Cinema and Painting : How Art Is Used in Film

While addressing issues of influence and intentionality, Dalle Vacche concludes that intertextuality is central to an appreciation of the dialogical nature of the filmic medium, which, in appropriating or rejecting art history, defines itself in relation to national traditions and broadly shared visual cultures.

List of Illustrations
Acknowledgments
Introduction
A Thematic and Intertextual Approach
An American in Paris: Painting as Psychic Upheaval
Red Desert: Painting as Ventriloquism and Color as Movement-
The Marquise of O: Painting Thoughts, Listening to Images-
Jean-Luc Godard's Pierrot le Fou: Cinema as Collage against Painting-
Andrei Tarkovsky's Andrei Rublev: Cinema as the Restoration of Icon Painting-
Romantic Painting as Horror and Desire in Expressionist Cinema-
Five Women around Utamaro: Film between Woodblock Printing and Tattooing-
Still Life and the Close-Up as Feminine Space
Notes
Bibliography
Index
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Cinema and Painting : How Art Is Used in Film

Summary

Table of Contents

Supplemental Materials