ABSTRACT - In 1911, Ricciotto Canudo labeled the cinema as the Seventh Art and claimed that it was superior to the other so-far existing art forms. In 2012, the British filmmaker Peter Greenaway directed yet another film that makes use of all these arts and media to convey an authorial discourse on the importance of cinema and its versatility: "Goltzius and the Pelican Company" (UK). I contend that this art house film, unemotional, filled with distancing effects and exhibiting nakedness throughout, is, in fact, an extremely sensorial piece of cinema where corporeality is not only the form but also the message, both literally and metaphorically. I advocate that this cerebral film can be sensual and sensuous, both through the use of the chara...
Under the Skin is a film deeply preoccupied with the human experience. Our protagonist is ‘Laura,’ a...
Against the background of a widespread language skepticism among film theorists and practitioners, t...
This article examines the symbolic and visual function of objects in four of Peter Greenaway's films...
In his interviews, Peter Greenaway infamously claims that we have never seen films, only literature ...
Within his cinematic works, British filmmaker, painter, curator, and multi-media artist Peter Greena...
In The Tulse Luper Suitcases trilogy – Part 1 – The Moab Story (2003); Part 2 – From Vaux to the Sea...
This article will first describe the benefits and risks in challenging projects of signification as ...
International audiencePeter Greenaway’s 1991 Prospero’s Books is still today a tantalizing film whic...
Film theoreticians, in the early stages of practice, emphasized the corporeal characteristics of the...
The history of film has always been accompanied by a theoretical debate over its artistic potential....
This is the final version. Available on open access from the Open Library of Humanities via the DOI ...
Film viewers make sense of films first of all at a pre-cognitive level, triggered by their bodily re...
This article proposes an ecophilosophy of the cinema. It builds on Martin Heidegger’s articulation...
Is there proximity between the theory of gesture, as originally conceived in the early cinema era, a...
The lively debate on cinema, literature and the visual arts between the two wars fed into Italian Ne...
Under the Skin is a film deeply preoccupied with the human experience. Our protagonist is ‘Laura,’ a...
Against the background of a widespread language skepticism among film theorists and practitioners, t...
This article examines the symbolic and visual function of objects in four of Peter Greenaway's films...
In his interviews, Peter Greenaway infamously claims that we have never seen films, only literature ...
Within his cinematic works, British filmmaker, painter, curator, and multi-media artist Peter Greena...
In The Tulse Luper Suitcases trilogy – Part 1 – The Moab Story (2003); Part 2 – From Vaux to the Sea...
This article will first describe the benefits and risks in challenging projects of signification as ...
International audiencePeter Greenaway’s 1991 Prospero’s Books is still today a tantalizing film whic...
Film theoreticians, in the early stages of practice, emphasized the corporeal characteristics of the...
The history of film has always been accompanied by a theoretical debate over its artistic potential....
This is the final version. Available on open access from the Open Library of Humanities via the DOI ...
Film viewers make sense of films first of all at a pre-cognitive level, triggered by their bodily re...
This article proposes an ecophilosophy of the cinema. It builds on Martin Heidegger’s articulation...
Is there proximity between the theory of gesture, as originally conceived in the early cinema era, a...
The lively debate on cinema, literature and the visual arts between the two wars fed into Italian Ne...
Under the Skin is a film deeply preoccupied with the human experience. Our protagonist is ‘Laura,’ a...
Against the background of a widespread language skepticism among film theorists and practitioners, t...
This article examines the symbolic and visual function of objects in four of Peter Greenaway's films...