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Books > Arts & Architecture > History of art / art & design styles > From 1900
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Cinema by Design - Art Nouveau, Modernism, and Film History (Paperback)
Loot Price: R717
Discovery Miles 7 170
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Cinema by Design - Art Nouveau, Modernism, and Film History (Paperback)
Series: Film and Culture Series
Expected to ship within 12 - 17 working days
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Art Nouveau thrived from the late 1890s through the First World
War. The international design movement reveled in curvilinear forms
and both playful and macabre visions and had a deep impact on
cinematic art direction, costuming, gender representation, genre,
and theme. Though historians have long dismissed Art Nouveau as a
decadent cultural mode, its tremendous afterlife in cinema proves
otherwise. In Cinema by Design, Lucy Fischer traces Art Nouveau's
long history in films from various decades and global locales,
appreciating the movement's enduring avant-garde aesthetics and
dynamic ideology. Fischer begins with the portrayal of women and
nature in the magical "trick films" of the Spanish director Segundo
de Chomon; the elite dress and decor design choices in Cecil B.
DeMille's The Affairs of Anatol (1921); and the mise-en-scene of
fantasy in Raoul Walsh's The Thief of Bagdad (1924). Reading Salome
(1923), Fischer shows how the cinema offered an engaging frame for
adapting the risque works of Oscar Wilde and Aubrey Beardsley.
Moving to the modern era, Fischer focuses on a series of dramatic
films, including Michelangelo Antonioni's The Passenger (1975),
that make creative use of the architecture of Antoni Gaudi; and
several European works of horror-The Abominable Dr. Phibes (1971),
Deep Red (1975), and The Strange Color of Your Body's Tears
(2013)-in which Art Nouveau architecture and narrative supply
unique resonances in scenes of terror. In later chapters, she
examines films like Klimt (2006) that portray the style in relation
to the art world and ends by discussing the Art Nouveau revival in
1960s cinema. Fischer's analysis brings into focus the partnership
between Art Nouveau's fascination with the illogical and the
unconventional and filmmakers' desire to upend viewers' perception
of the world. Her work explains why an art movement embedded in
modernist sensibilities can flourish in contemporary film through
its visions of nature, gender, sexuality, and the exotic.
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