News
Our Degree Programs
Présentation
To question the aesthetic challenges in the
different ways paintings are viewed on screen; to
learn how to recognize a certain pictorial
influence in various movie genres; to understand the specific features of movie
images, and, thanks to an in-depth analysis, understand the dialogue between
images.
Painting and the
cinema are slightly intertwined from their beginnings, with Lumière being “the
last impressionist,” according to Jean-Luc Godard (La Chinoise, 1967).
-
Where and why do paintings appear
on stage?
-
Can we speak of a “plan-tableau”
(Pascal Bonitzer, Décadrages)
-
How does cinema – as the art of
moving images - deal with still images?
-
How does a conversation start
between the character, the painting and the spectator?
Modalités
Filmographie indicative
Luis Bunuel, Viridiana (1961)
Francis Ford Coppola, la trilogie du Parrain, Dracula (1992)
Jean-Luc Godard, Passion (1982), Histoires du
cinéma (1997-1998)
Derek Jarman, Caravaggio (1986)
F.W Murnau, Faust
(1926)
Hitchcock, Vertigo
(1958), Psychose (1960), Marnie (1964),
Pier Paolo Pasoloni, La Ricotta
Mark Robson,
L'Ile des morts (1941)
Raoul Ruiz, Klimt
(2006)
Andreï Tarkovski, Nostalghia (1983), Le
sacrifice (1986)
Jacques Tourneur, Vaudou (1943)
Lars von Trier, Breaking the waves Waves (1996), Melancholia (2011)
Ressources
<b>La bibliographie sera, complétée en regard des films et des notions étudiées.</b>|| Jacques, Aumont, <i>L’Œil interminable : cinéma, et peinture</i>, Paris, Librairie Séguier, 1989|| Pascal, Bonitzer, <i>Décadrages</i>, Paris, Éditions, de l’Étoile, 1985|| Luc, Vancheri, <i>Cinéma et peinture :, passages, partages, présences</i>, Paris, Armand Collin, 2007|| <i>Hitchcock et l'art :, coïncidences fatales</i>,, dirigé par Guy Cogeval et Dominique, Païni, Paris, Editions du Centre Pompidou, 2001|| <i>Peinture et cinéma,, Pictorialité de l’image filmée de la toile à l’écran</i>, Revue Ligeia,, Dossiers sur l’art, Juillet-décembre 2007||