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

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In this chapter, I analyze the different types of ekphrasis in the novel and the film and how they are connected to different functions and resultant interpretations of Goya’s aquatint. In comparing the point of view and the montage of these different types of ekphrases in the two media, I will examine whether the changes of the film adaptation are related to medium-specific needs and conventions or whether they are rooted in the desire to make a different statement about Goya’s Sueño de la razón. Does Goya’s aquatint fulfill different functions in the novel and the film or does its role remain the same in spite of different interpretations of it? And how does this difference relate to the overall changes the film makes to the novel and what does it say about the different ideological positions of the writer and the filmmaker? 155 Written in the form of both a historical novel and a Bildungsroman, Feuchtwanger’s Goya was conceived as a popular novel that would appeal to the general public as well as convey a political message. 156 While the historical novel was very popular, it was also a useful tool for presenting social criticism in a veiled, distanced form. Thus, as a few scholars have indicated, the novel reveals parallels between Goya’s supervision by the inquisition and Feuchtwanger’s own 155 To my knowledge, no study so far has specifically compared the novel and the film adaptation and very few critics have looked at Wolf’s film at all. Part of the reason may be that it is very difficult to access, and only available in DEFA studios. With regard to the novel, it is surprising that no critic has specifically examined the use of ekphrasis in this novel. Most studies focus on Goya’s development and on the artist’s biography, and only mention his art works in passing as they relate to that biography and development. 156 Cf. Jost Hermand, “The Case of the Well-Crafted Novel: Lion Feuchtwanger's 'Goya',” High and Low Cultures: German Attempts at Mediation, eds. R. Grimm, and J. Hermand (Madison: U of Wisconsin P, 1994) 76. 126
anger at his constant surveillance by the FBI in America. 157 On the other hand, Feuchtwanger’s absence from the GDR allowed him greater distance from the Marxist socialist party dictates in postwar East Germany. Thus, for example, Goya is not presented as a typical positive hero of social realist novels, but is a flawed and self-contradictory character. Likewise, the cruelty of the inquisition is not countered by representatives of the good, innocent proletariat as a Marxist perspective would prefer (cf. Fischer 202). Goya, Konrad Wolf’s film adaptation of Feuchtwanger’s novel, was a German-Soviet co-production and was hailed in contemporary East German reviews as film with special relevance to socialist countries due to its spiritual and aesthetic qualities and its abilities to unite artistic value and mass appeal: Der "Goya"-Film nimmt in der Filmproduktion der DDR wie der sozialistischen Länder einen besonderen Platz ein, nicht nur wegen seiner geistigen und ästhetischen Qualitäten, sondern aus zwei weiteren Gründen. Er zielt darauf, dem Auseinanderklaffen von Kunstwert und Massenwirkung, das unsere Produktion und unser Programm belastet, entgegenzuwirken durch einen Stoff, der den so oft mit Flachheit und Buntheit erkauften Schauwert in den Dienst eines philosophischen und ästhetischen Anspruchs stellt. 158 157 Cf. Hermand 91, and Ludwig Maximilian Fischer, Vernunft und Fortschritt: Geschichte und Fiktionalität im historischen Roman Lion Feuchtwangers (Königstein: Forum Academicum in d. Verlagsgruppe Athenäum, 1979) 160 158 Peter Ahrens, “Goya,” Die Weltbühne, Berlin/DDR, 28 Sept. 1971. “The Film Goya has a special place in the film production of the GRD as well as of the socialis countries, not only because of its intellectual and aesthetic qualities, but for two further reasons. It aims to counter the division between artistic value and mass entertainment which burdens our production and our programs, and it does so with the help of a thematics that places the visual, which is so often flat or tawdry, in the service of a philosophical and aeshtetic goal” (my transl.). 127
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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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an espousal of the Enlightenment an
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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 and 134: 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 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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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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