Il cinema come arte: pittoricità e ricorrenze pittoriche nei film di Carl Theodor Dreyer

Sabrina Francesca Crivelli

Il cinema come arte: pittoricità e ricorrenze pittoriche nei film di Carl Theodor Dreyer

Translated title of the contribution: Film as Art: pictoriality and pictorial references in Carl Theodor Dreyer's films

Sabrina Francesca Crivelli

Film and Creative Writing

Research output: Contribution to journal › Article › peer-review

Abstract

This paper examines the influences of pictorial models on Carl Theodor Dreyer's films. It demonstrates that James Whistler's paintings, Johann Heinrich Füssli's The Nightmare, and Vilhelm Hammershøi's' interior scenes have an essential role in the staging and aesthetic of Dreyer's filmography, including The President, Vampyr and e Gertrud respectively.

Translated title of the contribution	Film as Art: pictoriality and pictorial references in Carl Theodor Dreyer's films
Original language	Italian
Pages (from-to)	262-69
Number of pages	8
Journal	Arte\| Documento
Issue number	35
Publication status	Published - 2019

Keywords

Carl Theodor Dreyer
intermediality

Cite this

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abstract = "This paper examines the influences of pictorial models on Carl Theodor Dreyer's films. It demonstrates that James Whistler's paintings, Johann Heinrich F{\"u}ssli's The Nightmare, and Vilhelm Hammersh{\o}i's' interior scenes have an essential role in the staging and aesthetic of Dreyer's filmography, including The President, Vampyr and e Gertrud respectively. ",

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AB - This paper examines the influences of pictorial models on Carl Theodor Dreyer's films. It demonstrates that James Whistler's paintings, Johann Heinrich Füssli's The Nightmare, and Vilhelm Hammershøi's' interior scenes have an essential role in the staging and aesthetic of Dreyer's filmography, including The President, Vampyr and e Gertrud respectively.

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Il cinema come arte: pittoricità e ricorrenze pittoriche nei film di Carl Theodor Dreyer

Abstract

Keywords

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