banja Luci 2009. godine. Potaknuta temeljnim konceptom projekta WEIYTH koji propituje pitanje zajednice i imaginacije budućnosti, prošlogodišnja je suradnja kroz umjetničke i kustoske pozicije predstavljene na izložbi otvorila niz podtema koje su odredile i usmjerile daljnji razvoj projekta: pitanje suradnje, suučešništva, artikulacije traume, pitanje egzila i povratka, politike sjećanja, politike jezika, kulturalizacije politike i politizacije umjetnosti.

Ta su pitanja ove godine postala temeljem začetka novih suradnji, kroz okupljanje grupa i generiranje novih, privremenih zajednica umjetnika, teoretičara, studenata i kustosa te potaknule stvaranje novih vokabulara i konstelacija koji zajedno čine Izloženosti, drugo poglavlje projekta. Poput prvog, i ono je, prije svega, zasnovano na inzistiranju postavljanja pitanja: "Možeš li govoriti o tome?", pri čemu potvrdan odgovor upućuje prvenstveno na prihvaćanje odgovornosti kroz artikulaciju i propitivanje pozicije svih sudionica/ka u odnosu na društveni i politički kontekst u kojem se odvija čitav projekt, kao i u odnosu na same pojedine teme koje se kroz njega problematiziraju. Projekt okuplja umjetnike, filmske i kazališne redatelje, i intelektualce koji se u svom radu problematiziraju neka od brojnih aspekata traume raspada Jugoslavije: rat, genocid, rasap socijalističkog ekonomskog i političkog sistema, tranzicije u 'divlji kapitalizam', uništena ekonomija, perpetuiranje rata 'drugim sredstvima', kao i utjecajem koju ovi rascjepi i katastrofe imaju na najmlađe generacije, koje su odrasle u strahu i zazoru prema etno-konfesionalnom Drugom.

Prihvatiti poziv na sudioništvo u kustoskom, umjetničkom, teorijskom i transformativnom traženju, i poziv uputiti drugima, značilo je emancipirati sam proces traženja, istovremeno prisvajajući izloženost stanju radikalne neizvjesnosti. Značilo je, za sve uključene u proces – organizatore, kustosice, sve pozvane autore/ice i brojne učesnike i učesnice - pristati na stanje, i akciju, beskompromisne izloženosti: izloženosti raskolu između očekivane reprezentativnosti projekta koji se naziva bijenalom i odluke da se istraži upravo kako jedan takav projekt može subvertirati imperativ spektakularnosti i reprezentativnosti; gdje je 'umjetnost' kao materijalni rezultat tek od sporedne važnosti u odnosu na procese političke subjektivizacije i artikulacije odnosa između svih koji su, i koji će biti - uključeni u
proces; izloženosti, prije svega, jednih drugima.



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Exposures, the second chapter of the long-term, collaborative project Where Everything Is Yet to Happen takes place in Banja Luka, Mostar and Sarajevo taking the form of an exhibition,as well as a series of seminars, workshops, and new productions. The project was initiated by a collaboration with a team of invited co-curators (Anselm Franke, Ana Janevski, Vit Havranek & Zbynek Baladran, Erden Kosova, Nina Montmann and Jelena Vesić) which resulted in the exhibition Can you speak of this? – Yes, I Can, in Banja Luka in 2009. Incited by the WEIYTH's underlying concept of a prospective rethinking of the notion of community, the artistic and curatorial propositions delineated in the first chapter opened up a set of topics, designating the course of the further development of the project: the issues of collaboration, complicity, articulation of trauma, exile and return, politics of language, politics of memory, culturalization of politics and politization of art.

These topics became a base for initiating new collaborations, gathering groups and constituting temporary communities of artists, theoreticians, activists, students and curators, in a process of creating new social and creative platforms generating new vocabularies that together form Exposures, the second chapter of the project. Like the first one, it keeps insisting on the question: "Can you speak of this?", where an affirmative answer points first of all to an acceptance of responsibility to articulate and question one's own position in relation to the historical, social and political context the project is set in, as well as in relation to particular topics it addresses. The project gathers artists, film-makers, and intellectuals who in their practice, deal with some of the many aspects of the trauma of the break-up of Yugoslavia: war, genocide, dissolution of the socialist economic and political system, transition into 'wild capitalism', destroyed economy, perpetuation of war 'by other means', as well as the influence of these dissolutions and disasters on the youngest generations, informed by fear and abjection toward the ethno-confessional Other.

Accepting our invitation to participate in this long-term curatorial, artistic, theoretical and transformational quest, and addressing the invitation to others, has emancipated the very process of searching while embracing the exposure to a state of radical uncertainty. For all involved in the process – organizers, curators, participants, guests and public – it has meant accepting the state (and action) of exposure without compromise - exposure also to the gap between the public's expectations formed by dubbing the project a 'biennial' and the decision to question exactly how such a project can subvert the imperative of spectacularity and representation; where 'art' as material product is secondary to the processes of political subjectivization and articulation of relations between all who have been, and who will yet become, involved in the process – exposure, most relevantly, of one to each other.

In Moveyhouse (1965), Claes Oldenburg instructed the audience to stand in the aisles of a cinema. While the projector ran empty, performers in the seats enacted typical film-going behaviors, such as laughing, smoking, or eating popcorn. Building on both the experimental cinema of Stan Brakhage and the theater work of John Cage, Oldenburg’s critique of film is part of a much larger twentieth-century intellectual tradition: the belief that art, and, by extension, technology, can lastingly alter the way viewers experience reality. This essay argues that Oldenburg’s relationship with film is indicative of an avant-garde aesthetic of ameliorative renewal in the postwar period that seeks to combat feelings of alienation and distance—a visionary side of his art long neglected.

The aim of this article is to present a succinct review and evaluation of the main areas of contention in the false memory debate and, from this basis, to suggest ways in which the best from both sides can be utilized. We examine the potential pitfalls of therapy in terms of the fallibility and suggestibility of autobiographical memory and therapists and therapeutic techniques as the architects of false memories. We then evaluate the case for false memory formation examining if some researchers hold misconceived views of psychotherapy, if experimental studies lack ecological validity, and the effect of trauma on memory. Finally, we explore how the potential pitfalls of therapy can be avoided in practice, reflecting on the usefulness of British Psychological Society guidelines, how clinicians can implement research findings, and how research on the false memory debate can be improved. We conclude that the way forward is researcher–clinician collaboration in the development of ecologically valid research paradigms.

In den sechziger Jahren wird der Film für viele bildende Künstler zur Ausdrucksform der Gegenwart. In welchem Verhältnis stehen die Filmexperimente zum künstlerischen Gesamtwerk, welchen Bedingungen unterliegt die Arbeit zwischen den Institutionen Kunst und Kino?
In einer exemplarischen Auswahl werden Filme von europäischen und amerikanischen bildenden Künstlern vorgestellt, die im weiteren Umfeld der Pop Art verortet werden können. Untersucht werden neben den Filmen und den Umständen ihrer Produktion und Aufführung auch die Wechselbeziehungen zwischen filmischen und künstlerischen Praktiken. Diese gegenstandsbezogene historische Darstellung ist eingebettet in grundlegendere theoretische Fragestellungen hinsichtlich der intermedialen Verfasstheit der popkulturellen Wende in der Kunst und ihrer bildwissenschaftlichen Konsequenzen.

Der Künstler, dessen "Bildräume" ich in diesem Text begehen möchte, ist auch hierzulande alles andere als ein No-name, doch ist er nur wenigen als bildender Künstler, vielmehr als Filmregisseur bekannt. Abhilfe sollte mit einer Werkschau und dem aufwendig gestalteten, reichlich bebilderten Katalog geschaffen werden: Am Samstag, den 21. November 2009 eröffnete das Max Ernst Museum des LVR (Landesverband Rheinland) in Brühl bei Köln/Bonn eine Ausstellung mit dem Titel Dark Splendor. Der Untertitel Raum. Bilder. Klang verweist auf die Vielfalt der ca. 150 dort versammelten Exponate: Collagen, Fotografien, Gemälde, Grafiken, Raum-und Klanginstallationen. Der Künstler, den die Ausstellung präsentiert -man hat es sicherlich schon erraten -, ist kein geringerer als David Lynch. Tatsächlich bemühte man sich im Max Ernst Museum, einen kunsthistorischen Blick auf seine bildende Kunst zu werfen, auch wenn dem Regisseur Lynch dabei noch einiges an Raum, wenn auch nicht in der Ausstellung, so doch im Katalog zugestanden wird. Man mag einwenden, daß es gar nicht anders möglich ist, schließlich sind der bildende Künstler und der Regisseur ein und dieselbe Person. Und im Gegensatz zu seinen filmischen Protagonisten ist Lynch kaum mit schizoiden oder schizophrenen Wesenszügen ausgestattet. Das hat alles seine Richtigkeit, und doch würde ich, sei es auch nur vorläufig, den bildenden Künstler von dem Regisseur separieren wollen. Mag dieses Unterfangen auf den ersten Blick etwas konstruiert erscheinen, so notwendig ist es meiner Ansicht nach, um nach Lynchs bildnerischem Weg, nach seinen piktoralen, aus der Beschäftigung mit der Malerei kommenden Inspirationen zu fragen. Ich plädiere für den (chronologischen) Versuch, Lynch als bildenden Künstler genauso ernst zu nehmen, wie er die Kunst ernst nimmt. Denn Lynch ist kein Hobbykünstler, der vom Film zu Malerei oder Fotografie gekommen wäre, sondern einer, der das Fach mit Schwer-punkten in Malerei, Fotografie und Bildhauerei studierte. Daß er auch als Filmemacher ein bildender Künstler, vor allem ein Maler, geblieben ist (womit sich der Kreis schließt), wollte uns die Brühler Ausstellung nahebringen, die, präsentiert in enger Zusammenarbeit mit der Pariser "Fondation Cartier pour l'art contemporain", eine deutsche Premiere war. 2007 sorgte Paris und eben jene, die Brühler Ausstellung unterstützende "Fondation Cartier" mit der bisher größten, 600 Exponate umfassenden Werkschau The Air is on Fire dafür, daß David Lynchs Kunst in Europa keine unbekannte Größe mehr war und ernst genommen wurde. Aber auch die kleinere Brühler Ausstellung gab einen recht guten Einblick in das jüngere OEuvre des Künstlers. Einige der Werke schuf Lynch eigens für diese Ausstellung, so z.B. die Klangkompositionen, die an den zahlreichen interaktiven Klangstationen gehört werden können. Seiner Arbeitsweise der Retardierung und der Diskontinuität in der Narration entsprach auch die Anordnung der Arbeiten, die sich gegen die Chronologie ihrer Entstehungszeit wendet und auf Lynch selbst zurückgeht. So sah man jüngste Arbeiten neben älteren oder einfach undatierten hängen. Sie waren eingebettet in Räume, die Lynch teilweise selbst gestaltet hatte, und wurden von Klängen begleitet, die gleicherweise auf Lynch zurückgingender Ton wurde somit zum wesentlichen Mitakteur der Bilder, was die in den Ausstellungsräumen verteilt stehenden Klangstationen unterstrichen. Auch auf die Gefahr hin, Lynchs Anliegen der Suspendierung der Chronologie selbst zu sabotieren, möchte ich mich der Frage nach seiner künstlerischen Entwicklung -nach seiner "Berufung" als Maler, aus dem erst der Regisseur hervorgegangen ist -auf eine konventionelle Weise nähern: An den Anfang stelle ich die Frage nach seiner ersten künstlerischen Ausbildung und nach jenen Quellen, die ihm laut Selbstaussagen fortwährend Motive und Geschichten für seine Kunstwerke liefern. Was mich dabei vor allem motiviert, ist Fire Walk With Me! kunsttexte.de 2/2010 -2 die Fährte, die er mit seiner Selbstdarstellung als Künstler auslegt, deren Ursprung scheinbar in seiner Kindheit und Studienzeit liegt. Ich nehme diese Spur auf, um einerseits nach den bewußten oder unbewußten Inszenierungsstrategien und andererseits nach den stilistischen Vorbildern zu fahnden. Mich auf diese Weise Lynchs bildnerischem Werk zu nähern, haben die vielen von ihm selbst ausgestreuten Aussagen provoziert, die alle in jene frühe Zeit weisen, wo "die Geschichte vom Künstler" begann. Auch wenn ich für die anfängliche Separierung zwischen dem bildenden Künstler und dem Regisseur plädiere, möchte ich diese nicht als eine kategorische und unüberwindliche Schneise postulieren. Vielmehr werde ich mich am Ende meiner Untersuchung der Frage nähern, ob und wenn ja inwiefern Lynchs künstlerisches OEuvre zum Verständnis seines filmischen Werks beiträgt. "Als Kind habe ich dauernd gemalt und gezeichnet" -Lynchs Wege zur Kunst Geboren am 20. Januar 1946 in Missoula/Montana in den USA, ist David Lynch in den kleinstädtischen Weiten jenes amerikanischen Landes aufgewachsen, das sich heutzutage nur noch geographisch und sozio-ökologisch als das der "unbegrenzten Möglichkeiten" darstellt. Die häufigen Wohnungswechsel, bedingt durch den Beruf des Vaters -er war Agrarwissenschaftler -, führten den jungen Lynch an kleinbürgerliche, gleichzeitig (auf den ersten Blick) behütete Orte der 1950er und 60er Jahre. "Ich bin in einer Art Ei aufgewachsen" 1 , sagt Lynch von seiner Kindheit, die er im kleinstädtischen Milieu wie Boise, der Hauptstadt von Idaho, oder auf Farmen im Nordwesten der USA, umgeben von großen Weizenfeldern verbrachte. Dieses "Ei" war offenbar fragil oder durchlässig genug, um seine Phantasie anzuregen und ihm andere Sichten auf die Welt um ihn herum zu ermöglichen. Das weite Land einerseits und die enge Bürgerlichkeit der Kleinstädte andererseits wurden zur Folie, vor der er seine Themen (Malerei) und Orte (Film) entwickelte. Denn Lynch hat es schon während seines Kunststudiums verstanden, die schizoiden Zustände seines Lan-des in die individuellen Psychosen des Einzelnen und vice versa zu übersetzen. Die psychotischen Tiefen hinter den ordentlich gestalteten Fassaden und Vorgärten bürgerlichen Daseins hervorzuholen und ästhetisch auszuloten, wurde zu seinem Hauptprojekt, dem er im wesentlichen bis heute treu geblieben ist. Das Kunststudium nahm er 1964 zum erstenmal auf, als er von der High School in Alexandria (an der Ostküste) zu der Boston Museum School wechselte. Bereits nach einem Jahr war er von der Museum School enttäuscht und beschloß nach Europa zu gehen. Wie amerikanisch oder auch nur jugendlich-naiv Lynch damals war, läßt sich an seiner Wahl des Ortes ersehen, den er in Europa auswählte: In der "Wiege der Kunst", der Alten Welt, wollte er Malerei bei Oskar Kokoschka studieren. Er ging nach Salzburg, wo Kokoschka 1953 zusammen mit Friedrich Welz die Internationale Sommerakademie für Bildende Kunst als "Schule des Sehens" gründete. In Kokoschkas Amtszeit bis 1964 wuchs die "Schule" beträchtlich in ihrem internationalen Rang und konnte viele namhafte Künstler und Architekten als Dozenten gewinnen. Zum Zeitpunkt, als Lynch vorhatte, die "Schule" zu besuchen, war Kokoschka nicht mehr ihr Leiter, sondern Hermann Stuppäck, der von 1964 bis 1980 das Rektorat führte. In Parenthese ist an dieser Stelle die bittere Ironie dieses Wechsels anzumerken, denn Stuppäck war im Zweiten Weltkrieg der ranghöchste Wiener NS-Kulturfunktionär (seit 28. Februar 1932 Mitglied der NSDAP). Lynch wird diese Tatsache wohl nicht bekannt gewesen sein, vielleicht hätte sie sein Interesse an Salzburg und der Alten Welt dann doch noch in eine andere Richtung geführt. Oskar Kokoschka begegnete er in Salzburger "Schule" jedenfalls nicht. "Es war mir in Salzburg einfach zu gemütlich. Es war schön und steril und wenig anregend" 2 , so Lynch lakonisch. Paris -seine nächste Station -war dagegen vorhersehbarer, doch auch hier hielt den Kunststudenten nichts, so daß er zu seiner nächsten und letzten Station -der letzten Chance, die er der Alten Welt einräumte -aufbrach; er fuhr mit dem Orientexpreß nach Athen. Es verwundert nicht, daß er es in seiner von Eidechsen besuchten Kellerwohnung nicht lange aushielt. Am Ende wurde das, was als eine dreijährige Studienreise geplant war, eher eine seltsam anmutende Tour von ca. 15 Tagen. Unwillkürlich fragt man Joanna Barck Fire Walk With Me! kunsttexte.de 2/2010 -3 Zusammenfassung Der Artikel befaßt sich mit der bildenden Kunst des vor allem als Regisseur bekannten Künstlers David Lynch. Die im Max Ernst-Museum in Brühl gezeigte große Werkschau wurde zum Anlaß genommen, um nach dem künstlerischen Anliegen Lynchs, nach seinen Kunstbezügen und künstlerischem Selbstverständnis zu fragen. Im Vordergrund steht daher die Analyse seines OEuvres jenseits seiner filmischen Tätigkeit. Zugleich thematisiert wird die Ästhetik verlassener Orte und Gegenstände, die eigentümliche Selbständigkeit gewinnen. Woman Thinking und Emily Scream (beide 2008) sind beispielsweise gelungene ästhetische Umformulierungen jener obskuren Fotos von Séancen des frühen 20. Jahrhunderts, als den Medien dieser Geisteranrufungen das Ektoplasma aus Mund und Nase gequollen sein soll. Betrachtet man Lynchs künstlerische Themen und Verfahren, so möchte man Werner Spies zustimmen, der von einer "Seelenverwandtschaft" mit dem Surrealisten Max Ernst spricht. Verblüfft steht man vor der Serie Distorted Nudes, die historische pornographische Fotos digital überformen. Lynch kombiniert geschickt das Verfahren der Verstörung, das Max Ernst bei seinen collagierten ‚Märchenbildern' anwandte, mit der Morphologie des Gestaltlosen, wie man es aus Bildern von Francis Bacon kennt. Dabei führen Lynchs Nudes nicht die Zerstückelung von vermeintlich "unschuldigen" Aktfotos vor, sondern entlarven den voyeuristischen Blick, der die historischen Frauenkörper diffamierte. Als bildender Künstler ist Lynch fraglos ein Meister des Pastiche und ein...

ABSTRACT: To the traditional visual arts, have successively been incorporated other ones more recent that use, as a mean, the optical image technology; within them, cinema and video are distinguished because they introduce time in the works. It is in the scope of image in time from where here It has been tackled briefly the new perceptions of the landscape in art wlth the reflection on abstraction and representation, on finite and infinity, on the fusion between mental and physical landscape. The communication is centered on some experimental works of the 20th century where these subjects can be found. The works, belonging all of them to North American authors, have been selected because of the plastic beauty of the images [H2 0, Steiner, 1929), because of the artistic treatment of science [Power of Ten, Charles & Ray Eames, 1977] and because the transcendence that project on nature [The Garden of Delights, Brackhage, 1981 & Hatsu Yume-First Dream, Viola, 1981].

Posrijedi je ulomak (poglavlje) iz knjige Nacrt filmske genologije, Zagreb: Matica Hrvatska (2010)
Riječ je o izdvajanju filmske umjetnosti (a onda i umjetničkog filma kao tipičnog rezultata filmske umjetnosti) kao posebne filmske vrste, i to vrste koja ima osobito privilegiran status u odnosu na sve ostale filmske vrste. To kategoriziranje se, naime, teži važno uplitati u govor o filmu, pa i u govor o razvrstavanju filmova, često uzrokujući teške zbrke.

Selon Ray Harryhausen, maître des effets spéciaux cinématographiques, « Gustave Doré aurait été un grand chef opérateur […] il regardait les choses avec le point de vue de la caméra ». L’œuvre de Doré a marqué de manière indélébile l’imaginaire filmique depuis ses origines. Peu de films sur la Bible, depuis la Vie et Passion de Jésus Christ produit par Pathé en 1902, qui ne se réfèrent à ses illustrations, ni d’adaptation cinématographique de Dante ou encore de Don Quichotte qui ne l’aient pris comme modèle, de Georg Wilhelm Pabst et Orson Welles à Terry Gilliam. Il n’est pas de films sur la vie londonienne et victorienne qui n’empruntent leurs décors aux visions de Londres, un pèlerinage, qu’il s’agisse de David Lean, de Roman Polanski ou de Tim Burton. Nombre de scènes oniriques, fantastiques, fantasmagoriques ont puisé dans l’œuvre graphique de Doré, depuis le Voyage dans la lune de Georges Méliès en 1902. Si dans le domaine du dessin animé ou de l’animation, la dette de Walt Disney envers Doré est immense, ses forêts « primitives », notamment celles d’Atala, ont aussi servi aux différentes versions de King Kong, de l’original de 1933 au film de 2005 de Peter Jackson qui s’était déjà appuyé sur l’œuvre de Doré dans Le Seigneur des anneaux. Ce chapitre du catalogue de l’exposition "Gustave Doré : l’imaginaire au pouvoir" présentée au Musée d’Orsay à Paris et au Musée des Beaux-Arts du Canada à Ottawa, qui prend corps dans un choix d'extraits de films "accrochés" à côté des gravures, montre comment, depuis la dette explicite de Jean Cocteau dans La Belle et la bête (1945) jusqu'aux réminiscences doréennes du personnage de Chewbacca dans la Guerre des Etoiles, le cinéma a « gravé » Doré dans l’imaginaire du XXe siècle.

Sokurov's last feature film is focused on the unlikely complicity, born during the Nazi occupation of Paris, between Jacques Jaujard, director of the Louvre, and Franz Wolff-Metternich, a German colonel in charge of the 'Kunstschutz'. But the film goes further beyond this story: narrative is just one of the threads of a rich fabric where fiction, documentary and old footage become intertwined. In this sense, "Francofonia" is not so concerned with factual details, but rather with the feeling for a period: its intonation.

Under a political dictatorship it is primarily from the margins that an artistic critique can be articulated, as suggested by the examples presented in this article from Romania and Chile during the 1970s and 1980s. By focusing on their threefold marginality—of the artist, the art form, and the subject of art—and by applying to them Jacques Rancière's concept of dissensus, the analysis of artistic variants of marginality sheds light on the relationship of art and politics in totalitarian regimes.

According to Ray Harryhausen, a special effects expert in the film industry, “Gustave Doré would have made a great director of photography . . . He saw things from the point of view of the camera.” Doré’s work has had a permanent impact on the imaginative realm of film since its very early days. Almost every film about the Bible since The Life and Passion of Jesus Christ produced by Pathé in 1902 refers to his illustrations, and every film adaptation of Dante or Don Quixote has used him as a model, from Georg Wilhelm Pabst and Orson Welles to Terry Gilliam. All films dealing with life in London in the Victorian era by directors ranging from David Lean, to Roman Polanski and Tim Burton draw on the visions in London: a pilgrimage for their sets. A large number of dream fantastical or phantasmagorical scenes take their inspiration from Doré’s graphic world, beginning with Georges Méliès’ A Trip to the Moon in 1902. In the realm of cartoons and animation, Walt Disney owes a huge debt to Doré. Doré primal forests, from Atala in particular, were also used in the various versions of King Kong from 1933 to the 2005 film by Peter Jackson, who had already drawn on Doré for The Lord of the Rings. Jean Cocteau was also indebted to the illustrations for Perrault’s Fairy Tales for his Beauty and the Beast (1945), as was George Lucas for the character Chewbacca in Star Wars (1977). This chapter of the exhibition catalogue “Gustave Doré: Master of Imagination” (Musée d’Orsay in Paris and National Gallery of Canada in Ottawa), which take shape in film excerpts “hanging” next to the works, shows how the silver screen has etched Doré into the 20th century imagination.

Introduction to the exhibition Adrian Paci: The Column at Trondheim Kunstmuseum, curated by Pontus Kyander. Adrian Paci's The Column is a film following the making of a classical Roman column, from the quarry in China, along with its workers producing the column while crossing an ocean by ship. The work forms a parable about our time, of globalization, use and abuse of labour, and how work, time, transport and labour being increasingly fused together.

An explication of concerns and sources informing Virginia MacKenny's painting 'Not for Data' (2005) including reference to scientific sources such as the Stick Figure Universe, Leonardo's Vitruvian Man, coelancanths and Freud's lamprey eels - also an examination of illusionism and flatness in contemporary painting.

Discusses shift in the politics of the avant-garde after World War II.  I argue that the utopian aspirations of the avant-garde are refocused on providing singular, non-binding examples of alternative ways of seeing, thinking, and experiencing everyday life.  Chapters on John Cage, Jackson Mac Low, David Tudor, Stan Brakhage, Gilbert Sorrentino, Samuel Beckett.

The impact of French film critic André Bazin (1918-1958) on the development of film studies, though generally acknowledged, remains contested. A passionate initiator of film culture during his lifetime, his ideas have been challenged, defended and revived throughout his afterlife. Studying Film with André Bazin offers an entirely original interpretation of major concepts from Bazin’s legacy, such as auteur theory, realism, film language and the influence of film on other arts (poetry and painting in particular). By examining mostly unknown and uncollected texts, Blandine Joret explains Bazin’s methodology and adopts it in a contemporary reading, linking his ideas to major philosophical and scientific frameworks as well as more recent media practices such as advertising, CGI, 3D cinema and Virtual Reality. In tune with 21st-century concerns in media culture and film studies, this book addresses a wide readership of film scholars, students and cinephiles.