engleski

Images in motion. Painting, Film and (Neo)Baroque Narration

There are at least two types of motion in Baroque painting: one which is evident in physical energy of depicted objects, flamboyant gestures, complex composition etc. and other one where movements are not that eloquently present while still existing in specific modes of narration, various “irregularities” in composition, unexpected point of views etc. The first group of paintings is formed by masters of fresco paintings like Andrea Pozzo, Pietro da Cortona, Caracci or Rubens. The other group consists of painters like Vermeer, Velásquez, Caravaggio or Georges de la Tour.The main topic of the paper will be to research in which way these two types of Baroque painterly motion correspond to contemporary images that are already - by the medium itself – in motion. The paper will try to deal with Baroque aspects of contemporary film through the optics of the mentioned twofold nature of movement in still images of the 17th century. There is, on the one hand, overwhelmingly Baroque and extremely kinetic type of moving images which we can identify in films like Inception by Christopher Nolan, Enter the Void by Gaspar Noé or Pirates of the Caribbean series. On the other hand, there is a type of movies which discloses only an “inner” kind of motion with no extravagant stylistic procedure or fast pace editing. That group of movies shows its Baroque character in complicated plots, unexpected “un- logical” endings, multiple mise en abimes etc., much like the way Vermeer uses mirrors to distort realities or like Georges de la Tour creates tension within painting using pluridirectionality of gazes. This Neo-Baroque strategy is extensively used by David Lynch and Charlie Kaufman. The comparative analysis will take into account two oppositional stylistic premises of the historical Baroque and show how the opposition works in the world of contemporary moving images.

baroque ; movement ; Rubens ; Caravaggio ; Christopher Nolan ; Michael Haneke

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