“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...

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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
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spelling oai:ojs.pkp.sfu.ca:article-93282020-11-01T03:56:49Z “La ronda nocturna”: a case of diachronic intersection between film and painting La ronda nocturna: un caso de intersección diacrónica entre cine y pintura Dobrée, Ignacio Convergence Rembrandt Greenaway Enunciation Film and painting Convergencia Rembrandt Greenaway enunciación Cine y Pintura 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. Este trabajo se inscribe en la reflexión sobre las intersecciones entre cine y pintura. Para ello, analiza elementos de la pintura La ronda nocturna, de Rembrandt van Rijn en función de algunos discursos que atraviesan la película Nightwatching, de Peter Greenaway. El análisis apela a la noción de “instante cualquiera” retomada por Deleuze y la teoría de la enunciación aplicada a la comunicación visual.En este sentido, advierte en la pintura de Rembrandt un destello del ideal estético moderno que se terminará de asentar con la cámara cinematográfica, al tiempo que también reconoce en la ausencia de la mirada frontal propia del género de retratos grupales durante ese período un quiebre importante hacia la constitución de un espacio diegético autónomo tal como se va a desarrollar en la etapa del cine clásico.   Departamento de Cine y TV, Facultad de Artes, Universidad Nacional de Córdoba 2013-10-26 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unc.edu.ar/index.php/toma1/article/view/9328 Toma Uno; No. 2 (2013): El cine y las otras artes; 75-86 TOMA UNO; Núm. 2 (2013): El cine y las otras artes; 75-86 2250-4524 2313-9692 spa https://revistas.unc.edu.ar/index.php/toma1/article/view/9328/10050
institution Universidad Nacional de Córdoba
collection Portal de Revistas
language spa
format Online
author Dobrée, Ignacio
spellingShingle Dobrée, Ignacio
“La ronda nocturna”: a case of diachronic intersection between film and painting
author_sort Dobrée, Ignacio
title “La ronda nocturna”: a case of diachronic intersection between film and painting
title_short “La ronda nocturna”: a case of diachronic intersection between film and painting
title_full “La ronda nocturna”: a case of diachronic intersection between film and painting
title_fullStr “La ronda nocturna”: a case of diachronic intersection between film and painting
title_full_unstemmed “La ronda nocturna”: a case of diachronic intersection between film and painting
title_sort “la ronda nocturna”: a case of diachronic intersection between film and painting
description 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.
publisher Departamento de Cine y TV, Facultad de Artes, Universidad Nacional de Córdoba
publishDate 2013
url https://revistas.unc.edu.ar/index.php/toma1/article/view/9328
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score 13.606564