Pub Date : 2021-12-19DOI: 10.31009/cc.2021.v9.i17.05
A. Philip
I propose an application of agential realism to my practice as research, a film about my mother getting one tattoo covered with a new one, to investigate the material-discursive role played by the camera in determining meaning within the film image. I use my practice as a comparative case study, considering how a specific camera apparatus determines and negotiates standards of colour accuracy, and what it means to remove those colour values in post-production. I argue that the different colour processing of the same footage produces perceptible onto-epistemological difference, even while it remains indexically equivalent. Second, I will show exactly how this particular digital photosensitive technology meets the pro-filmic event to record colour, enacting agencies that reduce matter to fit a specifically programmed colour system, prior to any manipulation in post-production. The system itself draws the boundaries of accuracy it claims to achieve, with inevitable ethical implications.
{"title":"True Colors: Chromaticity, Realism and Technological Honesty","authors":"A. Philip","doi":"10.31009/cc.2021.v9.i17.05","DOIUrl":"https://doi.org/10.31009/cc.2021.v9.i17.05","url":null,"abstract":"I propose an application of agential realism to my practice as research, a film about my mother getting one tattoo covered with a new one, to investigate the material-discursive role played by the camera in determining meaning within the film image. I use my practice as a comparative case study, considering how a specific camera apparatus determines and negotiates standards of colour accuracy, and what it means to remove those colour values in post-production. I argue that the different colour processing of the same footage produces perceptible onto-epistemological difference, even while it remains indexically equivalent. Second, I will show exactly how this particular digital photosensitive technology meets the pro-filmic event to record colour, enacting agencies that reduce matter to fit a specifically programmed colour system, prior to any manipulation in post-production. The system itself draws the boundaries of accuracy it claims to achieve, with inevitable ethical implications.","PeriodicalId":414949,"journal":{"name":"Comparative Cinema","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125087802","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-19DOI: 10.31009/cc.2021.v9.i17.03
Edson Pereira da Costa Júnior
This essay analyses realist works from contemporary world cinema wherein the representation of space-time is directly affected by the color black, referring to both night and dark shadows. It investigates exactly how darkness participates in moments when the filmed subjects remember traumatic events and confront them through their courageous retellings. My hypothesis is that the color black converts the space—realistic and concerning the characters’ present time—into a place where different temporalities coexist. Through a comparative analysis of films made by the Portuguese filmmaker Pedro Costa and the Brazilian filmmaker Affonso Uchôa in the past two decades, I show how this modulation in space-time produced through color has a political meaning, since the narrated memories are related to a social experience of class and race.
{"title":"Memories from the Darkness in the Films of Pedro Costa and Affonso Uchôa","authors":"Edson Pereira da Costa Júnior","doi":"10.31009/cc.2021.v9.i17.03","DOIUrl":"https://doi.org/10.31009/cc.2021.v9.i17.03","url":null,"abstract":"This essay analyses realist works from contemporary world cinema wherein the representation of space-time is directly affected by the color black, referring to both night and dark shadows. It investigates exactly how darkness participates in moments when the filmed subjects remember traumatic events and confront them through their courageous retellings. My hypothesis is that the color black converts the space—realistic and concerning the characters’ present time—into a place where different temporalities coexist. Through a comparative analysis of films made by the Portuguese filmmaker Pedro Costa and the Brazilian filmmaker Affonso Uchôa in the past two decades, I show how this modulation in space-time produced through color has a political meaning, since the narrated memories are related to a social experience of class and race.","PeriodicalId":414949,"journal":{"name":"Comparative Cinema","volume":"150 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116569688","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-19DOI: 10.31009/cc.2021.v9.i17.07
Liz Watkins
Colorization describes the digitization and retrospective addition of color to photographic and film materials (celluloid nitrate, glass negatives) initially made and circulated in a black-and-white format. Revisiting the controversial 1980s colorization of 24 classic Hollywood studio titles, which incited debate over questions of copyright, authorship and artistic expression, this essay examines the use of colorization to interpret museum collections for new audiences. The aesthetics of colorization have been criticized for prioritizing image content over the history of film technologies, practices and exhibition. An examination of They Shall Not Grow Old (Jackson, 2018) finds a use of digital editing and coloring techniques in the colorization of First World War film footage held in the Imperial War Museum archives that is familiar to the director’s fiction films. Jackson’s film is a commemorative project, yet the “holistic unity” of authorial technique operates across fragments of archive film and photographs to imbricate of fiction and nonfiction, signaling vital questions around the ethics and ideologies of “natural color”, historiography, and the authenticity of materials and spectator experience.
{"title":"The Politics of Nostalgia: Colorization, Spectatorship and the Archive","authors":"Liz Watkins","doi":"10.31009/cc.2021.v9.i17.07","DOIUrl":"https://doi.org/10.31009/cc.2021.v9.i17.07","url":null,"abstract":"Colorization describes the digitization and retrospective addition of color to photographic and film materials (celluloid nitrate, glass negatives) initially made and circulated in a black-and-white format. Revisiting the controversial 1980s colorization of 24 classic Hollywood studio titles, which incited debate over questions of copyright, authorship and artistic expression, this essay examines the use of colorization to interpret museum collections for new audiences. The aesthetics of colorization have been criticized for prioritizing image content over the history of film technologies, practices and exhibition. An examination of They Shall Not Grow Old (Jackson, 2018) finds a use of digital editing and coloring techniques in the colorization of First World War film footage held in the Imperial War Museum archives that is familiar to the director’s fiction films. Jackson’s film is a commemorative project, yet the “holistic unity” of authorial technique operates across fragments of archive film and photographs to imbricate of fiction and nonfiction, signaling vital questions around the ethics and ideologies of “natural color”, historiography, and the authenticity of materials and spectator experience.","PeriodicalId":414949,"journal":{"name":"Comparative Cinema","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114616951","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-15DOI: 10.31009/CC.2021.V9.I16.02
H. Andrews
Personas are the public expressions of a private identity, the performance of personality in the social world. They are particularly visible and familiar in the world of celebrity, where entertainers regularly adopt an alter-ego for performance. This has intriguing consequences for biographical representations of performers. Biopic actors are obliged to duplicate the public-facing persona, which is an already-known, semi-fictional construction, and the private individual beneath. The narrative of the biopic must account for this relationship between the persona and the person who authors it. This article explores this process in two high-profile rock biopics, Bohemian Rhapsody (2018) and Rocketman (2019), comparing their different approaches to reproducing and exploring the persona of their subjects in performance, style and mise en scène.
{"title":"Reading the Biopic through Persona: A Comparison between \"Bohemian Rhapsody\" and \"Rocketman\"","authors":"H. Andrews","doi":"10.31009/CC.2021.V9.I16.02","DOIUrl":"https://doi.org/10.31009/CC.2021.V9.I16.02","url":null,"abstract":"Personas are the public expressions of a private identity, the performance of personality in the social world. They are particularly visible and familiar in the world of celebrity, where entertainers regularly adopt an alter-ego for performance. This has intriguing consequences for biographical representations of performers. Biopic actors are obliged to duplicate the public-facing persona, which is an already-known, semi-fictional construction, and the private individual beneath. The narrative of the biopic must account for this relationship between the persona and the person who authors it. This article explores this process in two high-profile rock biopics, Bohemian Rhapsody (2018) and Rocketman (2019), comparing their different approaches to reproducing and exploring the persona of their subjects in performance, style and mise en scène.","PeriodicalId":414949,"journal":{"name":"Comparative Cinema","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133193436","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-15DOI: 10.31009/CC.2021.V9.I16.03
Anna Marta Marini
On the occasion of the 25th anniversary of his death in 2019, Netflix released two limited series focused on Mexican presidential candidate Luis Donaldo Colosio and his assassination. 1994 (directed by Diego Enrique Osorno) and Crime Diaries: The Candidate (Historia de un crimen: Colosio, directed by Hiromi Kamata and Natalia Beristáin) are, respectively, a documentary series and a drama, both delving into the political conjuncture surrounding both Colosio’s candidacy and the investigations subsequent to his assassination. Since his dramatic death, the image of Colosio has maintained its associations with heroism and his unrealized presidency has come to embody the “México que no fue,” a radically innovated Mexican state that never was and, possibly, will never be. Both series rely on the exploitation of original footage and underlying political takes on the events. This analysis will critically compare the two series from three main thematic perspectives: the Mexican political context at the time of the assassination; Colosio’s characterization and private life; and the procedural aspects of the investigations.
{"title":"El México que no fue: The Tentative Retelling of Luis Donaldo Colosio’s Assassination","authors":"Anna Marta Marini","doi":"10.31009/CC.2021.V9.I16.03","DOIUrl":"https://doi.org/10.31009/CC.2021.V9.I16.03","url":null,"abstract":"On the occasion of the 25th anniversary of his death in 2019, Netflix released two limited series focused on Mexican presidential candidate Luis Donaldo Colosio and his assassination. 1994 (directed by Diego Enrique Osorno) and Crime Diaries: The Candidate (Historia de un crimen: Colosio, directed by Hiromi Kamata and Natalia Beristáin) are, respectively, a documentary series and a drama, both delving into the political conjuncture surrounding both Colosio’s candidacy and the investigations subsequent to his assassination. Since his dramatic death, the image of Colosio has maintained its associations with heroism and his unrealized presidency has come to embody the “México que no fue,” a radically innovated Mexican state that never was and, possibly, will never be. Both series rely on the exploitation of original footage and underlying political takes on the events. This analysis will critically compare the two series from three main thematic perspectives: the Mexican political context at the time of the assassination; Colosio’s characterization and private life; and the procedural aspects of the investigations.","PeriodicalId":414949,"journal":{"name":"Comparative Cinema","volume":"99 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115977620","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-15DOI: 10.31009/CC.2021.V9.I16.07
Ariadna Moreno Pellejero
This article explores how three women filmmakers express their ways of understanding and experiencing pleasure, based on a comparative study of Christmas on Earth (Barbara Rubin, 1963), Fuses (Carolee Schneemann, 1964–67) and Je, tu, il, elle (Chantal Akerman, 1974). By filming the subculture to which they belong or presenting themselves in the sexual act in a way that emulates ritual, these filmmakers recognize their own sexuality in opposition to the model that relegates the woman to the role of muse. Drawing on Artaud’s concept of ritual and his “Body without Organs,” this analysis posits the possibility of the concept of “flowing bodies,” referring to bodies in motion that affirm their own pleasure, andproposes to describe the three films explored here as “autoethnographies of desire.”
本文通过对《地球上的圣诞节》(Barbara Rubin, 1963)、《福丝》(Carolee Schneemann, 1964-67)和《Je, tu, il, elle》(Chantal Akerman, 1974)的比较研究，探讨了三位女性电影人是如何表达她们理解和体验快乐的方式的。通过拍摄他们所属的亚文化，或者以一种模仿仪式的方式在性行为中表现自己，这些电影制作人认识到自己的性取向，与将女性贬为缪斯角色的模式相反。根据亚陶的仪式概念和他的“无器官的身体”，这一分析假设了“流动的身体”概念的可能性，指的是肯定自己快乐的运动中的身体，并建议将这里探索的三部电影描述为“欲望的自我民族志”。
{"title":"Flowing Bodies: Autoethnographies of Desire in \"Christmas on Earth\", \"Fuses\" and \"Je, tu, il, elle\"","authors":"Ariadna Moreno Pellejero","doi":"10.31009/CC.2021.V9.I16.07","DOIUrl":"https://doi.org/10.31009/CC.2021.V9.I16.07","url":null,"abstract":"This article explores how three women filmmakers express their ways of understanding and experiencing pleasure, based on a comparative study of Christmas on Earth (Barbara Rubin, 1963), Fuses (Carolee Schneemann, 1964–67) and Je, tu, il, elle (Chantal Akerman, 1974). By filming the subculture to which they belong or presenting themselves in the sexual act in a way that emulates ritual, these filmmakers recognize their own sexuality in opposition to the model that relegates the woman to the role of muse. Drawing on Artaud’s concept of ritual and his “Body without Organs,” this analysis posits the possibility of the concept of “flowing bodies,” referring to bodies in motion that affirm their own pleasure, andproposes to describe the three films explored here as “autoethnographies of desire.”","PeriodicalId":414949,"journal":{"name":"Comparative Cinema","volume":"63 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134435956","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-15DOI: 10.31009/CC.2021.V9.I16.04
Victoria Pastor-González
As virtual sites of public memorialization, historical biopics play an important part in shaping our view of the past. The genre employs a range of formal and narrative strategies in order to create persuasive narratives about historical characters and events. However, nation-specific socio-cultural and industrial conditions frequently determine whose lives are deserving of biographical treatment and how their stories are told. The following comparative analysis of two recent historical biopics, Clara Campoamor, The Forgotten Woman (Clara Campoamor, la mujer olvidada, Laura Mañá, 2011) and While at War (Mientras dure la guerra, Alejandro Amenábar, 2019), foregrounds some of these nation-specific circumstances in the Spanish context. It then proposes that these two works employ innovative strategies that signal possible new avenues for the historical biopic in Spain. In the case of Clara Campoamor, Mañá suggests alternative ways of representing historical female figures in the public arena, whilst in his film Amenábar mobilizes the conventions of the Hollywood biopic to aid transnational readability.
作为公众纪念的虚拟场所，历史传记片在塑造我们对过去的看法方面发挥着重要作用。这种类型采用了一系列的形式和叙事策略，以创造关于历史人物和事件的有说服力的叙事。然而，特定国家的社会文化和工业条件往往决定了谁的生活值得传记处理，以及他们的故事如何讲述。以下是两部近期历史传记片《克拉拉·坎波莫，被遗忘的女人》(Clara Campoamor, la mujer olvidada, Laura Mañá， 2011)和《在战争中》(Mientras dure la guerra, Alejandro Amenábar, 2019)的比较分析，在西班牙背景下突出了这些特定国家的一些情况。然后，它提出这两部作品采用创新的策略，标志着西班牙历史传记片可能的新途径。在Clara Campoamor的案例中，Mañá提出了在公共舞台上表现历史女性人物的其他方式，而在他的电影中Amenábar调动了好莱坞传记片的惯例，以帮助跨国可读性。
{"title":"Towards New Ways of Representing History: Generic Innovations in the Historical Biopic in Spain","authors":"Victoria Pastor-González","doi":"10.31009/CC.2021.V9.I16.04","DOIUrl":"https://doi.org/10.31009/CC.2021.V9.I16.04","url":null,"abstract":"As virtual sites of public memorialization, historical biopics play an important part in shaping our view of the past. The genre employs a range of formal and narrative strategies in order to create persuasive narratives about historical characters and events. However, nation-specific socio-cultural and industrial conditions frequently determine whose lives are deserving of biographical treatment and how their stories are told. The following comparative analysis of two recent historical biopics, Clara Campoamor, The Forgotten Woman (Clara Campoamor, la mujer olvidada, Laura Mañá, 2011) and While at War (Mientras dure la guerra, Alejandro Amenábar, 2019), foregrounds some of these nation-specific circumstances in the Spanish context. It then proposes that these two works employ innovative strategies that signal possible new avenues for the historical biopic in Spain. In the case of Clara Campoamor, Mañá suggests alternative ways of representing historical female figures in the public arena, whilst in his film Amenábar mobilizes the conventions of the Hollywood biopic to aid transnational readability.","PeriodicalId":414949,"journal":{"name":"Comparative Cinema","volume":"55 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124812863","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-15DOI: 10.31009/CC.2021.V9.I16.05
Fabio Camarneiro
Writers Stefan Zweig and Elizabeth Bishop both lived in Brazil, although in very different circumstances. Their stories served as basis for two films: Maria Schrader’s Stefan Zweig: Farewell to Europe (Vor der Morgenröte, 2016), and Bruno Barreto’s Reaching for the Moon (Flores raras, 2013). This article aims to describe the differences between these two films, and how they can be connected to Brazilian authors such as Gilberto Freyre and Sérgio Buarque de Holanda, whose works attempt to understand Brazil’s social dynamics from the perspective of its violent colonial past. Furthermore, this article aims to question the connections between historical accuracy and political engagement, arguing that the general tone of a film narrative may sometimes be much more politically-oriented than the actual facts it portrays.
作家斯蒂芬·茨威格和伊丽莎白·毕晓普都曾在巴西生活过，尽管他们所处的环境截然不同。他们的故事成为两部电影的基础:玛丽亚·施拉德的《斯蒂芬·茨威格:告别欧洲》(Vor der Morgenröte, 2016)和布鲁诺·巴雷托的《登月》(Flores raras, 2013)。本文旨在描述这两部电影之间的差异，以及它们如何与巴西作家(如Gilberto Freyre和ssamrgio Buarque de Holanda)联系起来，他们的作品试图从其暴力殖民历史的角度了解巴西的社会动态。此外，本文旨在质疑历史准确性与政治参与之间的联系，认为电影叙事的总体基调有时可能比它所描绘的实际事实更具政治导向。
{"title":"Tropical Purgatory: Brazil Through the Lenses of Stefan Zweig and Elizabeth Bishop","authors":"Fabio Camarneiro","doi":"10.31009/CC.2021.V9.I16.05","DOIUrl":"https://doi.org/10.31009/CC.2021.V9.I16.05","url":null,"abstract":"Writers Stefan Zweig and Elizabeth Bishop both lived in Brazil, although in very different circumstances. Their stories served as basis for two films: Maria Schrader’s Stefan Zweig: Farewell to Europe (Vor der Morgenröte, 2016), and Bruno Barreto’s Reaching for the Moon (Flores raras, 2013). This article aims to describe the differences between these two films, and how they can be connected to Brazilian authors such as Gilberto Freyre and Sérgio Buarque de Holanda, whose works attempt to understand Brazil’s social dynamics from the perspective of its violent colonial past. Furthermore, this article aims to question the connections between historical accuracy and political engagement, arguing that the general tone of a film narrative may sometimes be much more politically-oriented than the actual facts it portrays.","PeriodicalId":414949,"journal":{"name":"Comparative Cinema","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124841738","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-15DOI: 10.31009/CC.2021.V9.I16.06
P. A. Ruiz
Few painters have had as many films made about their lives as Vincent van Gogh. The interest in his story is due in part to the mystery surrounding his last days, in Arles, France. It is thus no coincidence that all the biopics about the Dutch painter focus on this stage of his life, including the recent works Loving Vincent (2017), an animated film by Dorota Kobiela and Hugh Welchman, and Julian Schnabel’s At Eternity’s Gate (2018). A comparative study of these two feature films, representing two different aesthetic and dramatic approaches, is conducted in pursuit of the two objectives of this paper: to identify the conventions of the subgenre of the artist biopic; and consequently, to analyze how both films reflect on the artist’s creative practice in order to determine whether the film camera is in fact capable of capturing the brushstroke and the mystique of the genius.
很少有画家像文森特·梵高(Vincent van Gogh)那样拍摄了这么多关于他们生活的电影。人们对他的故事感兴趣，部分原因是围绕着他在法国阿尔勒的最后几天的神秘。因此，所有关于这位荷兰画家的传记电影都集中在他生命的这一阶段，包括最近的作品《爱文森特》(2017)，多洛塔·科比拉和休·韦尔奇曼的动画电影，以及朱利安·施纳贝尔的《永恒之门》(2018)，这并非巧合。本文通过对代表两种不同美学和戏剧方法的这两部故事片进行比较研究，以达到两个目的:确定艺术家传记片亚类型的惯例;因此，分析两部电影如何反映艺术家的创作实践，以确定电影相机是否能够捕捉到天才的笔触和神秘感。
{"title":"The Van Gogh Enigma: Re-Mythifications of the Artist’s Genius in \"Loving Vincent\" and \"At Eternity’s Gate\"","authors":"P. A. Ruiz","doi":"10.31009/CC.2021.V9.I16.06","DOIUrl":"https://doi.org/10.31009/CC.2021.V9.I16.06","url":null,"abstract":"Few painters have had as many films made about their lives as Vincent van Gogh. The interest in his story is due in part to the mystery surrounding his last days, in Arles, France. It is thus no coincidence that all the biopics about the Dutch painter focus on this stage of his life, including the recent works Loving Vincent (2017), an animated film by Dorota Kobiela and Hugh Welchman, and Julian Schnabel’s At Eternity’s Gate (2018). A comparative study of these two feature films, representing two different aesthetic and dramatic approaches, is conducted in pursuit of the two objectives of this paper: to identify the conventions of the subgenre of the artist biopic; and consequently, to analyze how both films reflect on the artist’s creative practice in order to determine whether the film camera is in fact capable of capturing the brushstroke and the mystique of the genius.","PeriodicalId":414949,"journal":{"name":"Comparative Cinema","volume":"8 7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134513034","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：