ABSTRACT

This paper examines the political effects of the representation of historical paintings in film. It contends that the inclusion of this ‘older’ form, painting, and of the world associated with its popularity brings a mythological past to bear on contemporary philosophical and political issues in a novel and complex manner. Using the formal qualities of film, like montage and close-up, film makers can reimage and reimagine the place and role of painted works within the contemporary worlds in which the films are set. The interruption of one world into the other, the painted past into the photoreal present or future, uncovers new continuities and makes the distant past a matter of concern for the problems of the present. Using the philosophy and theories of Jacques Rancière, Bonnie Honig, Robert Pippin, and Roland Barthes, this article examines the representation of painting in Andrei Tarkovsky’s Solaris (1972) and the collaborative film Germany in Autumn (1978).

摘要

本文考察了电影中历史绘画表现的政治影响。它认为，将这种“较旧”的形式、绘画以及与其流行相关的世界纳入其中，以一种新颖而复杂的方式为当代哲学和政治问题带来了神话般的过去。利用电影的形式品质，如蒙太奇和特写镜头，电影制作人可以重新塑造和重新想象绘画作品在电影所处的当代世界中的位置和作用。一个世界与另一个世界的中断，描绘的过去与照片般真实的现在或未来，揭示了新的连续性，并使遥远的过去成为关注当前问题的问题。利用 Jacques Rancière、Bonnie Honig、Robert Pippin 和 Roland Barthes 的哲学和理论，Solaris（1972）和合作电影《德国的秋天》（1978）。