The Art Documentary in the Postwar Period
Autor(a) principal: | |
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Data de Publicação: | 2014 |
Tipo de documento: | Artigo |
Idioma: | eng |
Título da fonte: | Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
Texto Completo: | https://doi.org/10.14591/aniki.v1n2.90 |
Resumo: | In the wake of the Holocaust and Hiroshima, the exploration of human creativity became central to reestablish the humanity of humankind. By closely following the art documentary, French film critic André Bazin focused on this genre in relation to painting, because the latter was the most elitist of all media. In the case of Alain Resnais’s Van Gogh (1948), Bazin used the encounter of cinema and painting as an example of symbiosis between the objects of still life and the objectifying impact of the camera lens. The critic’s writings on the art documentary also underlined the anti anthropocentric and cosmological vocation of the cinema. By turning the pictorial frame into the screen of cinema, Resnais’s Van Gogh de-centers the viewer into an introspective world of landscapes and rooms, where the painter himself is an absent participant or an anonymous figure rather than a protagonist in control. While self-portraiture in Van Gogh is elusive and Bazin’s scientific metaphors are vitalistic, the depth of human psychology remains as mysterious as the creativity of nature on this earth and the origin of life in the cosmos. |
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The Art Documentary in the Postwar PeriodO documentário de arte no pós-guerraartscienceobjecteventcinemapaintingAlain ResnaisAndré BazinVincent van GogharteciênciaobjectoacontecimentocinemapinturaAlain ResnaisAndré BazinVincent van GoghIn the wake of the Holocaust and Hiroshima, the exploration of human creativity became central to reestablish the humanity of humankind. By closely following the art documentary, French film critic André Bazin focused on this genre in relation to painting, because the latter was the most elitist of all media. In the case of Alain Resnais’s Van Gogh (1948), Bazin used the encounter of cinema and painting as an example of symbiosis between the objects of still life and the objectifying impact of the camera lens. The critic’s writings on the art documentary also underlined the anti anthropocentric and cosmological vocation of the cinema. By turning the pictorial frame into the screen of cinema, Resnais’s Van Gogh de-centers the viewer into an introspective world of landscapes and rooms, where the painter himself is an absent participant or an anonymous figure rather than a protagonist in control. While self-portraiture in Van Gogh is elusive and Bazin’s scientific metaphors are vitalistic, the depth of human psychology remains as mysterious as the creativity of nature on this earth and the origin of life in the cosmos.Na sequência do Holocausto e de Hiroshima, o estudo da criatividade humana tornou-se central para reestabelecer a humanidade na civilização moderna. Ao acompanhar de perto o documentário de arte, o crítico francês André Bazin escolheu esse gênero e sua relação com a pintura, ao ser essa a mais elitista das médias. No caso do filme Van Gogh (1948) de Alain Resnais, Bazin utilizou o encontro do cinema com a pintura como exemplo de uma simbiose entre os objetos das naturezas mortas e a capacidade de objetiva-los através da câmera. Os escritos do crítico sobre o documentário de arte foram guiadas também pela vocação antropológica e cosmológica do cinema. Ao fazer da moldura pictórica a tela do cinema, o Van Gogh de Resnais decentraliza o espectador, dando-lhe acesso a um mundo introspectivo de paisagens e interiores onde o próprio pintor é um participante ausente ou uma figura anónima em vez de um protagonista em controle. Enquanto os autorretratos de Van Gogh são esquivos e as metáforas científicas de Bazin vitalistas, a psicologia humana e sua profundidade permanecem misteriosos, bem como a criatividade da natureza do nosso planeta e a origem de vida no cosmos.AIM - Associação de Investigadores da Imagem em Movimento2014-06-21info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articleapplication/pdftext/htmlhttps://doi.org/10.14591/aniki.v1n2.90https://doi.org/10.14591/aniki.v1n2.90Aniki: Portuguese Journal of the Moving Image; Vol 1 No 2 (2014): Art and cinema; 292-313Aniki: Revista Portuguesa da Imagem em Movimento; v. 1 n. 2 (2014): Arte e cinema; 292-3132183-1750reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAPenghttp://aim.org.pt/ojs/index.php/revista/article/view/90http://aim.org.pt/ojs/index.php/revista/article/view/90/65http://aim.org.pt/ojs/index.php/revista/article/view/90/htmlDalle Vacche, Angelainfo:eu-repo/semantics/openAccess2024-01-26T02:01:34Zoai:aim.org.pt/ojs/:article/90Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-20T01:57:10.114062Repositório 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 |
The Art Documentary in the Postwar Period O documentário de arte no pós-guerra |
title |
The Art Documentary in the Postwar Period |
spellingShingle |
The Art Documentary in the Postwar Period Dalle Vacche, Angela art science object event cinema painting Alain Resnais André Bazin Vincent van Gogh arte ciência objecto acontecimento cinema pintura Alain Resnais André Bazin Vincent van Gogh |
title_short |
The Art Documentary in the Postwar Period |
title_full |
The Art Documentary in the Postwar Period |
title_fullStr |
The Art Documentary in the Postwar Period |
title_full_unstemmed |
The Art Documentary in the Postwar Period |
title_sort |
The Art Documentary in the Postwar Period |
author |
Dalle Vacche, Angela |
author_facet |
Dalle Vacche, Angela |
author_role |
author |
dc.contributor.author.fl_str_mv |
Dalle Vacche, Angela |
dc.subject.por.fl_str_mv |
art science object event cinema painting Alain Resnais André Bazin Vincent van Gogh arte ciência objecto acontecimento cinema pintura Alain Resnais André Bazin Vincent van Gogh |
topic |
art science object event cinema painting Alain Resnais André Bazin Vincent van Gogh arte ciência objecto acontecimento cinema pintura Alain Resnais André Bazin Vincent van Gogh |
description |
In the wake of the Holocaust and Hiroshima, the exploration of human creativity became central to reestablish the humanity of humankind. By closely following the art documentary, French film critic André Bazin focused on this genre in relation to painting, because the latter was the most elitist of all media. In the case of Alain Resnais’s Van Gogh (1948), Bazin used the encounter of cinema and painting as an example of symbiosis between the objects of still life and the objectifying impact of the camera lens. The critic’s writings on the art documentary also underlined the anti anthropocentric and cosmological vocation of the cinema. By turning the pictorial frame into the screen of cinema, Resnais’s Van Gogh de-centers the viewer into an introspective world of landscapes and rooms, where the painter himself is an absent participant or an anonymous figure rather than a protagonist in control. While self-portraiture in Van Gogh is elusive and Bazin’s scientific metaphors are vitalistic, the depth of human psychology remains as mysterious as the creativity of nature on this earth and the origin of life in the cosmos. |
publishDate |
2014 |
dc.date.none.fl_str_mv |
2014-06-21 |
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 |
https://doi.org/10.14591/aniki.v1n2.90 https://doi.org/10.14591/aniki.v1n2.90 |
url |
https://doi.org/10.14591/aniki.v1n2.90 |
dc.language.iso.fl_str_mv |
eng |
language |
eng |
dc.relation.none.fl_str_mv |
http://aim.org.pt/ojs/index.php/revista/article/view/90 http://aim.org.pt/ojs/index.php/revista/article/view/90/65 http://aim.org.pt/ojs/index.php/revista/article/view/90/html |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf text/html |
dc.publisher.none.fl_str_mv |
AIM - Associação de Investigadores da Imagem em Movimento |
publisher.none.fl_str_mv |
AIM - Associação de Investigadores da Imagem em Movimento |
dc.source.none.fl_str_mv |
Aniki: Portuguese Journal of the Moving Image; Vol 1 No 2 (2014): Art and cinema; 292-313 Aniki: Revista Portuguesa da Imagem em Movimento; v. 1 n. 2 (2014): Arte e cinema; 292-313 2183-1750 reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação instacron:RCAAP |
instname_str |
Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
instacron_str |
RCAAP |
institution |
RCAAP |
reponame_str |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
collection |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
repository.name.fl_str_mv |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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1799137058821767168 |