{"title":"磨坊和十字架。在元叙事和跨媒体叙事之间","authors":"Clementina Calero Ruiz","doi":"10.25145/j.latente.2022.20.06","DOIUrl":null,"url":null,"abstract":"Polish director Lech Majewski based his film «The Mill and the Cross» on two different sources: Michael Francis Gibson’s homonymous dissertation and The Procession to Calvary, Brueghel’s oil-on-panel masterpiece. The filmmaker paints a picture within another, a humongous, slow and silent tableaux vivant because slow is the creative process as well. Only the conversation between the painter and the art dealer, in which the first one explains the ways his painting has been made, breaks the quietness.","PeriodicalId":339824,"journal":{"name":"Latente Revista de Historia y Estética audiovisual","volume":"67 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"El Molino y la Cruz. Entre la metapintura y las narraciones transmedia\",\"authors\":\"Clementina Calero Ruiz\",\"doi\":\"10.25145/j.latente.2022.20.06\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Polish director Lech Majewski based his film «The Mill and the Cross» on two different sources: Michael Francis Gibson’s homonymous dissertation and The Procession to Calvary, Brueghel’s oil-on-panel masterpiece. The filmmaker paints a picture within another, a humongous, slow and silent tableaux vivant because slow is the creative process as well. Only the conversation between the painter and the art dealer, in which the first one explains the ways his painting has been made, breaks the quietness.\",\"PeriodicalId\":339824,\"journal\":{\"name\":\"Latente Revista de Historia y Estética audiovisual\",\"volume\":\"67 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"1900-01-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Latente Revista de Historia y Estética audiovisual\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.25145/j.latente.2022.20.06\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Latente Revista de Historia y Estética audiovisual","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.25145/j.latente.2022.20.06","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
El Molino y la Cruz. Entre la metapintura y las narraciones transmedia
Polish director Lech Majewski based his film «The Mill and the Cross» on two different sources: Michael Francis Gibson’s homonymous dissertation and The Procession to Calvary, Brueghel’s oil-on-panel masterpiece. The filmmaker paints a picture within another, a humongous, slow and silent tableaux vivant because slow is the creative process as well. Only the conversation between the painter and the art dealer, in which the first one explains the ways his painting has been made, breaks the quietness.