ABSTRACT

Henri-George Clouzot’s The Mystery of Picasso (1956) and Lars von Trier’s and Jørgen Leth’s The Five Obstructions (2003) are celebrated experimental documentaries on the creative process in the visual arts and cinema made (or co-made) by renowned narrative film auteurs. Ludic exercises in on-and off-screen cinematic co-creation, together they foreground creativity and its constraints; artistic style and authorship; and filmmaking as simultaneously a means of personal expression and a collaborative enterprise. The main concerns of this article, both films are also marked by an overlapping self-reflexivity, intermediality, and formal hybridity, rooted in their innovative incorporation –or nesting– of pre-existing and in-progress art works (films, paintings, drawings). Focused on multiple forms of reflexivity and a distinctly process-based incorporation of works-within-the-work, juxtaposition of the films sheds new light on these dynamics generally, as well as on the styles and careers of Clouzot and Picasso, Leth and von Trier.

摘要

亨利·乔治·克洛佐（Henri-George Clouzot）的《毕加索之谜》（1956）和拉斯·冯·特里尔（Lars von Trier）和约尔根·莱斯（JørgenLeth）的《五种障碍》（2003）是著名的实验纪录片，介绍了由著名叙事电影制作人制作（或共同制作）的视觉艺术和电影中的创作过程。在屏幕上和屏幕外的电影联合创作中进行的Ludic锻炼，共同展现了创造力及其局限性；艺术风格和作者身份；和电影制作同时作为个人表达和合作的手段。本文的主要关注点在于，这两部电影的特征还在于重叠的自反性，中间性和形式混合性，这源于它们对既有和进行中的艺术作品（电影，绘画，素描）的创新性结合或嵌套。 ）。专注于多种形式的自反性和基于流程的 结合工作中的作品，电影的并置为整体的这些动态以及Clouzot和Picasso，Leth和von Trier的风格和职业提供了新的视角。