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| List of Illustrations | ||
| Acknowledgments | ||
| Introduction: A Thematic and Intertextual Approach | 1 | |
| Ch. 1 | Vincente Minnelli's An American in Paris: Painting as Psychic Upheaval | 13 |
| Ch. 2 | Michelangelo Antonioni's Red Desert: Painting as Ventriloquism and Color as Movement | 43 |
| Ch. 3 | Eric Rohmer's The Marquise of O: Painting Thoughts, Listening to Images | 81 |
| Ch. 4 | Jean-Luc Godard's Pierrot le Fou: Cinema as Collage against Painting | 107 |
| Ch. 5 | Andrei Tarkowsky's Andrei Rublev: Cinema as the Restoration of Icon Painting | 135 |
| Ch. 6 | F. W. Murnau's Nosferatu: Romantic Painting as Horror and Desire in Expressionist Cinema | 161 |
| Ch. 7 | Kenji Mizoguchi's Five Women around Utamaro: Film between Woodblock Printing and Tattooing | 197 |
| Ch. 8 | Alain Cavalier's Therese: Still Life and the Close-Up as Feminine Space | 221 |
| Notes | 247 | |
| Bibliography | 267 | |
| Index | 293 |
| Price | Condition | Delivery | Seller | Action |
| $373.09 | Digital |
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Add Cinema and Painting : How Art Is Used in Film, Instead 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, Cinema and Painting : How Art Is Used in Film to the inventory that you are selling on WonderClubX
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Add Cinema and Painting : How Art Is Used in Film, Instead 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, Cinema and Painting : How Art Is Used in Film to your collection on WonderClub |