“La ronda nocturna”: a case of diachronic intersection between film and painting

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This work is part of the reflection about the intersections between film and painting. It analyzes elements of The Night Watch by Rembrandt van Rijn according to some discourses included in Nightwatching, film by Peter Greenaway. The analysis appeals to the notion of “any moment” taken up by Deleuze...

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Autor principal: Dobrée, Ignacio
Formato: Artículo revista
Lenguaje:Español
Publicado: Departamento de Cine y TV, Facultad de Artes, Universidad Nacional de Córdoba 2013
Materias:
Convergence
Rembrandt
Greenaway
Enunciation
Film and painting
Convergencia
enunciación
Cine y Pintura
Acceso en línea:https://revistas.unc.edu.ar/index.php/toma1/article/view/9328
Aporte de:
Revistas de la UNC de Universidad Nacional de Córdoba
id I10-R10-article-9328
record_format ojs
spelling I10-R10-article-93282020-11-01T03:56:49Z “La ronda nocturna”: a case of diachronic intersection between film and painting La ronda nocturna: un caso de intersección diacrónica entre cine y pintura Dobrée, Ignacio Convergence Rembrandt Greenaway Enunciation Film and painting Convergencia Rembrandt Greenaway enunciación Cine y Pintura This work is part of the reflection about the intersections between film and painting. It analyzes elements of The Night Watch by Rembrandt van Rijn according to some discourses included in Nightwatching, film by Peter Greenaway. The analysis appeals to the notion of “any moment” taken up by Deleuze and enunciation theory applied to visual communication. In this sense, we observe in Rembrandt’s painting a flash of the modern aesthetic ideal which will finally settle with the movie camera, while also recognize in the absence of a frontal gaze (proper of group portraits during the period) an important break towards the establishment of an autonomous diegetic space as will be develop in classical cinema. Este trabajo se inscribe en la reflexión sobre las intersecciones entre cine y pintura. Para ello, analiza elementos de la pintura La ronda nocturna, de Rembrandt van Rijn en función de algunos discursos que atraviesan la película Nightwatching, de Peter Greenaway. El análisis apela a la noción de “instante cualquiera” retomada por Deleuze y la teoría de la enunciación aplicada a la comunicación visual.En este sentido, advierte en la pintura de Rembrandt un destello del ideal estético moderno que se terminará de asentar con la cámara cinematográfica, al tiempo que también reconoce en la ausencia de la mirada frontal propia del género de retratos grupales durante ese período un quiebre importante hacia la constitución de un espacio diegético autónomo tal como se va a desarrollar en la etapa del cine clásico.   Departamento de Cine y TV, Facultad de Artes, Universidad Nacional de Córdoba 2013-10-26 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unc.edu.ar/index.php/toma1/article/view/9328 Toma Uno; No. 2 (2013): El cine y las otras artes; 75-86 TOMA UNO; Núm. 2 (2013): El cine y las otras artes; 75-86 2250-4524 2313-9692 10.55442/tomauno.n2.2013 spa https://revistas.unc.edu.ar/index.php/toma1/article/view/9328/10050
institution Universidad Nacional de Córdoba
institution_str I-10
repository_str R-10
container_title_str Revistas de la UNC
language Español
format Artículo revista
topic Convergence
Rembrandt
Greenaway
Enunciation
Film and painting
Convergencia
Rembrandt
Greenaway
enunciación
Cine y Pintura
spellingShingle Convergence
Rembrandt
Greenaway
Enunciation
Film and painting
Convergencia
Rembrandt
Greenaway
enunciación
Cine y Pintura
Dobrée, Ignacio
“La ronda nocturna”: a case of diachronic intersection between film and painting
topic_facet Convergence
Rembrandt
Greenaway
Enunciation
Film and painting
Convergencia
Rembrandt
Greenaway
enunciación
Cine y Pintura
author Dobrée, Ignacio
author_facet Dobrée, Ignacio
author_sort Dobrée, Ignacio
title “La ronda nocturna”: a case of diachronic intersection between film and painting
title_short “La ronda nocturna”: a case of diachronic intersection between film and painting
title_full “La ronda nocturna”: a case of diachronic intersection between film and painting
title_fullStr “La ronda nocturna”: a case of diachronic intersection between film and painting
title_full_unstemmed “La ronda nocturna”: a case of diachronic intersection between film and painting
title_sort “la ronda nocturna”: a case of diachronic intersection between film and painting
description This work is part of the reflection about the intersections between film and painting. It analyzes elements of The Night Watch by Rembrandt van Rijn according to some discourses included in Nightwatching, film by Peter Greenaway. The analysis appeals to the notion of “any moment” taken up by Deleuze and enunciation theory applied to visual communication. In this sense, we observe in Rembrandt’s painting a flash of the modern aesthetic ideal which will finally settle with the movie camera, while also recognize in the absence of a frontal gaze (proper of group portraits during the period) an important break towards the establishment of an autonomous diegetic space as will be develop in classical cinema.
publisher Departamento de Cine y TV, Facultad de Artes, Universidad Nacional de Córdoba
publishDate 2013
url https://revistas.unc.edu.ar/index.php/toma1/article/view/9328
work_keys_str_mv AT dobreeignacio larondanocturnaacaseofdiachronicintersectionbetweenfilmandpainting
AT dobreeignacio larondanocturnauncasodeintersecciondiacronicaentrecineypintura
first_indexed 2022-08-20T01:14:42Z
last_indexed 2022-08-20T01:14:42Z
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