Of Artists and Models. Italian Silent Cinema between Narrative Convention and Artistic Practice

• Authors: Ivo Blom
• Languages of publication: EN

Abstracts

EN

The paper presents the author’s research on the representation of painters and sculptors, their models and their art works in Italian silent cinema of the 1910s and early 1920s. This research deals with both the combination of optical (painterly) vs. haptical (sculptural) cinema. It also problematizes art versus the real, as well as art conceived from cinema’s own perspective, that is within the conventions of European and American cinema. In addition to research in these filmic conventions the author compares how the theme manifests itself within different genres, such as comedy, crime and adventure films, diva films and strong men films. Examples are : Il trionfo della forza (The Triumph of Strength, 1913), La signora Fricot è gelosa (Madam Fricot is Jelous, 1913), Il fuoco (The Fire, Giovanni Pastrone, 1915), Il fauno (The Faun, Febo Mari, 1917), Il processo Clemenceau (The Clemenceau Affair, Alfredo De Antoni, 1917) and L’atleta fantasma (The Ghost Athlete, Raimondo Scotti, 1919). I will relate this pioneering study to recent studies on the representation of art and artists in Hollywood cinema, such as Katharina Sykora’s As You Desire me. Das Bildnis im Film (2003), Susan Felleman’s Art in the Cinematic Imagination (2006) and Steven Jacobs’s Framing Pictures. Film and the Visual Arts (2011), and older studies by Thomas Elsaesser, Angela Dalle Vacche, Felleman and the author.

Keywords

EN

Italian cinema; art in film; representation of painters in film; intermediality

• Publisher: Sciendo
• Journal: Acta Universitatis Sapientiae, Film and Media Studies
• Year: 2013
• Volume: 7
• Issue: 1
• Pages: 97-110

Dates

published

2013-11-01

online

2014-05-30

Contributors

author

Ivo Blom

• VU University Amsterdam

References

• Audoli, Armando. 2008. Chimere. Miti, allegorie e simbolismi plastici da Bistolfi a Martinazzi. [Chimeras. Myths, Allegories, and Painterly Symbolism from Bistolfi to Martinazzi]. Torino: Weber & Weber.
• Bernardini, Aldo and Vittorio Martinelli. 1991-1996. Il cinema muto italiano, 1905-1931. [The Italian Silent Cinema, 1905-1931]. Rome: Nuova ERI/CSC.
• Blom, Ivo. 1992. Il Fuoco or the Fatal Portrait. The XIXth Century in the Italian Silent Cinema. Le portrait peint au cinéma. Iris no. 14-15 (Autumn): 55-66.
• Elsaesser, Thomas. 1992. Mirror, Muse, Medusa: Experiment Perilous. Le portrait peint au cinéma. Iris no. 14-15 (Autumn): 147-159.
• Felleman, Susan. 1992. The Moving Picture Gallery. Le portrait peint au cinéma. Iris no. 14-15 (Autumn): 193-200.
• Felleman, Susan. 2006. Art in the Cinematic Imagination. Austin: University of Texas Press.
• Jacobs, Steven. 2011. Framing Pictures. Film and the Visual Arts. Edinburgh: Edinburgh University Press.
• Geraci, Francesco. 1917. Artisti contemporanei: Amleto Cataldi. [Contemporary Artists: Amleto Cataldi], Emporium, vol. 267 no. 45 (March): 163-175.
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• Schröter, Jens. 1998. Intermedialität. Facetten und Problemen eines aktuellen medienwissenschaftlichen Begriffes. Montage a/v, vol. 7 no. 2: 129-154.
• Sykora, Katharina. 2003. As You Desire me. Das Bildnis im Film. Cologne: Walther König.
• Walker, Michael 2005. Hitchcock’s Motifs. Amsterdam: Amsterdam University Press.
• Weisberg, Gabriel P., et.al. 2010. Illusions of Reality. Naturalist Painting, Photography, Theatre and Cinema, 1875-1918. Brussels: Mercatorfonds.

Identifiers

DOI

10.2478/ausfm-2014-0017