Copyright by Laura Mareike Sager 2006 - The University of Texas at ...

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filmmaker (Monaco 201-203). Making the viewer aware of the presence of the camera, in Saura’s film this device points to the filmic techniques of transforming Goya’s pictorial signs into cinematic language. Furthermore, the ekphrasis in both the drama and the film is primarily visual rather than verbal, but enhanced and reinforced by auditory means such as sounds, noises and music. Although drama and film are visual, verbal and auditory in nature, the transposition of Goya’s Sleep of Reason is in both Buero’s drama and Saura’s film completely non-verbal (unless one reads the drama or screenplay, of course), showing that visual and auditory means can replace verbal ekphrasis. 124
Chapter 4: Goya’s El sueño de la razón in Lion Feuchtwanger’s Novel and Konrad Wolf’s Film Adaptation: Private or Social Demons? INTRODUCTION Lion Feuchtwanger’s novel Goya oder der arge Weg der Erkenntnis, 154 written between 1948 and 1950 from his exile in America and published in 1951, was adapted to film in 1971 by East German director Konrad Wolf. Wolf’s Goya, then, is a film about a novel about a painter and his art works. In other words, it is a film adaptation of two other art forms, and its ekphrases translate both Feuchtwanger’s novel and Goya’s paintings to screen. However, rather than directly adapting Feuchtwanger’s ekphrases and thus producing second-degree ekphrases, the film generally constructs its own cinematic ekphrases or alters those found in the novel. Thus, although both the novel and the film have three ekphrases of Goya’s El sueño de la razón produce monstruos, they occur at different moments in the film and the novel, and moreover are different types of ekphrasis. While in the novel, interpretive ekphrases predominate, the film mostly animates the etching in dramatic ekphrases. This change of ekphrastic type correlates with a change in the point of view of the ekphrasis, and different interpretations of the aquatint. 154 The novel was translated into English as This is the Hour, trans. by H.T. Lowe-Porter and Frances Fawcett (New York: Viking Press, 1951). This title takes up the stirring caption of the final plate of Goya’s Caprichos, Ya es hora, and has, in Lothar Khan’s opinion, contributed to the misunderstanding of the novel in the English-speaking world (cf. Lothar Khan, “Der arge Weg der Erkenntnis,” Lion Feuchtwanger: The Man, his Ideas, his Work: A Collection of Critical Essays, ed. John M. Spalik (Los Angeles: Hennessey and Infalls, 1972) 201. (The literal translation of the original German title would be Goya or The Dire Way to Knowledge/Enlightenment.) 125
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Copyright by Laura Mareike Sager 20
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Writing and Filming the Painting: E
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Acknowledgements I would like to ex
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After developing a framework of fou
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Chapter 4: Goya’s El sueño de la
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INTRODUCTION Chapter 1: Toward a De
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arts as well as between academic di
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value” than painting, and to offe
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(ut pictura poesis).” 14 But inte
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Similarly, Ernest B. Gilman has dis
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studied in terms of composition and
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Supper, a Crucifixion), but produce
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also lose their potential to be ekp
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etween art history and film studies
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In contrast to the films Poulton di
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words, filmic ekphrasis reenacts in
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to musical ekphrasis, I allege that
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films revert to the traditional mal
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Paris 1989 and Musée du Louvre IV,
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Moreover, the woman in the green co
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hear, read or talk about the art wo
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man in the blue shirt. The man next
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fruitfully applied to poetic ekphra
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has a similar goal and will adapt h
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Poulton describes sixteen categorie
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means and other filmic devices such
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paintings by Renoir with which the
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Attributive Ekphrasis The first cat
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conflictive, and one conflictive an
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instances of ekphrasis will play a
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hohen Brauen, den breiten Mund mit
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Blas de Otero’s poem “Guernica
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Inquisition trial, the works are di
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is in the film reduced to an expres
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present, and constitutes a device c
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contrasting images. In Plett’s te
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Similarly, Camilo José Cela’s Lo
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the addition of Dirck van Baburen
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I have discussed examples of dramat
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has identified three groups of pict
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Chapter 3: Goya’s The Sleep of Re
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Page 97 and 98: y Goya,”1961). 112 In both these
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Page 103 and 104: The drama takes place in December 1
Page 105 and 106: King’s minister Calomarde, take o
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Page 109 and 110: While the first phrase (“Tal para
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Page 115 and 116: decapitated by one of his own paint
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Page 125 and 126: eally happened. Boccherini’s musi
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Page 129 and 130: eason. However, this positive note
Page 131 and 132: Likewise, in Kunert’s poem, the r
Page 133: ends the nightmare sequence. Howeve
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Page 139 and 140: USES OF EKPHRASIS IN THE NOVEL AND
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Page 147 and 148: Entering the Quinta del Sordo, on t
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Page 161 and 162: of ekphrasis in both produces a cer
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Page 179 and 180: Thus, as was the case with the Self
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Page 183 and 184: Thus, it is no surprise that such a
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the great genius from humble origin
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has not adopted it in his film. The
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etchings and drawings, which are, o
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While Korda also does not show Sask
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Rembrandt has aged considerably, th
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the space where his mirror is proba
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However, Zuckmayer’s interpretati
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scène is constituted by the above-
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The use of the spoken word in this
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“turned to privacy and inwardness
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etween social classes and as the co
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the production of privacy that cons
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viewer’s gaze into actively seein
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TRACY CHEVALIER AND PETER WEBBER: G
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differences between the two women,
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etween the two since Griet has star
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scene, to contrast with her tranqui
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Vermeer’s economic dependence on
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omniscient narrator who describes C
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thereafter at an auction of that pa
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Likewise, the two central ekphrasti
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the role and function of art in hum
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epresenting class tensions. This di
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Vermeer and that the name of the gi
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economic and gender structures in t
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In short, these two novels foregrou
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may compete with both the visual ar
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promotion of his public image throu
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example, in the film Girl with a Pe
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PARAGONE But why do the ekphrastic
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Since its invention, film has been
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contemporary art historians. By for
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Berger, John, and Nella Bielski. Go
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Daniel, Howard. “Introduction.”
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Hartmann, Lucrecia. Capriccio - Bil
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Lopez-Rey, José. Goya’s Capricho
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Richter, Rolf. “Goya - der Weg zu
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Stoll, Andre. “Goyas Illumionatio
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Yacobi, Tamar. “The Ekphrastic Mo
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Vita Laura Mareike Sager was born i
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