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Carl Theodor Dreyer's Gertrud : the moving word /
"If there is one film in the canon of Carl Theodor Dreyer that can be said to be, as Jacques Lacan might have put it, his most "painfully enjoyable," it is Gertrud. The film's Paris premier in 1964 was covered by the Danish press as a national scandal; it was lambasted on its rel...
| Clasificación: | Libro Electrónico |
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| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Seattle :
University of Washington Press,
[2008]
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| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- Why a book about Gertrud?
- If Gertrud is such a great failure, how is it so great?
- What does the "real" have to do with Gertrud's "talkiness"?
- Why was Dreyer so fascinated with the "real" Gertrud?
- Why can't images and words (and men and women) stay married in Gertrud?
- Why are Dreyer's images, when they "quote," so obscene?
- So what, after all, is the tapestry quoting?
- Is Gertrud an ekphrastic film?
- At last, here's Dreyer's probable source-but does it matter that we found it?
- Is Dreyer quoting Botticelli?
- What is Dreyer teaching us about the history of perspective, and how is Gertrud so interesting a contributor to this topic?
- What does perspective have to do with free will?
- How is Gertrud a kind of remake of The Passion of Joan of Arc?
- How did the Virgin Mary really get pregnant (and is that why Gertrud is childless)?
- Why are Joan and Gertrud so "hysterical"?
- How does the struggle between Dreyer's words and images open us up to the real?