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ekphrases, we can gain insight into the similarities and differences in the interpretation of famous works of art in high and in popular culture. For this ekphrastic process, this concretization, I prefer to use Bruhn’s term “transmedialization,” which she coins by referring to the existence of the adjective “-medial” in German as well as French (Musical 51). Having shown how other terms suggested by literary critics for the ekphrastic process, such as transposition, transformation, or translation, invite misreadings and possess music-specific meanings, she proposes this term as one that adequately captures the essence of that process. While this term seems to convey the same meaning as Clüver’s “intersemiotic transposition” (translation or transmutation), I find “transmedialization” both simpler and more precise. Moreover, its English usage is prefigured in terms such as “intermedial” and “intermediality.” 34 My own reading of films in the light of the ekphrastic process has benefited from Siglind Bruhn’s analysis of musical ekphrasis, Claus Clüver’s various expansions of literary ekphrasis, and Donna L. Poulton’s discussion of the uses of art in film. None of these investigations, however, touches on the ability of film to transmedialize a work of art by adapting the pictorial into the cinematographic language. In fact, although there are a number of studies on film- painting relationships, none has investigated the possibility of filmic ekphrasis. However, one does not need to go as far as Zahlten and claim that the discourse 34 See for example the publication Icons – Texts – Iconotexts: Essays on Ekphrasis and Intermediality, ed. Peter Wagner (Berlin and New York: Walter de Gruyter, 1996). The terms “intermedial” and “intermediality” are also used by Claus Clüver in his “On Intersemiotic Transposition,” and Valerie Robillard in her “In Pursuit of Ekphrasis (an intertextual approach),” Pictures into Words: Theoretical and Descriptive Approaches to Ekphrasis, eds. Valerie Robillard and Els Jongeneel (Amsterdam: VU University Press, 1998), 53-72. 16
etween art history and film studies has largely been denied. 35 For example, Angela Dalle Vacche’s anthology The Visual Turn: Classical Film Theory and Art History documents the “dialogue between the history of art history in the early twentieth century and the history of classical film theory” 36 and demonstrates that the boundaries between the two disciplines are beginning to disappear. However, in most of the scholarly practice today, this is not the case. Existing studies on film-art relationships generally center on documentaries about artists. 37 If feature films are considered, scholars generally either look at technical similarities between the visual arts and the movies, 38 or examine the use of paintings in one individual film, 39 or focus on the role of the artist as portrayed in bio-pictures about famous painters, rather than on the art works themselves. 40 35 Johannes Zahlten, “Die Kunsthistoriker und der Film. Historische Aspekte und künftige Möglichkeiten,” Kunst und Künstler im Film, ed. Helmut Korte, and Johannes Zahlten (Hameln: Verlag C.W. Niemeyer, 1990) 13. 36 Angela Dalle Vacche, “Introduction: Unexplored Connections in a New Territory,” The Visual Turn: Classical Film Theory and Art History (New Brunswick, NJ and London: Rutgers UP, 2003) 1. 37 E.g. Art History and Film: Starting from the Arts: A Symposium, Boston, November 14-16, 1991 (New York: Program for Art on Film, 1992); Simon Howard Dizon, The Image Incarnate: On the Documentary Representation of Painting in Film, diss U of Iowa, 2000; Catherine Egan and John Egan, “Films About Artists and Their Audiences,” The Mediazation of the Arts, ed. Catherine Egan, spec. issue of Perspectives on Film 4 (1982): 20-30; Günter Minas, Bildende Kunst im Film der Bundesrepublik Deutschland. Ergebnisse ener Bestandsaufnahme (Berlin: G.Minas, 1986); Jens Thiele, Das Kunstwerk im Film (Bern: Herbert Lang; Frankfurt a.M. and München: Peter Lang, 1976). 38 E.g. Angela Dalle Vacche, Cinema and Painting: How Art Is Used in Film (Austin: U of Texas P, 1996); Anne Hollander, Moving Pictures (New York: Knopf, 1989). 39 E.g. Jürgen Paech. “La belle captive (1983). Malerei, Roman, Film (Rene Magritte / Alain Robbe-Grillet),” Literaturverfilmungen, ed. Franz-Josef Albersmeier and Volker Roloff (Frankfurt a.M.: Suhrkamp 1989) 409-436; and Gerd Bauer, “Jean-Luc Godard: Ausser Atem/A Bout de Souffle (Frankreich 1959),” Kunst und Künstler im Film, eds. Helmut Korte, and Johannes Zahlten (Hameln: Verlag C.W. Niemeyer, 1990) 111-121. 40 E.g. Ellen Fischer, “Das Künstlerbild im amerikanischen Spielfilm der 50er und 60er Jahre,“ Film, Fernsehen, Video und die Künste: Strategien der Intermedialität, ed. Joachim Paech (Stuttgart and Weimar: Verlag J.B. Metzler, 1994) 103-113; and John A. Walker, Arts & Artists on Screen (Manchester and New York: Manchester UP, 1993). Helmut Korte’s 17
Page 1 and 2: Copyright by Laura Mareike Sager 20
Page 3 and 4: Writing and Filming the Painting: E
Page 5 and 6: Acknowledgements I would like to ex
Page 7 and 8: After developing a framework of fou
Page 9 and 10: Chapter 4: Goya’s El sueño de la
Page 11 and 12: INTRODUCTION Chapter 1: Toward a De
Page 13 and 14: arts as well as between academic di
Page 15 and 16: value” than painting, and to offe
Page 17 and 18: (ut pictura poesis).” 14 But inte
Page 19 and 20: Similarly, Ernest B. Gilman has dis
Page 21 and 22: studied in terms of composition and
Page 23 and 24: Supper, a Crucifixion), but produce
Page 25: also lose their potential to be ekp
Page 29 and 30: In contrast to the films Poulton di
Page 31 and 32: words, filmic ekphrasis reenacts in
Page 33 and 34: to musical ekphrasis, I allege that
Page 35 and 36: films revert to the traditional mal
Page 37 and 38: Paris 1989 and Musée du Louvre IV,
Page 39 and 40: Moreover, the woman in the green co
Page 41 and 42: hear, read or talk about the art wo
Page 43 and 44: man in the blue shirt. The man next
Page 45 and 46: fruitfully applied to poetic ekphra
Page 47 and 48: has a similar goal and will adapt h
Page 49 and 50: Poulton describes sixteen categorie
Page 51 and 52: means and other filmic devices such
Page 53 and 54: paintings by Renoir with which the
Page 55 and 56: Attributive Ekphrasis The first cat
Page 57 and 58: conflictive, and one conflictive an
Page 59 and 60: instances of ekphrasis will play a
Page 61 and 62: hohen Brauen, den breiten Mund mit
Page 63 and 64: Blas de Otero’s poem “Guernica
Page 65 and 66: Inquisition trial, the works are di
Page 67 and 68: is in the film reduced to an expres
Page 69 and 70: present, and constitutes a device c
Page 71 and 72: contrasting images. In Plett’s te
Page 73 and 74: Similarly, Camilo José Cela’s Lo
Page 75 and 76: the addition of Dirck van Baburen
Page 77 and 78:
I have discussed examples of dramat
Page 79 and 80:
has identified three groups of pict
Page 81 and 82:
Chapter 3: Goya’s The Sleep of Re
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an espousal of the Enlightenment an
Page 85 and 86:
(Capricci, 1743), and Giambattista
Page 87 and 88:
audience would probably be familiar
Page 89 and 90:
intended meaning of the Caprichos
Page 91 and 92:
of his Obras has a frontispiece tha
Page 93 and 94:
almost any sort of satire” since
Page 95 and 96:
more explicit in literary texts, si
Page 97 and 98:
y Goya,”1961). 112 In both these
Page 99 and 100:
political opportunism of those indi
Page 101 and 102:
have not a separating but a complem
Page 103 and 104:
The drama takes place in December 1
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King’s minister Calomarde, take o
Page 107 and 108:
works, rather than his mistress Leo
Page 109 and 110:
While the first phrase (“Tal para
Page 111 and 112:
with the perspective represented in
Page 113 and 114:
interpretation also points to Buero
Page 115 and 116:
decapitated by one of his own paint
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azón and his own involvement in an
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Goya’s aquatint and of the text-i
Page 121 and 122:
adopt Goya’s perspective, puts th
Page 123 and 124:
point, allowing the viewer a glimps
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eally happened. Boccherini’s musi
Page 127 and 128:
moving characters are superimposed
Page 129 and 130:
eason. However, this positive note
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Likewise, in Kunert’s poem, the r
Page 133 and 134:
ends the nightmare sequence. Howeve
Page 135 and 136:
Chapter 4: Goya’s El sueño de la
Page 137 and 138:
anger at his constant surveillance
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USES OF EKPHRASIS IN THE NOVEL AND
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phantastischen Gefunkels hart, nack
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sphere. Unlike the novel, the inter
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power and their inability to rule S
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Entering the Quinta del Sordo, on t
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that emphasizes the personal, aesth
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his source of hope and spiritual gu
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drawings and paintings of his exter
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struggle with himself and his inter
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y strange creatures from his imagin
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marked off as actual threat, as opp
Page 161 and 162:
of ekphrasis in both produces a cer
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point of view. Yet, during the same
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interpretive ekphrases), or visuall
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image to the public, in other words
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that both of these works equally pe
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concretized by the film for an audi
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competition on another level, by re
Page 175 and 176:
aspirations, it seems to portray hi
Page 177 and 178:
the renowned artist from classical
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Thus, as was the case with the Self
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wearing not his usual white cap or
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
Page 195 and 196:
the space where his mirror is proba
Page 197 and 198:
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
Page 213 and 214:
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
Page 221 and 222:
omniscient narrator who describes C
Page 223 and 224:
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
Page 231 and 232:
Vermeer and that the name of the gi
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economic and gender structures in t
Page 235 and 236:
In short, these two novels foregrou
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may compete with both the visual ar
Page 239 and 240:
promotion of his public image throu
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example, in the film Girl with a Pe
Page 243 and 244:
PARAGONE But why do the ekphrastic
Page 245 and 246:
Since its invention, film has been
Page 247 and 248:
contemporary art historians. By for
Page 249 and 250:
Berger, John, and Nella Bielski. Go
Page 251 and 252:
Daniel, Howard. “Introduction.”
Page 253 and 254:
Hartmann, Lucrecia. Capriccio - Bil
Page 255 and 256:
Lopez-Rey, José. Goya’s Capricho
Page 257 and 258:
Richter, Rolf. “Goya - der Weg zu
Page 259 and 260:
Stoll, Andre. “Goyas Illumionatio
Page 261 and 262:
Yacobi, Tamar. “The Ekphrastic Mo
Page 263:
Vita Laura Mareike Sager was born i
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