By Lucy Fischer
Fischer starts with the portrayal of ladies and nature within the magical “trick motion pictures” of the Spanish director Segundo de Chomón; the elite costume and décor layout offerings in Cecil B. DeMille’s The Affairs of Anatol (1921); and the mise-en-scène of delusion in Raoul Walsh’s The Thief of Bagdad (1924). interpreting Salome (1923), Fischer exhibits how the cinema provided a fascinating body for adapting the risqué works of Oscar Wilde and Aubrey Beardsley. relocating to the trendy period, Fischer specializes in a sequence of dramatic movies, together with Michelangelo Antonioni’s The Passenger (1975), that make artistic use of the structure of Antoni Gaudí; and a number of other ecu works of horror—The Abominable Dr. Phibes (1971), Deep Red (1975), and The unusual colour of Your Body’s Tears (2013)—in which artwork Nouveau structure and narrative provide specified resonances in scenes of terror. In later chapters, she examines movies like Klimt (2006) that painting the fashion when it comes to the artwork global and ends by way of discussing the paintings Nouveau revival in Sixties cinema. Fischer’s research brings into concentration the partnership among paintings Nouveau’s fascination with the illogical and the novel and filmmakers’ wish to upend audience’ belief of the area. Her paintings explains why an paintings move embedded in modernist sensibilities can flourish in modern movie via its visions of nature, gender, sexuality, and the exotic.
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Cinema by Design: Art Nouveau, Modernism, and Film History (Film and Culture Series) by Lucy Fischer
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