Art in the Cinematic Imagination

Notes

Notes Introduction: Baring the Device 1. Erwin Panofsky, ‘‘Iconography and Iconology: An Introduction to the Study of Renaissance Art,’’ in Meaning in the Visual Arts (Garden City, NY: Doubleday Anchor, 1955), 26–54. Originally published as ‘‘Introductory’’ in Studies in Iconology: Humanistic Themes in the Art of the Renaissance (New York: Oxford University Press, 1939). 2. First published in 1934, and written in support of the foundation of the Museum of Modern Art’s film department, Panofsky’s ‘‘Style and Medium in the Motion Pictures ’’ was revised and given its definitive form in Critique 1, no. 3 (January–February 1947): 5–28. On Panofsky and film, see Thomas Y. Levin, ‘‘Iconology at the Movies: Panofsky’s Film Theory,’’ Yale Journal of Criticism 9, no. 1 (1996): 27–55. 3. MPAA statistics, published in ‘‘The 1980s: A Reference Guide to Motion Pictures , Television, VCR, and Cable,’’ ‘‘Appendix B: Top 10 Films,’’ Velvet Light Trap, no. 27 (Spring 1991, special number on the 1980s): 81. 4. First verse of ‘‘Artists and Models,’’ title song of film written by Jack Brooks and Harry Warren. 5. The intuitive relationship between this embedded kind of ‘‘animation’’ and the kind at which Tashlin got his start in pictures—a cartoonist and comic artist, he became an animator for RKO, Warner Brothers (Merrie Melodies and Looney Tunes), and MGM in the 1930s—has been noted elsewhere, for instance by Robert Mundy, ‘‘Frank Tashlin : A Tribute,’’ in Frank Tashlin, ed. Claire Johnston and Paul Willemen (Edinburgh: Edinburgh Film Festival, in assoc. with Screen, 1973), 10. Among the cartoon-like gags that Mundy does not mention is the opening gag of the animated (blowing) billboard mouth. 6. Paul Willemen, ‘‘Tashlin’s Method: An Hypothesis,’’ in Frank Tashlin, 117–129. 7. Henry Jenkins and Kristine Brunovska Karnick, ‘‘Acting Funny,’’ in Classical Hollywood Comedy, ed. Kristine Brunovska Karnick and Henry Jenkins (London: Routledge , 1995), 161. 8. ‘‘zetes,’’ Madison, WI, Internet Movie Database (www.imdb.com) user comment for Artists and Models, September 14, 2002. 9. Frank Krutnik, ‘‘A Spanner in the Works: Genre, Narrative and the Hollywood Comedian,’’ in Classical Hollywood Comedy, 354, n. 34. 10. Ibid., 37. 160 Notes to Pages 10–18 11. Molly Haskell, From Reverence to Rape: The Treatment of Women in the Movies (New York: Holt, Rinehart and Winston, 1974), 66. 12. Krutnik, ‘‘A Spanner in the Works,’’ 37. 1. The Moving Picture Gallery A much earlier, somewhat shorter, version of this chapter originally appeared in the journal Iris, nos. 14–15 (Fall 1992). It appears here with permission. 1. When earlier versions of this chapter were written, first as a conference paper, then as an article for a special number of the journal Iris, Greta Garbo and Bette Davis were the stars whose rather recent deaths I recalled. As I revise ‘‘The Moving Picture Gallery’’ in the summerof 2003, it is Peck and Hepburn whose passings are still uncannily fresh. 2. Leon Battista Alberti, excerpts from ‘‘On Painting’’ (Della pittura), in A Documentary History of Art, vol. 1, ed. Elizabeth Gilmore Holt (Garden City, NY: Doubleday Anchor, 1957), 211. 3. The painted portrait in film was the subject of a Louvre conference and, subsequently , a special number of the journal Iris, nos. 14–15 (Fall 1992), edited by Dominique Païni and Marc Vernet, in which an earlier version of this chapter appeared (191–200). Other pertinent essays in that volume, not cited elsewhere, are Vernet’s ‘‘Dictatures du pignoché: Les fictions du portrait,’’ 45–54; and Thomas Elsaesser’s ‘‘Mirror, Muse, Medusa: Experiment Perilous,’’ 147–159. Kent Minturn’s absorbing essay, ‘‘Peinture Noire: Abstract Expressionism and Film Noir,’’ in Film Noir Reader 2, ed. Alain Silver and James Ursini (New York: Limelight, 1999), 271–309, makes a strong case for the influence of film noir on the development of abstract expressionism, in formal, culturalhistorical , and structural terms. It also includes a useful appendix that lists films noir in which art and artists figure. 4. Roland Barthes, Camera Lucida, trans. Richard Howard (New York: Farrar, Straus and Giroux, 1981), 96. 5. Specifically the painted portrait; see ibid., e.g., 11, 30–32, 79, 89–90. 6. Michael Fried, Absorption and Theatricality: Painting and Beholder in the Age of Diderot (Berkeley: University of California Press, 1980), 109. 7. Jacques Lacan, The Four Fundamental Concepts of Psychoanalysis, trans. Alan Sheridan (New York: Norton, 1981). 8. Peter Brunette and David Wills, Screen/Play: Derrida and Film Theory (Princeton, NJ: Princeton University Press, 1989), 117. 9. Tania Modleski, The...