Roy Andersson’s tableau aesthetic: a cinematic social space between painting and theatre
Autor(a) principal: | |
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Data de Publicação: | 2018 |
Tipo de documento: | Artigo |
Idioma: | eng |
Título da fonte: | Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
Texto Completo: | http://hdl.handle.net/10400.21/8976 |
Resumo: | ABSTRACT - The article examines three films by Roy Andersson, "Songs from the Second Floor" ("Sånger från andra våningen", 2000), "You, the Living" ("Du levande", 2007), and "A Pigeon Sat on a Branch Reflecting on Existence" ("En duva satt på en gren och funderade på tillvaron", 2014). The Swedish director depicts the human condition afflicted by the loss of its humanity through a personal style that he calls “the complex image,” a tableau aesthetic that instigates social criticism, and is dependent upon long shots, immobility, unchanging shot scale, and layered compositions. The author establishes a connection between artistic and social space and scrutinizes the challenges that this “complexity” poses for the film viewer from an intermedial perspective in which cinema enters into a dialogue with two other art forms: painting and theatre. Four specific issues are discussed: (1) the intertwining of reality and artificiality as a “hyperreality;” (2) the visual compositions which are simultaneously self-contained and entirely open, highlighting a tension between volume and surface; (3) the opposition between stasis and movement, conveying a meaningful social contrast and the characters’ angst; (4) the pictoriality of the image. |
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Roy Andersson’s tableau aesthetic: a cinematic social space between painting and theatreTableau aestheticInter-art relationsComplex imageSpaceRoy AnderssonABSTRACT - The article examines three films by Roy Andersson, "Songs from the Second Floor" ("Sånger från andra våningen", 2000), "You, the Living" ("Du levande", 2007), and "A Pigeon Sat on a Branch Reflecting on Existence" ("En duva satt på en gren och funderade på tillvaron", 2014). The Swedish director depicts the human condition afflicted by the loss of its humanity through a personal style that he calls “the complex image,” a tableau aesthetic that instigates social criticism, and is dependent upon long shots, immobility, unchanging shot scale, and layered compositions. The author establishes a connection between artistic and social space and scrutinizes the challenges that this “complexity” poses for the film viewer from an intermedial perspective in which cinema enters into a dialogue with two other art forms: painting and theatre. Four specific issues are discussed: (1) the intertwining of reality and artificiality as a “hyperreality;” (2) the visual compositions which are simultaneously self-contained and entirely open, highlighting a tension between volume and surface; (3) the opposition between stasis and movement, conveying a meaningful social contrast and the characters’ angst; (4) the pictoriality of the image.De Gruyter OpenRCIPLChinita, Fátima2018-10-29T11:28:03Z20182018-01-01T00:00:00Zinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articleapplication/pdfhttp://hdl.handle.net/10400.21/8976enghttps://doi.org/10.1515/ausfm-2018-0004info:eu-repo/semantics/openAccessreponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAP2023-08-03T09:57:06Zoai:repositorio.ipl.pt:10400.21/8976Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-19T20:17:38.755754Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse |
dc.title.none.fl_str_mv |
Roy Andersson’s tableau aesthetic: a cinematic social space between painting and theatre |
title |
Roy Andersson’s tableau aesthetic: a cinematic social space between painting and theatre |
spellingShingle |
Roy Andersson’s tableau aesthetic: a cinematic social space between painting and theatre Chinita, Fátima Tableau aesthetic Inter-art relations Complex image Space Roy Andersson |
title_short |
Roy Andersson’s tableau aesthetic: a cinematic social space between painting and theatre |
title_full |
Roy Andersson’s tableau aesthetic: a cinematic social space between painting and theatre |
title_fullStr |
Roy Andersson’s tableau aesthetic: a cinematic social space between painting and theatre |
title_full_unstemmed |
Roy Andersson’s tableau aesthetic: a cinematic social space between painting and theatre |
title_sort |
Roy Andersson’s tableau aesthetic: a cinematic social space between painting and theatre |
author |
Chinita, Fátima |
author_facet |
Chinita, Fátima |
author_role |
author |
dc.contributor.none.fl_str_mv |
RCIPL |
dc.contributor.author.fl_str_mv |
Chinita, Fátima |
dc.subject.por.fl_str_mv |
Tableau aesthetic Inter-art relations Complex image Space Roy Andersson |
topic |
Tableau aesthetic Inter-art relations Complex image Space Roy Andersson |
description |
ABSTRACT - The article examines three films by Roy Andersson, "Songs from the Second Floor" ("Sånger från andra våningen", 2000), "You, the Living" ("Du levande", 2007), and "A Pigeon Sat on a Branch Reflecting on Existence" ("En duva satt på en gren och funderade på tillvaron", 2014). The Swedish director depicts the human condition afflicted by the loss of its humanity through a personal style that he calls “the complex image,” a tableau aesthetic that instigates social criticism, and is dependent upon long shots, immobility, unchanging shot scale, and layered compositions. The author establishes a connection between artistic and social space and scrutinizes the challenges that this “complexity” poses for the film viewer from an intermedial perspective in which cinema enters into a dialogue with two other art forms: painting and theatre. Four specific issues are discussed: (1) the intertwining of reality and artificiality as a “hyperreality;” (2) the visual compositions which are simultaneously self-contained and entirely open, highlighting a tension between volume and surface; (3) the opposition between stasis and movement, conveying a meaningful social contrast and the characters’ angst; (4) the pictoriality of the image. |
publishDate |
2018 |
dc.date.none.fl_str_mv |
2018-10-29T11:28:03Z 2018 2018-01-01T00:00:00Z |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
http://hdl.handle.net/10400.21/8976 |
url |
http://hdl.handle.net/10400.21/8976 |
dc.language.iso.fl_str_mv |
eng |
language |
eng |
dc.relation.none.fl_str_mv |
https://doi.org/10.1515/ausfm-2018-0004 |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
De Gruyter Open |
publisher.none.fl_str_mv |
De Gruyter Open |
dc.source.none.fl_str_mv |
reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação instacron:RCAAP |
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Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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RCAAP |
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RCAAP |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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