Please use this identifier to cite or link to this item:
Title: The power of the frame upon the viewer: multiple perspective seduction in Peter Greenaway's The tulse luper suitcases trilogy
Author: Chinita, Fátima
Keywords: Frame
Two- and three-dimensionality
Issue Date: 2017
Publisher: “George Enescu” National University of Arts
Abstract: 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.
Peer review: yes
ISSN: 2393-1221
Publisher Version:
Appears in Collections:ESTC - Artigos

Files in This Item:
File Description SizeFormat 
SVACij_Vol4_No1-2017-Fatima-Chinita_The-Power-of-the-Frame-upon-the-Viewer (1).pdf1,28 MBAdobe PDFView/Open

FacebookTwitterDeliciousLinkedInDiggGoogle BookmarksMySpace
Formato BibTex MendeleyEndnote Degois 

Items in DSpace are protected by copyright, with all rights reserved, unless otherwise indicated.