Screening the Art World
Screening the Art World
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15.6 x 23.4 cm
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Introduction (Temenuga Trifonova)
Part I - Cinema’s Vision of Art: Aspirational, Satiric, Philosophical
Chapter 1: Art, Truth, Representation: Lois Weber’s Dumb Girl of Portici (Katherine Manthorne)
Chapter 2: Avant-garde and Kitsch: Modern Art and Money on Screen, 1963-1964 (Susan Felleman)
Chapter 3: Cinema as Philosophy of Art (Temenuga Trifonova)
Part II - The Aura of Art in (the Age of) Film
Chapter 4: Ineffability? The Several Vermeers (Brigitte Peucker)
Chapter 5: The Joker at the Museum in Tim Burton’s Batman (1989): Artistic Vandalism in Hollywood (Pierre-Antoine Pellerin)
Chapter 6: Chaos ex machina: The Art of Jean Tinguely and the Documentary Image (Des O’Rawe)
Chapter 7: China’s van Goghs: Documentary Production, International Taste and Artistic Labor (A. T. McKenna)
Part III - Affective Historiography: Negotiating the Past through Screening Art
Chapter 8: A World Made of Art (Gillian McIver)
Chapter 9: Art and History in Woman in Gold (2015), The Monuments Men (2014), and Francofonia (2015) (Christine Sprengler)
Chapter 10: Examining Public Art in Parks and Recreation’s Pawnee, Indiana (Annie Dell’Aria)
Part IV - The Figure of the Artist: Between Mad Genius and Entrepreneur of the Self
Chapter 11: Homicidal and Suicidal Artist Figures in Film (Bruce Alistair Barber)
Chapter 12: Blood Lust: Realism, Violent Inspiration, and the Artist in Horror Cinema (Kate Robertson)
Chapter 13: Picturing Picasso: Revisiting Paul Haesaerts’ Visite à Picasso (1949) (Steven Jacobs and Joséphine Vandekerckhove)
Chapter 14: This Is the End of High Entertainment: Tiny Furniture and This Is the End (Kelly Lloyd)
Chapter 15: Screening Performance: Curating the Artist Persona (Susan Flynn)
Chapter 16: Peter Greenaway’s Artist-Entrepreneurs (Marco de Waard)

Temenuga Trifonova (ed.)

Screening the Art World

Unlike most studies of the relationship between cinema and art, which privilege questions of medium or institutional specificity and intermediality, Screening the Art World explores the ways in which artists and the art world more generally have been represented in cinema. Contributors address a rarely explored subject -art in cinema, rather than the art of cinema - by considering films across genres, historical periods and national cinemas in order to reflect on cinema’s fluctuating imaginary of ‘art’ and ‘the art world’. The book examines the intersection of art history with history in cinema, cinema’s simultaneous affirmation and denigration of the idea of art as ‘truth’ and what this means for cinema’s understanding of itself, the dominant, often contradictory ways in which artists have been represented on screen, and cinematic representations of the art world’s tenuous position between commercial good and cultural capital.

Temenuga Trifonova

Temenuga Trifonova is Associate Professor of Cinema and Media Studies at York University. She is the author of The Figure of the Migrant in Contemporary European Cinema, Warped Minds: Cinema and Psychopathology, The Image in French Philosophy, and the edited volumes Contemporary Visual Culture and the Sublime and European Film Theory.