O primeiro amor não morre: apontamentos sobre a reconfiguração das fotonovelas na atualidade a partir dos Tableaux Vivants e dos Memes

Temática ◽  
2018 ◽  
Vol 14 (7) ◽  
Author(s):  
Paulo Matias de Figueiredo Junior ◽  
Vitor Celso Melo de Faria Junior
Keyword(s):  
Tableaux Vivants ◽  
Tableau Vivant

Apresentamos, de forma sintética, o percurso histórico das fotonovelas no Brasil, suas principais características de estilo e suas novas manifestações de linguagem na atualidade a partir dos Tableaux Vivants e dos Memes. Para tanto, pontuamos ao longo do presente artigo a criação das fotonovelas italianas, em meados da década de 40, sua posterior implementação e adaptação no Brasil e, junto disso, seus respectivos desdobramentos: a conquista de uma estética visual própria; a preservação de suas histórias romanescas; e o conceito moderno da jornada do herói. Com a descaída da indústria brasileira de fotonovelas no final dos anos 80, surgiram variadas formas de ressignificação no atual cenário tecnológico, artístico e comercial. Sendo assim, lançamos neste artigo apontamentos a respeito da relação das fotonovelas com os Tableaux Vivants e os Memes, a partir de uma análise de cunho comparativo fundamentada em dados históricos e técnicos.Palavras-chave: Fotonovela. Tableau Vivant. Memes. Arte sequencial. Ressignificação.

The Sculptor’s Dream: Living Statues in Early Cinema

2017 ◽  
pp. 29-45
Author(s):  
Vito Adriaensens ◽  
Steven Jacobs
Keyword(s):  
Nineteenth Century ◽  
Early Cinema ◽  
Popular Entertainment ◽  
Before And After ◽  
Tableaux Vivants ◽  
Traditional Arts ◽  
Tableau Vivant ◽  
As If

In its earliest years of existence, cinema seems to have been fascinated by stasis and stillness. As if emphasizing its capacity to represent movement, early cinema comprises many scenes in which moving people interact with static paintings and sculptures. Moreover, films made shortly before and after 1900 often make explicit the contrast between the new medium of film and the traditional arts by means of the motif of the statue or the painting coming to life. In so doing, early film continued a form of popular entertainment that combined the art of the theater with those of painting and sculpture, namely the tableau vivant, or living picture. Focusing on the trick films of Georges Méliès and the early erotic films by the Viennese Saturn Company, this chapter reveals the importance and continuity of nineteenth-century motifs and traditions with regard to tableaux vivants as they were presented on the legitimate stage, in magic, in vaudeville, and in burlesque.

The ‘Chemistry’ of Art(ifice) and Life: Embodied Paintings in East European Cinema

2016 ◽  
Author(s):  
Ágnes Pethő
Keyword(s):  
The Other ◽  
The Real ◽  
East European ◽  
European Cinema ◽  
Tableaux Vivants ◽  
Postmodern Art ◽  
Tableau Vivant

The essay focuses on the manifold uses and re-conceptualization of the tableau vivant in recent East European cinema through several examples from Hungarian and Russian films directed by György Pálfi, Kornél Mundruczó, Benedek Fliegauf, Béla Tarr, and Andrei Zvyagintsev. The tableau vivant in these films is not conceived primarily as an embodiment of a painting, the introduction of ‘the real into the image’ (Brigitte Peucker), but it appears more like the objectification of bodies as images, and something that we can associate with what Mario Perniola considers the ‘sex appeal of the inorganic’. The author discusses the case of the paradoxical ‘cadaverous’ tableaux vivants (among them the recurring cinematic paraphrases of Mantegna’s Dead Christ), in which a live body is displayed as a corpse, or the other way round, a corpse is presented as an embodied picture, or an object of art made of flesh. By repeatedly showing us bodies dying into art, and ideas reified as images, these films present us with uncanny rituals of ‘becoming an image’, with a yearning for a reintegration into something universal and lasting, and can be viewed in the context of the reconstructive tendencies of contemporary post-postmodern art.

A Dialogue with Claude Cahun: Between Writing, Photography and Film in Magic Mirror and Confessions to the Mirror

2021 ◽  
pp. 194-201
Author(s):  
Sarah Pucill
Keyword(s):  
Female Subjectivity ◽  
Time And Space ◽  
Creative Practice ◽  
Art Forms ◽  
Tableaux Vivants ◽  
Claude Cahun ◽  
Tableau Vivant

In this chapter, the artist filmmaker Sarah Pucill elucidates her artistic dialogue with the Surrealist lesbian artist Claude Cahun (1894-1954), whose photographs and manuscripts are constitutive of her films Magic Mirror (2013) and Confessions to the Mirror (2016). Pursuing Pucill’s earlier interest in the intersubjectivity between women, the films re-enact Cahun’s photographs in the form of tableaux vivants, creating new connections between the French artist’s visual and written work and Pucill’s own creative practice. Drawing on Ágnes Pethő’s theoretical writing on the intermediality of the tableau vivant in film, the artist analyses how her re-enactment of Cahun’s photographs as tableaux vivants creates a sense of indecipherability caused by the overlaying of the original ‘ghost’ photograph with its re-staging in colour and with sound. The reworkings of Cahun's texts and photographs in the films conjoin different art forms and authors, interrogating questions of queer female subjectivity across time and space.

scholarly journals Decoding Tableaux Vivants: the Metareferential Potential of Painterly References in Cinema

2021 ◽  
Vol 19 (1) ◽  
pp. 99-116
Author(s):  
Cristian Eduard Drăgan
Keyword(s):  
Case Studies ◽  
Specific Technique ◽  
Referential Process ◽  
Broad Definition ◽  
Peter Greenaway ◽  
Lars Von Trier ◽  
Tableaux Vivants ◽  
Definition Of ◽  
Tableau Vivant

Abstract The article focuses on the intermedial relationship between cinema and painting, viewed as a self-referential process, and tries to determine various ways in which this type of signifying process can be used to “encode” various messages (within the work itself), or become an integral part of this (meta)communicative operation. Starting from a broad definition of intermedial references and continuing with a brief recontextualized detour through Gérard Genette’s taxonomy of transtextual instances, the author narrows down a specific technique that exemplifies this type of “codifying” procedure, namely the tableau vivant. In accordance with Werner Wolf’s proposed terminology, he attempts to determine the metareferential potential of this extra-compositional self-referential technique. The case studies focus on films by Peter Greenaway and Lars von Trier.

scholarly journals Images in Suspension: Tableaux Vivants, Gesturality and Simulacra in Raul Ruiz’s film The Hypothesis of the Stolen Painting

2021 ◽  
Vol 19 (1) ◽  
pp. 77-98
Author(s):  
Ioannis Paraskevopoulos
Keyword(s):  
Closed Space ◽  
Eternal Return ◽  
Mise En Abyme ◽  
Tableaux Vivants ◽  
Tableau Vivant

Abstract The article discusses Raul Ruiz’s film The Hypothesis of the Stolen Painting (1978). In the closed space of the house a parallel world emerges, where the filmic hypertext is constituted by a series of mise-en-abyme images that explore the multiple universe of tableaux vivants. The article analyses Ruiz’s appropriation of Pierre Klossowski’s concept of simulacra. The structure of The Hypothesis of the Stolen Painting is based upon the infinite reproduction of meaning since each simulacrum-tableau vivant leads to another. The author explores the gesturality of the bodies and its relevance to the use of language and sound in the film. Furthermore, he argues that Ruiz orchestrates the placement of the tableaux vivants in the filmic space in order to reveal the thought of eternal return.

scholarly journals The Tableau Vivant as a “Figure of Return” in Contemporary East European Cinema

2014 ◽  
Vol 9 (1) ◽  
pp. 51-76 ◽  
Author(s):  
Ágnes Pethő
Keyword(s):  
The Real ◽  
East European ◽  
European Cinema ◽  
The World ◽  
Tableaux Vivants ◽  
Postmodern Art ◽  
Big Picture ◽  
End Of The World ◽  
Tableau Vivant

Abstract The paper analyses the re-conceptualization of the intermedial trope of the tableau vivant in recent East European cinema through several examples from Hungarian and Russian films directed by György Pálfi, Kornél Mundruczó, Benedek Fliegauf, Béla Tarr, and Andrei Zvyagintsev. The tableau vivant in these films is not conceived primarily as an embodiment of a painting, the introduction of “the real into the image” (as Brigitte Peucker described), instead it appears more like the objectification of bodies as images, and something that we can associate with what Mario Perniola considers the “sex appeal of the inorganic” or “the Egyptian moment in art.” As such, the tableau becomes a powerful agent in generating metanarratives, offering a blueprint for a “big picture,” a comprehensive vision of the world (reinforced by recurring mythological themes like the genesis or the end of the world, the loss of Paradise, etc.). We may connect this feature of these tableaux vivants, therefore, to what Lyotard termed as the “figure of return,” and to the reconstructive tendencies of contemporary post-postmodern art.

Le tableau vivant sera toute la loi (Sur la philosophie de la nature de Sade)

Chimères ◽  
1998 ◽  
Vol 35 (1) ◽  
pp. 149-160
Author(s):  
Charles T. Wolfe
Keyword(s):  
Tableau Vivant

The Afterlife of Art and Objects

2018 ◽  
Author(s):  
James Tweedie
Keyword(s):  
Twentieth Century ◽  
Historical Narratives ◽  
Still Life ◽  
Art Cinema ◽  
Spanish Baroque ◽  
Late Twentieth ◽  
Moving Pictures ◽  
Tableau Vivant ◽  
The Relationship ◽  
Late Twentieth Century

Like the tableau vivant, the cinematic still life experienced a stunning revival and reinvention in the late twentieth century. In contrast to the stereotypically postmodern overload of images, the still life in film initiates a moment of repose and contemplation within a medium more often defined by the forward rush of moving pictures. It also involves a profound meditation on the relationship between images and objects consistent with practices as diverse as the Spanish baroque still life and the Surrealist variation on the genre. With the work of Terence Davies and Alain Cavalier’s Thérèse (1986) as its primary touchstones, this chapter situates this renewed interest in the cinematic still life within the context of both the late twentieth-century cinema of painters and a socially oriented art cinema that focuses on marginal people and overlooked objects rather than the hegemonic historical narratives also undergoing a revival at the time.

scholarly journals Living Pictures (Tableaux Vivants).

1895 ◽  
Vol 36 (626) ◽  
pp. 242
Author(s):  
May Gillington ◽  
Arthur E. Godfrey
Keyword(s):  
Tableaux Vivants
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