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

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more for degrees and kinds of involvement with or of the visual arts in the text or film, rather than for the amount of time a picture is shown or discussed. It should also be noted that they apply to scenes or parts of the works only, not to a whole text or film. Each text or film (even poem) can fit into more than one of the categories if different scenes/episodes are taken into account. My goal is to articulate with the help of these categories which aspects of a work are used in what way, which are left out, what is added, and why. This system will not only help me differentiate degrees and kinds of ekphrasis in texts and films, but moreover, will provide ways of articulating the different uses of art across the genres. Thus, it will be a crucial tool for determining if and why certain categories predominate in a particular genre. Moreover, through this system, my study can assess the range of expressions available for filmic transmedializations of art works and compare them to those existing in literary ekphrasis. The application of these categories to the texts and films in question will also help me focus on specific images and their use in these texts and films rather than analyzing the works in all aspects, thus preventing generalizations. Finally, this system of classification allows me to account for different types of ekphrasis, or different uses of visual images, all of which are equally valid ekphrases but can be rather different in their form, function and effect on the viewer. I thus hope to provide a first step toward a methodology and vocabulary applicable to filmic ekphrasis. 44
Attributive Ekphrasis The first category I propose to call “attributive ekphrasis,” a name which I have borrowed from Robillard’s system (61-62). However, my use of this category goes beyond hers, which describes the way in which a text marks its source. As she explains, the marking of a picture in this category can range from a mere allusion without explicitly specifying the source, to explicit and direct naming but without descriptive elaboration. Similar to Torgovnick’s “decorative” category, this category refers to the smallest degree of involvement with the visual arts, yet, as Yacobi has shown in her discussion of the ekphrastic simile and the ekphrastic model, even a brief allusion to an art work, style or genre can be sufficiently complex to be an instance of ekphrasis. My category of attributive ekphrasis includes the verbal allusion to pictures in a description or dialog of a text or film, that is, scenes in which artworks are shown (as actual pictures or tableaux) or mentioned, but not extensively discussed or described. In Plett’s terms, they can be only slightly marked, and with little frequency and distribution. Yet they are generally quantitatively fairly high, that is, in a film, the images are shown either whole or in significant portions, generally in wide angle so as to situate them within the scene and in relation to other objects and/or characters. Moreover, they are also qualitatively important since they contribute to the signification of the text or film, or to the characterization of the protagonists. The visual arts may also be used visually as background images or narrative device, as in Poulton’s sixth category (22-25). 45
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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 and 26: also lose their potential to be ekp
Page 27 and 28: etween art history and film studies
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: paintings by Renoir with which the
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
Page 83 and 84: 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
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works, rather than his mistress Leo
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While the first phrase (“Tal para
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with the perspective represented in
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interpretation also points to Buero
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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
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adopt Goya’s perspective, puts th
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point, allowing the viewer a glimps
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eally happened. Boccherini’s musi
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moving characters are superimposed
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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
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Chapter 4: Goya’s El sueño de la
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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
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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
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aspirations, it seems to portray hi
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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
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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
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
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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
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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