“La ronda nocturna”: a case of diachronic intersection between film and painting

This work is part of the reflection about the intersections between film and painting. It analyzes elements of The Night Watch by Rembrandt van Rijn according to some discourses included in Nightwatching, film by Peter Greenaway. The analysis appeals to the notion of “any moment” taken up by Deleuze...

Full description

Found in: Portal de Revistas
Main Author: Dobrée, Ignacio
Format: Online
Language: spa
Published: Departamento de Cine y TV, Facultad de Artes, Universidad Nacional de Córdoba 2013
Online Access: https://revistas.unc.edu.ar/index.php/toma1/article/view/9328
Summary: This work is part of the reflection about the intersections between film and painting. It analyzes elements of The Night Watch by Rembrandt van Rijn according to some discourses included in Nightwatching, film by Peter Greenaway. The analysis appeals to the notion of “any moment” taken up by Deleuze and enunciation theory applied to visual communication. In this sense, we observe in Rembrandt’s painting a flash of the modern aesthetic ideal which will finally settle with the movie camera, while also recognize in the absence of a frontal gaze (proper of group portraits during the period) an important break towards the establishment of an autonomous diegetic space as will be develop in classical cinema.