Cinemagritte: Rene Magritte within the Frame of Film History,
Theory, and Practice investigates the dynamic relationship between
the Surrealist modernist artist Rene Magritte (1898-1967) and the
cinema-a topic largely ignored in the annals of film and art
criticism. Magritte once said that he used cinema as ""a trampoline
for the imagination,"" but here author Lucy Fischer reverses that
process by using Magritte's work as a stimulus for an imaginative
examination of film. While Fischer considers direct influences of
film on Magritte and Magritte on film, she concentrates primarily
on ""resonances"" of Magritte's work in international cinema-both
fiction and documentary, mainstream and experimental. These
resonances exist for several reasons. First, Magritte was a lover
of cinema and created works as homages to the medium, such as Blue
Cinema (1925), which immortalized his childhood movie theater.
Second, Magritte's style, though dependent on bizarre
juxtapositions, was characterized by surface realism-which ties it
to the nature of the photographic and cinematic image. Third,
Magritte shares with film a focus on certain significant concepts:
the frame, voyeurism, illusionism, the relation between word and
image, the face, montage, variable scale, and flexible point of
view. Additionally, the volume explores art documentaries
concerning Magritte as well as the artist's whimsical amateur
""home movies,"" made with his wife, Georgette, friends, and
Belgian Surrealist associates. The monograph is richly illustrated
with some forty images of Magritte's oeuvre as well as fifty film
stills from such diverse works as The Eternal Sunshine of the
Spotless Mind, Eyes Without a Face, American Splendor, The Blood of
a Poet, Zorns Lemma, The Island of Dr. Moreau, The Draughtsman's
Contract, and many more. Cinemagritte brings a novel and creative
approach to the work of Magritte and both film and art criticism.
Students, scholars, and fans of art history and film will enjoy
this thoughtful marriage of the two.
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