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

the way in which a work of art transposes a novel. 30 All of these, as Bruhn
emphasizes, are cases of “visual representation of verbal representation” (Musical
8), thus reversing Heffernan’s well-known definition of ekphrasis.
THE CASE FOR CINEMATIC EKPHRASIS
In spite of these attempts to broaden the concept of ekphrasis, the term has
not yet been applied to film as a medium that can transpose a painting. However,
one need not go as far as Bruhn’s re-definition to allow for the possibility of
visual or filmic ekphrasis. Clüver’s above-cited definition of ekphrasis as “the
verbalization of real or fictitious texts composed in a non-verbal sign system”
would apply equally to poetic ekphrasis as to an ekphrastic passage in the stage
directions of a drama or in a screenplay. Elizabeth Drumm in her discussion of
“Ekphrasis in Valle-Inclan’s Comedias bárbaras” has shown how ekphrasis is
used in the stage directions of that drama. Although the ekphrasis is a mere
reference to some vague, unidentified “retratos antiguos” (old portraits), the
trilogy as a whole functions as “prolonged ekphrasis of the mute art object.” 31
Moreover, ekphrasis in this drama does not privilege language, but rather the
“rich ambiguity” and the “persistent and inscrutable presence” of the visual image
(393).
Ekphrastic passages in such texts as dramas and screenplays will be acted
out and dramatized, and thus lose their purely verbal nature. But will they then
30 Wendy Steiner, Pictures of Romance: Form Against Context in Painting and Literature.
(Chicago: University of Chicago Press, 1988) 109.
31 Elizabeth Drumm, “Ekphrasis in Valle-Inclán's Comedias bárbaras,” Revista de Estudios
Hispánicos 34.2 (2000): 391.
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