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Intellect Books - Susan Felleman

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160 pages

English

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Description

Real Objects in Unreal Situations is a lucid account of a much-neglected subject in art and cinema studies: the material significance of the art object incorporated into the fiction film. By examining the historical, political and personal realities that situate the artworks, Susan Felleman offers an incisive account of how they operate not as mere objects but as powerful players within the films, thereby exceeding the narrative function of props, copies, pastiches or reproductions. The book consists of a series of interconnected case studies of movies, including The Trouble with Harry, An Unmarried Woman, The Player and Pride & Prejudice, among others, ultimately showing that when real art works enter into fiction films, they often embody themes and discourses in ways that other objects cannot.

Introduction: The Work of Art in the Space of Its Material Dissolution

Chapter 1: Doubly Immortal: The Song of Songs (1933)

Chapter 2: Suspect Modernism: Venus vor Gericht (1941) and Muerte de un ciclista (1955)

Chapter 3: The World Gone Wiggy: The Trouble with Harry (1955)

Chapter 4: Art for the Apocalypse: The Damned (1961)

Chapter 5: Object Choices: An Unmarried Woman (1978) and The Player (1992)

Chapter 6: Subjects, Objects, and Erotic Upheaval at Pemberley: Pride & Prejudice (2005)

Sujets

Energie & environnement

Film

General

Engineering

Technology

20th century

General officer

History of art

Sciences et techniques

Power Resources

Informations

Publié par	Intellect Books
Date de parution	06 janvier 2014
Nombre de lectures	0
EAN13	9781783202492
Langue	English
Poids de l'ouvrage	2 Mo

Informations légales : prix de location à la page 0,1250€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

First published in the UK in 2014 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2014 by
Intellect, The University of Chicago Press, 1427 E. 60th Street,
Chicago, IL 60637, USA
Copyright © 2014 Susan Felleman
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the British Library.
Cover designer: Stephanie Sarlos
Cover image: Film still of Marlene Dietrich from The Song of Songs (1933)
Copy-editor: MPS Technologies
Production manager: Jelena Stanovnik and Claire Organ
Typesetting: Contentra Technologies
Print ISBN: 978-1-78320-250-8
ePDF ISBN: 978-1-78320-248-5
ePUB ISBN: 978-1-78320-249-2
Printed and bound by Hobbs, UK
To Hallie and Ben
Contents
Acknowledgements
Introduction: The Work of Art in the Space of Its Material Dissolution
Chapter 1: Doubly Immortal: The Song of Songs (1933)
Chapter 2: Suspect Modernism: Venus vor Gericht (1941) and Muerte de un ciclista (1955)
Chapter 3: The World Gone Wiggy: The Trouble with Harry (1955)
Chapter 4: Art for the Apocalypse: The Damned (1961)
Chapter 5: Object Choices: An Unmarried Woman (1978) and The Player (1992)
Chapter 6: Subjects, Objects, and Erotic Upheaval at Pemberley: Pride & Prejudice (2005)
Bibliography
Index
Acknowledgements
This book has been a long time in the making and I have many debts to acknowledge and much gratitude to express, first to Intellect Press for taking it on, especially Jelena Stanovnik, Assistant Publisher for Film Studies, who acquired it, as well as Claire Organ, who oversaw the production, Stephanie Sarlos, designer, and Alice Gilliam in Marketing. It has been a pleasure. I also thank the two anonymous peer reviewers who will find their careful readings and thorough responses reflected herein.
I changed positions toward the end of my work on this book and I am unspeakably grateful for the year’s research leave made possible by Mary Anne Fitzpatrick, Dean of the College of Arts and Sciences, here at the University of South Carolina. It was precisely what I needed to complete the project before undertaking a move and new teaching responsibilities, which I was then able to do with enthusiasm. The support of the Dean’s office staff, as well as the Art Department’s – especially Abby Callahan and Kim Gore – was invaluable. Thanks to Ashley Knox and Sara Chizari at University Libraries Special Collections, and to my colleagues Kathleen Robbins and Simon Tarr, for special help with photographic aspects of the book.
At Southern Illinois University, Carbondale, where I was on the faculty until 2012, I had the support of many university colleagues, including those in the Department of Cinema and Photography and the College of Mass Communication and Media Arts. I am particularly grateful for the consistent and capable assistance of Rhonda Rothrock and the department office staff and for the honor and funding of the William A. Minor Research Grant I was awarded for this project in 2010–2011.
Research for this book was conducted over considerable time and space and I am indebted to individuals and institutions of whose time, resources, and often hospitality I was the fortunate recipient: most especially the wonderfully generous Lola Scarpitta and her husband Jeff Knapple (Los Angeles); as well as Christoph Zuschlag and Andreas Hüneke (Berlin); Marshall Price and Rae Ferren (New York); and Evan and Joanna Jones (London).
I also wish to acknowledge the assistance, insight, expertise, and/or resources of: Alice L. Birney and the Library of Congress, Jeanpaul Goergen, Johannes von Moltke, Ed Meza, Deutsche Kinemathek, Berlin Filmarchiv-Bundesarchiv, Jenny Romero and the staff of The Margaret Herrick Library of the Academy of Motion Picture Arts and Sciences, James Saslow, Robert Pincus-Witten, Dallas Dunn, Bran Ferren, Chris Weedman, Johnny Davies and the BFI Library, Lin Jammet, Annette Ratuszniak, Jorge Luis Marzo, Genoveva Tusell García, Francesc Torres, Victoria Combalia, Gijs Van Hensbergen, and Juan Manuel Bonet (the last six of whom valiantly attempted to help me with the particularly thorny and, sadly, as yet unsolved mystery of the identity and ‘reality’ status of the artworks seen in Muerte de un Ciclista , which I added to Chapter 2 too late in the project to make a research trip to Spain).
I am also most thankful to Paul Mazursky, the late Ivan Karp, the late Paul Jenkins and his wife Suzanne Jenkins, Larry Cuba, Sydney Cooper, Susan Hambleton, Joseph Valle, Nick Jordan, Jacob Cartwright, Sean Doxey, Mark Rhodes, and the staff of Chatsworth House.
My thanks to Haelim Suh, Noah Springer, and Mark McCleerey, who all assisted me with research while I was on the faculty at SIU, and Nate Fortmeyer, who did so during my research leave. Liz Faber was at an early stage of this project my graduate research assistant and at later stages my writing partner, as she completed her brilliant doctoral dissertation and I this book, and then my editor, as I readied the manuscript for publication. There have been few relationships in my professional life as gratifying as this one with Liz, whose doctoral work I was privileged to supervise and who also for a time worked with me as a valued teaching assistant. For the intelligence, insight, skill, diligence, consistency, style, and grace she brought to the project and to our relationship, I am forever grateful, as well as for the time she took to help out, time I know she hardly had!
I would also like to acknowledge, with immense appreciation, colleagues who invited me to present and publish early versions of this material. The seeds of the project were to be found in two lectures I gave in late 2007: the first at the invitation of Steven Jacobs to the symposium, ‘The Wrong Artist: Hitchcock and the Other Arts’, at de Singel: International Kunstcampus Antwerp, in conjunction with the exhibition Alfred Hitchcock & Pauhof: The Wrong House and Cinema Zuid, Antwerp, and the second at the invitation of Dudley Andrew and Brigitte Peucker to ‘The Human Figure: Painting, Film, Photograph’ conference at the Whitney Humanities Center, Yale University.
An early version of Chapter 3 was presented as part of the session, ‘Colour and Affect in Hitchcock,’ to the conference, Colour and the Moving Image: History, Theory, Aesthetics, Archive , University of Bristol, in July, 2009; an early version of Chapter 6 to the session, ‘The Place of the Museum in Film,’ at the Society for Cinema and Media Studies, Annual Meeting, Los Angeles, 21 March, 2010; and a preliminary version of Chapter 4 to the session, ‘Living Statues and Other Sculptural Subjects in Film,’ at the Society for Cinema and Media Studies, Annual Meeting, Chicago, 9 March, 2013.
To those who were instrumental in affording me the opportunity to present my ideas and those interlocutors who helped me refine them at these conferences and symposia – including Paul Fry, and especially to my almost constant companions and collaborators on many of these occasions, Brigitte Peucker and Steven Jacobs – I am exceedingly grateful, as I am to the editors of Jump Cut , especially Chuck Kleinhans and Julia Lesage, who published a synoptic version of the material that constitutes the first half of the book as ‘Decay of the Aura: Modern Art in Classical Cinema’, in Jump Cut 53 (Summer 2011).
Finally, I must express my love, gratitude, and appreciation to friends and family, the relationships that have sustained me these many years. To the friends too numerous to name, to my father, my brothers, and my father- and brothers-in-law I am thankful. I owe particular thanks to my aunt Valerie Justin and to my niece Jessica Felleman, both of whom generously hosted and drove me to research appointments when I visited them in Sag Harbor and Los Angeles, respectively, although those mere facts do not convey the pleasure I had in their company. My good friends Carma Gorman and Harry Cooper are among the art historians to be thanked for help with identifications.
I cannot begin to put in words my love for, gratitude to, and appreciation of my husband Peter Chametzky. In addition to being an exceptionally supportive and tolerant spouse, he is a brilliant scholar, wonderful colleague, and true collaborator. His groundbreaking book Objects as History in Twentieth-Century German Art: Beckmann to Beuys (California, 2010) was underway as I was researching this. Together we uncovered and investigated the ‘degenerate art’ in the National Socialist film Venus vor Gericht (discussed in his Chapter 5 and my Chapter 2), and Peter’s extensive knowledge of the German language, as well as German modern art and history, has been invaluable, along with his persuasive approach to the problem of the object (and its absence) in historical space and time. Finally, I am thankful for the patience, love, help and respect of my children, Ben and Hallie Chametzky. They truly inspire me. When I published my first book in 1997, Ben was 3 years old, Hallie was a baby, and I thanked them in my acknowledgments just for being and for doing very little to hinder my accomplishment. When I published my second book, in 2006, Ben was 11, Hallie was 8, and I promised in print that, were I to be fortunate enough to publish another, it would be dedicated to them. I have been fortunate! When this book is published they will be 20 and 17 and an award-winning scholar and author respectively. They lived a long time with and contributed much to this book, including, from Hallie, a wonderful word I had not known existed to replace one that I had invented. Real Objects in Unreal Situations is for Hallie and Ben, with my love, devotion, and admiration, and with thanks for all the great conversations, brilliant