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Resumo(s)
In The Tulse Luper Suitcases trilogy – Part 1 – The Moab Story (2003); Part 2 – From Vaux to the Sea
(2004); Part 3 – From Sark to Finish (2004) – Peter Greenaway plays with the tension between three- and
two-dimensionality. His digital cinema, which superimposes several layers of images and sounds, uses
the frame as both instrument and theme of a meta-cinematic discourse on media and the way they
interrelate. Drawing especially from painting and theatre, Greenaway rejects the Renaissance monocular
perspective in favour of a haptic visuality that alternates between depth and flatness, between singleframed
tableaux and multi-framed composite images. The result is a hybrid, a sort of “imploded”
narrative, as disruptive as it is engaging. Although dismissing the traditional Western visual paradigm in
general and the classical analytical montage in particular, Greenaway nevertheless bases his practice
on some of the most renowned aspects of the continuity editing style, if only to undermine them. This
critically revamped editing is aesthetically and cognitively seductive, acting upon the viewers’ fetishistic
attraction for the medium as well as their affects and senses.
Descrição
Palavras-chave
Frame Multi-layering Multi-frame Two- and three-dimensionality Senses Immersion