지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 저널정보
- 중앙대학교 영상콘텐츠융합연구소 TECHART: Journal of Arts and Imaging Science TECHART: Journal of Arts and Imaging Science Vol.1 No.3
- 발행연도
- 2014.8
- 수록면
- 21 - 25 (5page)
- DOI
- 10.15323/techart.2014.08.1.3.21
이용수
초록· 키워드
오류제보하기
In 2013, Austrian filmmaker Gustav Deutsch released a film based around Edward Hopper’s artwork. The film is in a picaresque manner using the paintings of Hopper. It represents the story of an American woman whose life from the 1930s to the mid-1960s. Using digital technology, especially digital colorization, Shirley: Visions of Reality offers lively reproductions of 13 of Hopper’s paintings. This strategy evokes a term, tableau vivant: “living picture.” In contrast to earlier tableaus, the quotation of the paintings turned into an entirety in the film. However, the fixed camera associated with this process somehow seems to restrict cinematic space, which possibly leads to a monotonous narrative. There are additional examples of tableau vivant in other media. For example, LG recently turned pictures into animation for a public relations campaign, making use of an expanded dimensional space in contrast to that of Shirley. This study reviews recent work, based on the genealogy of tableau vivant from past periods. In doing so, new possibilities for cinematic visions in the digital era are explored.
목차
Abstract
1. Introduction
2. A Brief Recollection
3. Comparing Elements
4. Tableau Vivant in Other Media
5. Conclusion
References
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UCI(KEPA) : I410-ECN-0101-2015-680-002602925