A01=Brigitte Peucker
Aby Warburg
Alain Badiou
Alois Riegl
Andre Bazin
Antonioni
Atom Egoyan
Author_Brigitte Peucker
Bergman
Bruegel
Category=AGA
Category=ATF
Clement Greenberg
color
decor
Dreyer
ekphrasis
epic theater
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
Erika Fischer-Lichte
Fassbinder
frame
Fredric Jameson
Fritz Lang
Gilles Deleuze
Godard
Greenaway
Hals
Heinrich Wolfflin
Hitchcock
Jacques Ranciere
Jean-Luc Nancy
Jeff Wall
Kiarostami
Klimt
Laura Mulvey
Lech Majewski
Linda Williams
medieval illustrations
Michael Fried
Millet
mise-en-scene
modernist abstractions
Murnau
Norman Bryson
painting
Pascal Bonitzer
perspective
Poussin
props
Rembrandt
Rivette
Rohmer
Rudolf Arnheim
Slavoj Zizek
space
spectator
Spike Jonze
Svetlana Alpers
T.J. Clark
tableau vivant
theatricality
Varda
von Sternberg
von Trier
Product details
- ISBN 9780810139060
- Weight: 365g
- Dimensions: 149 x 226mm
- Publication Date: 15 Feb 2019
- Publisher: Northwestern University Press
- Publication City/Country: US
- Product Form: Paperback
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Films provide valuable spaces for aesthetic experimentation and analysis, for cinema's openness to other media has always allowed it to expand its own. In Aesthetic Spaces, Brigitte Peucker shows that when painterly or theatrical conventions are appropriated by the medium of film, the dissonant effects produced open it up to intermedial reflection and tell us a great deal about cinema itself.
The films studied in these chapters include those by Abbas Kiarostami, Alfred Hitchcock, Michelangelo Antonioni, Jean-Luc Godard, Carl Th. Dreyer, Peter Greenaway, Rainer Werner Fassbinder, Ingmar Bergman, Jacques Rivette, Fritz Lang, F. W. Murnau, Lars von Trier, Spike Jonze, Éric Rohmer, Lech Majewski, and others. Where two media are in evidence in these films, there is usually a third, and often theater mediates between film and painting. Aesthetic Spaces interrogates issues of cinematic space and mise-en-scène from different but interconnected theoretical perspectives, organizing its chapters around some of the formal principles—space, spectator, frame, color and lighting, props, décor, and actor—that shape films.
Drawing on the older arts to renew cinema, the films examined deploy paintings as material: Poussin and Bruegel, Rembrandt, Hals and Klimt, and medieval illustrations and modernist abstractions are used to expand our notions of cinematic space. Peucker shows that when different media come together in film, they create effects of dissonance out of which new modes of looking may arise.
The films studied in these chapters include those by Abbas Kiarostami, Alfred Hitchcock, Michelangelo Antonioni, Jean-Luc Godard, Carl Th. Dreyer, Peter Greenaway, Rainer Werner Fassbinder, Ingmar Bergman, Jacques Rivette, Fritz Lang, F. W. Murnau, Lars von Trier, Spike Jonze, Éric Rohmer, Lech Majewski, and others. Where two media are in evidence in these films, there is usually a third, and often theater mediates between film and painting. Aesthetic Spaces interrogates issues of cinematic space and mise-en-scène from different but interconnected theoretical perspectives, organizing its chapters around some of the formal principles—space, spectator, frame, color and lighting, props, décor, and actor—that shape films.
Drawing on the older arts to renew cinema, the films examined deploy paintings as material: Poussin and Bruegel, Rembrandt, Hals and Klimt, and medieval illustrations and modernist abstractions are used to expand our notions of cinematic space. Peucker shows that when different media come together in film, they create effects of dissonance out of which new modes of looking may arise.
Brigitte Peucker is the Elias Leavenworth Professor of German and Professor of Film and Media Studies at Yale University. She is the author of The Material Image: Art and the Real in Film and Incorporating Images: Film and the Rival Arts, among other books.
