Temara Prem | AFDA - Academia.edu (original) (raw)
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Papers by Temara Prem
Film studies have been conventionally paired with literature or studies of the dramatic arts. Fil... more Film studies have been conventionally paired with literature or studies of the dramatic arts. Film, however, is an incredibly visual medium. The filmmaker encodes their frame with visual content, as does the painter with their canvas. Since antiquity visual rhetoricians have discussed the significance of images and art, and there have been many contributions to the existential debate of where the medium of film situates itself in the arts. This research aims to contribute to the overarching question of how, and to what extent fine art has influenced the development of film, focussing specifically on the pioneer of the Baroque movement, the infamous painter Caravaggio, and his Baroque aesthetic associated with German Expressionist films of the Weimar era. Therefore, a literary review of aesthetics and art theory is established, as well as the trajectory and style of the artist Caravaggio. This research also defines the components of cinematic mise-en-scène, of which is analysed in a case study. The case study itself presents a textual analysis of the German Expressionist films Nosferatu (1922) and Metropolis (1927) utilizing the framework of Panofsky’s iconographic analysis, thereby not only treating the film as a text to be analysed, but also as an art image
to be decoded. This particular mode of enquiry allows this research to thoroughly answer the research question of ‘how does the Caravaggesque Baroque fine art aesthetics, applied to the cinematic mise-en-scène, contribute to the developments of the visual style of the post-war Expressionist cinema?’
Film studies have been conventionally paired with literature or studies of the dramatic arts. Fil... more Film studies have been conventionally paired with literature or studies of the dramatic arts. Film, however, is an incredibly visual medium. The filmmaker encodes their frame with visual content, as does the painter with their canvas. Since antiquity visual rhetoricians have discussed the significance of images and art, and there have been many contributions to the existential debate of where the medium of film situates itself in the arts. This research aims to contribute to the overarching question of how, and to what extent fine art has influenced the development of film, focussing specifically on the pioneer of the Baroque movement, the infamous painter Caravaggio, and his Baroque aesthetic associated with German Expressionist films of the Weimar era. Therefore, a literary review of aesthetics and art theory is established, as well as the trajectory and style of the artist Caravaggio. This research also defines the components of cinematic mise-en-scène, of which is analysed in a case study. The case study itself presents a textual analysis of the German Expressionist films Nosferatu (1922) and Metropolis (1927) utilizing the framework of Panofsky’s iconographic analysis, thereby not only treating the film as a text to be analysed, but also as an art image
to be decoded. This particular mode of enquiry allows this research to thoroughly answer the research question of ‘how does the Caravaggesque Baroque fine art aesthetics, applied to the cinematic mise-en-scène, contribute to the developments of the visual style of the post-war Expressionist cinema?’