Peter Greenaway

El propósito de este ensayo es poner de manifiesto la confluencia de la tragedia de venganza y las prácticas extremas del arte del cuerpo o body art en la película "El cocinero, el ladrón, su mujer y su amante" (1991) de Peter Greenaway, poniendo especial atención en la escena final del banquete caníbal. La obra del cineasta británico está salpicada de imágenes de violencia inspiradas en el teatro isabelino y jacobeo –en concreto de dramaturgos como William Shakespeare y John Ford– filtradas a través de las teorías teatrales de Antonin Artaud y Bertolt Brecht. Del primero toma Greenaway su noción de crueldad; del segundo, las técnicas de distanciamiento necesarias para afrontar la imagen desde una posición crítica. El resultado transciende las distinciones genéricas entre teatro y cine, acercándose ética y estéticamente a las prácticas de arte extremo habidas en Europa desde los años sesenta.

Among scientific impulses in Peter Greenaway’s film is his interest in biochemistry and evolution. Setting aside the TV biopic Darwin (1993), I draw special attention to his two early films displaying experimental imaginations of men becoming birds. A Walk through H (1978) depicts an ornithologist’s posthumous journey to a birds’ land mapped on the director’s own paintings, and The Falls (1980) lists 92 men’s symptoms of, or transformations into, ‘becoming-bird,’ after an apocalyptic disaster named the Violent Unknown Event. These fake documentaries unfold a unique obsession with the postmortem (de)evolution of the human, which is less eschatological than virtually liberating the organic structure of life into a non-systematic ‘body without organs’ as in Deleuze’s bio-philosophy. The Falls, especially, suggests how the ‘dynamic sublime’ of the VUE (foreshadowing fallout) brings about the ‘mathematical sublime’ of innumerable human birds, the animal ontology of being a multitude. This shift in the ‘sublime’ mode not only underlies the cinema of catastrophe (e.g. Hitchcock’s The Birds) and the society of proliferating simulacra, but also embodies itself visually through Greenaway’s later experiment on multiple screens and media interfaces.
From this point, I also relocate the postmortem evolution from the onscreen organic life to the film strip as such. Greenaway’s film biology A Zed and Two Noughts (1985), with its documentation of the animal decay, appears here as a key link to Bill Morrison’ film chemistry Light is Calling (2004), an optical reprinting of an early film as seen through the roiling emulsion of the celluloid itself. What matters is not just how the film represents a virtual evolution of the human, but how it presents its own actual death and postmortem rebirth. I delve into this reincarnation of the film which always works through art-and-science combinations, and becomes ever more problematic in the dematerializing digitization that raises the question on the end of film evolution.

Serpil Aygün Cengiz, 21. Ankara Uluslararası Film Festivali (11-21 Mart 2010) kapsamında Peter Greenaway'in 2008 yılı yapımı "Rembrandt: İtham Ediyorum" (Rembrandt's J'Accuse) filmini çözümlüyor. (19 Mart 2010, Batı Sineması, Ankara)

İngiliz yönetmen, ressam ve yazar Peter Greenaway, bu filminde Rembrandt'ın 1642 yılında yaptığı "Gece Nöbeti" isimli tabloda resmedilen milis kuvvetinin önceki kumandanının nasıl bir cinayete kurban gittiğini tam bir belgesel tadında (Koert van Mensvoort'un "powerpoint sinema" kavramı da bu film için kullanılabilir) izleyiciye aktarmaktadır. Peter Greenaway filminin adını " Rembrandt's J'Accuse" koyarak, vatana ihanetle suçlanıp ömür boyu hapse mahkum edilen Fransız ordusu subayı Alfred Dreyfus'ü savunan Émile Zola'nın Fransa Cumhurbaşkanı'na yazdığı ve 13 Ocak 1898'de yayımlanan "J'Accuse" (İtham Ediyorum) başlıklı açık mektuba gönderme yapmakta ve kendi filminde de cinayet işleyenleri, yalan söyleyenleri, iftira atanları, sanat eserlerine bıçakla/sülfirik asitle saldıranları, linç edenleri, suikast yapanları, Filistinlileri, Babillileri ve sinemayı aynı kefeye koyarak suçlamakta ve aslında herkesten ve her şeyden daha çok da görsel cahilleri suçlamaktadır. Peter Greenaway'e göre bu dünyadaki asıl suç, görsel okuryazar olmamaktır. Peter Greenaway, filminde, tabloda bulunduğunu iddia ettiği 31 kanıtı tek tek göstererek ve anlatarak izleyiciyi aslında gerçekleşmemiş bir cinayet hakkında ikna etmeye çalışmaktadır. Serpil Aygün Cengiz ise bu kanıtların neredeyse hepsinin uydurma olduğunu göstermeye çalışarak filmin çözümlemesini yapmakta ve kendisi Peter Greenaway'i itham etmektedir. Jean-Luc Godard "Çile" (Passion, 1982) filminde Rembrandt'ın "Gece Nöbeti" resmi için "Bu kompozisyon deliklerle ve kötü doldurulmuş boşluklarla dolu" demektedir. Serpil Aygün Cengiz yaptığı film okumasında, delikler ve kötü doldurulmuş boşluklarla dolu bu metni kullanarak görsel okuryazarlığı sadece Batı sanatı merkezli anlattığı için, çoğunun görsel cahil olduğunu iddia ettiği insanları, linç eden ve suikast yapanlarla ilişkilendirerek sunarken aynı zamanda "görsel cahilliği" belirli bir din ve coğrafya eğretilemesi ile gösterdiği için ve belgesel görünümünde hazırladığı metninde kendi imgelem dünyasından gelen materyali, herhangi bir (ön veya son) uyarıda bulunmaksızın izleyiciye gerçekliğin kendisi olarak sunduğu için Peter Greenaway'i itham etmektedir.

Greenaway'in Tulse Luper Projesi üzerine bir değerlendirme yazısı:

20 yy. 92 valize sığar mı?

Tulse Luper, Greenaway’in yarattığı kurgusal bir kahraman. Greenaway’in izleyicisine ‘alter egosu’ olarak tanıttığı Luper, 29 Ekim 1911 yılında ve Greenaway gibi Newport’da doğar. Tulse Luper’in Çantaları’nın amacı varlığına dair kanıt olabilecek her şeyi yaşadığı süre boyunca elinden geldiğince yok eden Luper’in hayatının, özellikle 1928 - 1989 yılları arasında kalan dönemini aydınlatmak. Luper’in hayat hikayesinin özellikle bu iki tarih arasına sıkıştırılmış olmasının özel bir nedeni var. 1928 Colorado’da uranyum çıkarılmaya başlanmasının, 1989 ise Berlin Duvarı’nın yıkıldığı tarih. Yukarıda saydığımız farklı medyalar kullanan farklı eserlerin toplamından oluşan hikaye bu iki önemli tarih arasında Tulse Luper’in yaşadıklarını 92 adet valiz üzerinden anlatıyor.

Ces deux films questionnent les relations entre le cinéma et les autres modes de représentation artistiques que sont le dessin, la peinture et la photographie. Cette réflexion d'un film à l'autre conduit au thème majeur commun aux deux films : les relations complexes tissées entre la réalité et les images de cette réalité.

In the following dissertation I analyze the motif of food in the light of Freud’s theory of Eros and Thanatos in selected films – Stanley Kubrick’s Clockwork Orange, The Shining, 2001: A Space Odyssey, and Peter Greenaway’s The Cook, the Thief, His Wife, and Her Lover. The concept of Eros and Thanatos is proposed and described by Sigmund Freud who examines also problems related to culinary imagery, such as search for contentment, satisfaction and pleasure. I make an attempt to understand what eating communicates and why, apart from practical reasons, it is important to humans, how it correlates with human nature and how it influences characters’ identities and relations. The thesis I propose is that food, drinking, eating and dining may reflect a broader problem of human nature, and thus, analyzing characters through the perspective of food turns out to be crucial to their full understanding. In other words, culinary motifs are important because they are strongly related to love and death drives that influence and sometimes even dominate character’s behavior and reasons.
The dissertation consists of introduction, four chapters devoted respectively to theoretical background, history of food in film, analysis of Kubrick’s film and analysis of Greenaway’s The Cook…, followed by the conclusion. The first chapter focuses on Freud’s understanding of life and death drives. It is also a summary of the main points of Freud’s line of reasoning presented and scattered in his several works. Freud refers to the problem in, among others, Beyond the Pleasure Principle, The Ego and the Id, Civilization and Its Discontents, An Outline Of Psycho-Analysis. In this chapter, I also describe the relations between Eros, Thanatos and food.
The second chapter presents an outline of the history of food in films. I summarize the most popular technical obstacles inhibiting directors from depicting food in the cinema in the past and today. Then, in the further part of the chapter, I provide a definition of mise-en-scene in the context of film studies and summarize potential readings of food symbolism in movies, especially those connected to understanding food as a part of a narrative and not merely as a prop.
The third chapter provides an overview of particular scenes related to food in Kubrick’s movies. The analysis of The Clockwork Orange includes scenes such as: droogs in the Korova Milk Bar, Alex’s fantasies about maidens feeding him grapes in ancient Rome, the scene of dinner in the writer’s house, and feeding Alex by the Interior Minister in a hospital. In The Shining, I analyze the theme of fear of starvation, slaughter and cannibalism that can be seen in Wendy, Danny and Jack’s conversation about food and hunger on their way to the Overlook hotel. I also refer to the scenes, where Wendy and Danny’s have their homey meals together juxtaposed with Jack eating alone. 2001: A Space Odyssey is full of references to food. The first scenes present the transformation from herbivores to carnivores, and then, consumption of highly processed food on the spaceship. There are some communal acts such as drinking together, having a birthday cake and eating together juxtaposed with HAL’s inability to eat. Another scene connected to food takes place in the 18th century style dining room.
The fourth chapter, which is the last one, is devoted to Greenaway’s The Cook, the Thief, His Wife, and Her Lover. Most of the narrative is set in a restaurant and food plays an important role in many scenes. For instance, Spica and his bullies torture Michael to death by force-feeding him pages from his books. There are also long scenes in which Georgina and Michael hide in the kitchen, in the pantry, and in the walk-in refrigerator, where they enjoy themselves, have sex, and talk – always surrounded by food. Food is also connected to metamorphosis, which is symbolized by the last scene of cannibalistic supper.

"The relationship between film and other art forms

The Draughtman's Contract of Peter Greenaway
applies to a whole number of representations between mediums: painting, photography, literature and music, between reality andfiction, art and nature, time and space. 
Greenaway tried to use the main rules of painting in the narration and film shooting, such as:composition, sun light importance, symmetrical symbols of classicism and so on when he created the film. "

The Pillow Book (枕草子, Makura no Sōshi) of Sei Shōnagon (清少納言, c.965CE–?), written between the end of the tenth and the beginning of the eleventh century, has attained undeniable canonical status in the context of Japanese Literature. It also is the most translated Japanese text in the world, and occupies a stable place in the list of works that are considered as belonging to the realm of Weltliteratur. It has been adapted to the screen outside Japan (The Pillow Book by Peter Greenaway, 1996) and translated twice to Brazilian Portuguese (in 2008 and 2013). Later generations of readers have treated the text’s enumerations as catalogues of poetic topics or even, since the beginning of the twentieth century, and especially in translation, as poetry. The lists show a playful approach to language and to what Foucault has called the “categories of thought”. In this sense, Sei Shōnagon’s œuvre can be read in resonance with Foucault’s Les Mots et les Choses (1966) and its attempt to defamiliarize rational categorization, a conceptual device which can also be found in the work of Jorge Luis Borges. Sei Shōnagon’s work simultaneously mobilizes several layers of problematic concepts. On the other hand, none of these categories applies to The Pillow Book without engendering further conceptual destabilization. The issues of female authorship and woman authors’ relationships with their fathers in a patriarchal culture reappear in the film, in the main character’s journey towards liberation through writing. Those possible readings of the proposed texts contribute to the problematization of issues related to authorship, knowledge, translation and adaptation.

From Plato’s dismissal of food as a distraction from thought to Kant’s relegation of the palate to the bottom of the hierarchy of the senses, the sense of taste has consistently been devalued by Western aesthetics. Kant is often invoked as evidence that philosophers consider taste as an inferior sense because it belongs to the realm of the private and subjective and does not seem to be required in the development of higher types of knowledge. From a gastrosophical perspective, however, what Kant perceives as a limitation becomes a new field of enquiry that investigates the dialectics of diet and discourse, self and matter, inside and outside.
The essays in this book examine the importance of food as a pivotal element – both materially and conceptually – in the history of the Western avant-garde. From Gertrude Stein to Alain Robbe-Grillet and Samuel Beckett, from F.T. Marinetti to Andy Warhol, from Marcel Duchamp to Eleanor Antin, the examples chosen explore the conjunction of art and foodstuff in ways that interrogate contemporary notions of the body, language, and subjectivity.

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 characters' bodies and the materiality of the text. I also consider that this film generates two types of qualified immersion in the viewer: an artistic appreciation derived from coenasthesia and film textures; and a narrative appreciation caused by alignment with the characters , their non-psychological nature notwithstanding. Allegory, as both a structural device and a conveyor of meaning, is responsible for the combination of spectatorial detachment and immersion.

Εκκινώντας από την αρχιτεκτονική παρακειμενικότητα του τίτλου "The Belly of an Architect" ταινίας του Peter Greenaway, η παρούσα μελέτη ενδιαφέρεται για τον τρόπο με τον οποίο ο κινηματογράφος αναφέρεται σε έργα άλλων τεχνών, εντάσσοντάς τα στα συμφραζόμενά του.  Ο τρόπος και η ποσότητα της επαφής και της διαπλοκής των έργων τέχνης στο σώμα του κινηματογραφικού έργου, είναι ο βασικός άξονας που θα απασχολήσει την παρούσα μελέτη. Εν αρχή, επιχειρείται μια κατηγοριοποίηση των περιπτώσεων διακαλλιτεχνικής «επαφής». Από τον Bahktin και την Kristeva, που εισάγουν τις έννοιες της διαλογικότητας και της διακειμενικότητας (Λαγόπουλος & Boklund-Λαγοπούλου,2016:237), στο Jakobson που αναφέρεται στον όρο διασημειωτική μετάφραση (Jakobson, 1959:233) και τέλος, στην έννοια της διακαλλιτεχνικότητας ή διαμεσικότητας, όπως την ορίζουν οι σύγχρονες θεωρίες (Rajewsky,2002:15). Έπειτα, εξετάζονται δύο ταινίες του Peter Greenaway, "The Belly of an Architect" (1987) και το "The Cook, the Thief, his Wife and her Lover" (1989), προκειμένω να εντοπισθούν σε αυτές παραδείγματα χρήσης των παραπάνω εννοιών.

La caratteristica dei cosidetti finti documentari (o più precisamente mockdocumentary, documentari beffardi, burloni con una non casuale sottolineatura sul carattere scherzoso e traditore del termine) è quella di utilizzare la “forma” del documentario per veicolare contenuti che “veri” non sono. In alte parole l’elemento di fiction viene trattato come se fosse un elemento reale, appartenente cioè a quella parte di realtà che è teoricamente possibile catturare con la macchina da presa o con la telecamera.
Ma qual è la forma del documentario?
O meglio quali sono le forme del documentario?
Quali sono le sue caratteristiche principali?
È una risposta complessa perché il cosidetto documentario non solo ha cambiato forma e aspirazioni nel corso degli anni, ma è ormai sempre più soggetto a un processo di contaminazione con la cosidetta fiction. Nella presente tesi non cercheremo di dare una risposta diretta alle domande che ci siamo appena posti, ma procederemo in senso inverso: attraverso l’analisi di un gruppo particolare di mock-documentary individueremo le caratteristiche del documentario che vengono disattese e decostruite in questi testi.
Per inquadrare correttamente il problema ci avvaleremo del supporto di un testo importantissimo Faking it. Mock-documentary and the subversion of factuality (1). Questo libro, oltre a tracciare un interessante percorso dal documentario al mock-documentary, avvalendosi del contributo dei più sagaci studiosi del genere, introduce e mette a disposizione dello studioso un altro importantissimo strumento: il mock grade, traducibile provvisoriamente in italiano come gradiente di finzione. La traduzione è approssimativa perché l’aggettivo “mock” in inglese indica sì qualcosa di finto ma anche qualcosa di ironico, più vicino allo scherzo e alla trappola che alla mistificazione.
E la caratteristica beffarda, oltre a quella decostruttiva è proprio quella fondante del mock-documentary che decostruisce il genere, attraverso una irresistibile ironia. Questa ironia non è una caratteristica accessoria ma fondamentale perché nasconde una sottintesa comunicazione con il pubblico.
Il mock-documentary, infatti, è forse l’unico genere di “spettacolo” che pretende una partecipazione “attiva” del suo pubblico. Potremmo quindi affinare la nostra traduzione in livello d’ironia o meglio in livello di beffardia. Jan Roscoe e Craig Hight individuano tre livelli di beffardia nell’analisi del mock-documentary: il primo livello (mock grade 1) è costituito dalla parodia e comprende la stragrande maggioranza dei testi, il secondo livello  (mock grade 2) è caratterizzato dalla critica quei testi che operano una critica feroce alla comunicazione e spettacolarizzazione operata dai media. Infine troviamo il livello più alto (il mock grade 3), dove secondo la studiosa australiana e lo studioso neozelandese si opera una vera e propria decostruzione del genere, capovolgendo completamente tutte i suoi elementi fondanti. I testi con queste ultime caratteristiche sono molto rari, i tre più importanti (2) sono Dave Holzman’s Diary (USA, 1967, 73’) di Jim Mc Bride, The falls (GB, 1980, 185’) di Peter Greenaway e Il cameramen e l’assassino (C’est arrivé près de chez vous, Belgio, 1992, 95’) di Remy Belvaux, André Bonzel e Benoît Poelvoorde..
Una volta analizzati questi tre testi fondamentali e aver estrapolato le loro caratteristiche di decostruzione tenteremo di portare la nostra analisi più avanti, aggiungendo qualcosa di nuovo a ciò che fin qui è stato detto. Cercheremo cioè di individuare le caratteristiche di un nuovo genere che che a differenza degli altri possiede solo il nome di ciò che intende rappresentare, la realtà.
La struttura di questo lavoro sarà organizzata come segue; nel capitolo 1 verrà esposta una panoramica dei finti documentari, nel capitolo 2 si esporranno le recenti trasformazioni del documentraio e si introdurrà il concetto di mock grade, che sarà analizzato in dettaglio nel capitolo 3
Nel capitolo 4, saranno analizzati in tre testi prescelti e ne sarà proposto un quarto, ovvero Tribulation 99. Alien Anomalies Under America (USA, 1992, 48’) di Craig Baldwin Infine nel saranno esposte le conclusioni del lavoro, ovvero l’ipotesi che il mock-documentary in ultima analisi disveli la nascita di un nuovo genere proprio più che del cinema, dei mezzi di comunicazione di massa, vale a dire la realtà.
Seguirà una filmografia di tutti i finti documentari prodotti fino alla stesura della tesi e un’ appendice con un’ampia documentazione sulla trasmissione alla televisione neozelandese del mock-documentary Forgotten Silver di Peter Jackson, una rassegna stampa su Il cameramen e l’assassino all’epoca della sua uscita in Italia e il resoconto della corrispondenza via e-mail con Craig Hight per l’inserimento del film Tribulation 99. Alien Anomalies Under America tra i testi di categoria mock grade 3.

(1) Jan Roscoe e Craig Hight, Faking it. Mock-documentary and the subversion of factuality, Manchester University Press, 2001
(2) (2) Nel nostro paese l’unico che avuto una certa fortuna è l’ultimo. Gli altri due non sono usciti nelle sale, se non rare apparizioni a festival o rassegne. Recentemente (novembre 2004) è uscito un cofanetto di DVD (Dolmen) che comprende anche The falls di Greenaway.

réalisation : 3/2019 - 6/2019

révision : 6/2019 - 9/2019

The 7 thematics of Greenaway's "The Belly of an Architect"
A Greimas reading

Les 7 thématiques de Greenaway dans "The Belly of an Architect"
Une lecture de Greimas

Δ.Π.Μ.Σ. Σημειωτική, Πολιτισμός Και Επικοινωνία (ακαδ. έτος 2018-2019)

Η παρούσα εργασία με τίτλο Οι 7 θεματικές του The Belly of an Architect του Greenaway Μια κατά Greimas ανάγνωση φιλοδοξεί να παρουσιάσει την ταυτόχρονη συνύπαρξη και αλληλεπίδραση αρχιτεκτονικών και κινηματογραφικών σημείων στον αφηγηματικό πυρήνα του οπτικοακουστικού λόγου. Στα πλαίσια της Σημειωτικής του οπτικοακουστικού λόγου, με εφαρμογές στον κινηματογράφο και στην τηλεόραση, η μεταμοντέρνα δημιουργία, θέαση και ανάγνωση της κινηματογραφικής αφήγησης αποτελεί πραγματικό φαινόμενο μέσω μιας συστημικής λειτουργικής οπτικής. Έτσι λοιπόν, επιλέγουμε από τους κόλπους της εβδόμης τέχνης την ταινία Η κοιλιά του Αρχιτέκτονα (Παράρτημα), ένα κλασσικό δείγμα μεταμοντερνισμού του 1987 από τον Greenaway.  [...]
Η ιδέα για την παρούσα εργασία γεννήθηκε από την ανάγκη αποκωδικοποίησης των 7 κεντρικών θεματικών αξόνων της ταινίας. Η αφηγηματική δομή της ταινίας στρέφεται γύρω από 7 θεματικές  ενισχύοντας ένα ισχυρό και σταθερό παιχνίδι με τον αριθμό 7 σε όλη τη διάρκεια του έργου. Οι 7 θεματικές περιοχές της ταινίας συγκροτούν έναν καλά δομημένο πυρήνα, ο oποιος κρύβει ένα ισχυρό και βαθύ νοηματικό πλέγμα. [...]
Οι 7 κύριες θεματικές περιοχές της ταινίας είναι, όπως ήδη έχει ειπωθεί η Αρχιτεκτονική, η Δημιουργία, η Υγεία, η Ιστορία, η Εμμονή, η Συνομωσία και η Απώλεια. Αυτοί οι 7 θεματικοί πυρήνες αποτελούν το υλικό μας, το οποίο θα αναγνωστεί υπό το πρίσμα της θεωρίας Greimas. Η παρούσα μελέτη επιχειρεί να παρουσιάσει μια σημειολογική ανάγνωση αυτής της μεταμοντέρνας κινηματογραφικής ταινίας μέσω της μεθόδου δόμησης του σημειωτικού τετραγώνου. [...]

The paper considers the place of the Bible in the abject world of Peter Greenaway's _The Cook the Thief His Wife and Her Lover_. Two biblical intertexts are evident: Psalm 51, which is sung repeatedly throughout the film as a call to repentance, and the Last Supper, which forms the climactic revenge of one of the characters. The texts are interwoven with some significant themes in the film (corporeality, consumption and violence), all of which work to establish and manipulate the presence of the abject. With the assistance of the Bible, the characters' relation to the abject becomes contested and contradictory. Ultimately, the texts exhibit a peculiar logic that threatens to undermine the film's plot, and its characters.

This paper sheds new light on Peter Greenaway's early films made in the 1970s as a remarkable seedbed of his later features. Reframing his experimental position accompanies two correlated registers that can be reexamined together: the then other avant-garde tendencies and the larger cultural context of poststructuralist and postmodern imagination. To link the former to the latter, the paper examines how the notion of ‘suture’ particularly worked in the Screen-theory-based experimental filmmaking and how Greenaway inspires us to expand and redefine it especially in ways of embodying Deleuzian ideas on any-space-whatever, automata, the virtual matrix of actual images, the plane of immanence of beings, etc. Analyzing seven films in two groups, this theoretical approach ultimately emphasizes what underlies Greenaway's apparently systematic cosmos: the system's becoming its own virtual chaos of non-system, which unfolds a creative disorder of post-apocalyptic, posthumous and post-human heterotopias.

A partir de la película "El libro de cabecera" ("The Pillow Book", 1996) del británico Peter Greenaway, se discute la posición del cuerpo en el arte desde las ópticas oriental y occidental. Sobre esta última concepción, se discute al cuerpo como herramienta en expresiones del arte contemporáneo como el performance y  la incorporación del tatuaje en obras de arte.

This research aims at providing a Bazinian approach to framing in Peter Greenaway’s The Tulse Luper Suitcases (P. Greenaway, 2003) by discussing both the ontology of the digital image and the aesthetics of internal framing in which fragmentation and simultaneity of perception form the key concepts.

Bu çalışmada, Greenaway’in Goltzius ve Pelikan Kumpanyası filmi anlatı açısından değerlendirilirken, Bornstein’in Rüya Poetikası bir mesnet olarak kabul edilecektir. Anlatının bu açıdan incelenmesi; bu film örnek gösterilerek, bu ve benzer yapıda oluşturulmuş diğer filmlerin de dramatik yapı kurulumu ile senaryo yapısının işleyişinin anlaşılmasında yardımcı olacaktır. Metafiziğin bir gizem halini taşıyan sınırları içerisinde var olan düşsel dünyayının sinemasal anlatı üzerinden irdelenmesi, düş ve rüya olguları ile film arasındaki ilişkinin birbiriyle koşutlu olan ortak noktalarını ortaya çıkaracaktır. Bu çalışmada, Peter Greenaway’in Goltzius ve Pelikan Kumpanyası filmi üzerinden yapılacak tespitler, Thorsten Botz-Bornstein’in Filmler ve Rüyalar kitabında öne sürdüğü Rüya Poetikası kavramı üzerinden incelenecek ve ilgili başlıklar altında kalitatif bir değerlendirme yöntemiyle analiz edilerek sonuç bölümünde yapılacak bir değerlendirme ile sonuçlandırılacaktır.

Resumen: La obra cinematográfica de Peter Greenaway se ha caracterizado por un componente visual ligado a la pintura. Como defensor de la supremacía de la pintura, ésta se inserta en sus películas de modo literal o metafórico, considerándose su producción fílmica como pinturas en el espacio cinematográfico. El cineasta galés incide en la apoteosis de la imagen tradicional para paliar la agonía del cine.
Palabras clave: Greenaway, cine, pintura, tradición, muerte del cine.
Abstract: Peter Greenaway’s cinematographic work has been characterised by a visual component associated with painting. As a defender of the supremacy of painting, it is literally or metaphorically inserted into his films. His films are thus regarded in the extended field of cinema as a painting. To relieve the pain of cinema, the Welsh filmmaker emphasizes the apotheosis of the traditional image.
Keywords: Greenaway, cinema, painting, tradition, death of cinema.

Louis Andriessen and Peter Greenaway’s opera 'Rosa: The Death of a Composer' (premiered 1994 at Het Muziektheater in Amsterdam) and Philip Glass’s mixed media chamber opera 'The Photographer' (first performed in 1982 at Amsterdam’s Royal Palace) are both conceived as pieces of ‘musical investigation’: the test arrangement 'Rosa' examines the alleged assassination of a Uruguayan composer for Hollywood Western music in 1957; 'The
Photographer' reenacts the homicide of a drama critic, shot by Eadweard Muybridge in 1874. However, forms of operatic (re-)presentation are hardly acknowledged as strategies of documentation – and much less criminal detection – but reputed to indulge in “concepts and illusions too preposterous to be tolerated in any other form” (P. Greenaway). To compensate for, and reflect on their seeming artificiality and lack of ‘realism’, both operas assimilate diverse representational systems which are closely associated either with scientific discourse or the technical reproduction of physical reality; on a content-related, formal, and medial level, Rosa and The Photographer employ the ‘cinematic’ (or ‘pre-cinematic’) as a means of deduction. Moreover, in both instances the tension or commutation between musical drama and discursive reconstruction seems to be emblematically subsumed in the figure of a horse, Juan Manuel de Rosa’s black mare in a treadmill-cradle on the one hand, the famous chronophotographical series “Horse in Motion” by Muybridge on the other. In this context, the paper focuses on the operas as self-reflexive investigations not so much of two cases of death, but of the representational potential of different media or dispositifs. It aims at the possible ‘reality effect’ of opera as well as the ‘theatricality’ of cinema’s moving images in order to determine the interplay of image/imaginary and real/reality.

Taking the animal and the machine as two ontological others of the human, this paper looks into how they “are added to” and “replace” the humanist others based on race, gender, class, etc. in contemporary cinema. This “supplement” urges us to reframe identity politics and cultural studies in a larger “polis” emerging between and encompassing both the human world, which becomes ever more globally homogenized, and its radical environment, natural or technological. The topic is a global cinematic phenomenon that even local films directly embody. The animal is captured on the boundaries between “the symbolic” and “the real,” between “the actual” and “the virtual” in the artistic works of Werner Herzog, Apichatpong Weerasethakul, and Peter Greenaway. The machine convolutes the issues of informatics, embodiment, and cyborgism, often through SF fantasy that pervades Hollywood blockbusters and Japanimation. The rare amalgam of animal–machine receives further attention in David Cronenberg's films, and becoming-animal/-machine in Avatar empowers the human in the posthuman sense of biopower that transforms the body and registers it on a larger network. From this perspective, discourses on the animal (zooesis) and technology (technesis) work together to bring a new political potential. Animality and technology no longer form a naïve dichotomy of nature vs. civilization but combine in ways of making more visible the new condition of life. It unfolds in a cinematic “zone,” an ephemeral “clearing” for “bare life” within the globalized world. This zone exists in the exceptional state of temporary potential to de-/repoliticize any humanistic politics.

La presente investigación estudia un punto de encuentro entre el cine y la pintura mediante la representación del tableau vivant en el filme La ronda de noche (Nightwatching, 2007) de Peter Greenaway en relación con el óleo La ronda de noche (Nachwacht, 1642) de Rembrandt van Rijn con el objetivo de visualizar la configuración de una propuesta estética novedosa en el campo cinematográfico a partir del trasvase de una pieza pictórica hacia el cine a través de un proceso de cinematización; en este proceso, el cine adopta otro tipo de arte, en este caso, la pintura. Para abordar esta relación, se toman como referencia dos conceptos que intervienen directamente en la película La ronda de noche y que denotan el carácter pictórico incorporado en el espacio fílmico para hacer efectivo el tableau vivant; uno de ellos es la temporalidad pictórica y el otro término es el de efecto pintado, mediante los cuales, cinematografía y pintura, fundidas en un plano intermedial, logran un trabajo fílmico novedoso e interdisciplinario.
Palabras clave: tableau vivant, trasvase, cine, pintura, cinematización, temporalidad pictórica, efecto pintado

The moving image provides many memorable instances of the allure of food, often reminding us of the proximity of carne and carnality, as in Itami's Tampopo, or the pivotal social function of eating that pervades every episode of The Sopranas. Peter Greenaway's The Cook the Thief His Wife & Her Lover engages with both these aspects of food but, though the site of consumption is a visual feast, a dining hall of deep red, the eye tracks back and forth from the place of production,a green kitchen, and that of excretion, the blindingly white restrooms.

Regarded by many as an allegory of Thatcher's Britain, Greenaway's film can also be considered as a sustained exploration of the ways in which the totality of the process of food consumption has been  harvested selectively to produce aesthetic objects and experiences. Greenaway does not allow the physical and ethical dregs of gastronomy to slip from view but instead serves them up as palate cleansers, resulting in a gustation that at times threatens to provoke regurgitation.

This paper considers Greenaway's juxtaposition of the refined and the abject as a commentary on the way in which a vital biological function has been refined, and the residue discarded.

In this text I consider Peter Greenaway's film The Falls as an extended Deleuzian meditation on modes of reception of an Event. I argue that (1) the film deterritorialises the documentary form  with the falsifying narration of responses to an unseeable and unsayable event (called the «Vast Unknown Event»),(2) its content amounts to a catalogue of these diverse responses in terms of the loss of previous fixed identity and the entry into becoming (the film enumerates various modalities and degrees of becoming bird),(3) its subtended subjectivity is that of the line of flight empowered by the becoming (exemplified in the film by Erhaus Falluper) (4), its vision is ethological: a typology of the degree of affinity between the becomings and the line of flight, ranging from conforming to a model (becoming-bird) to inventing a new possibility of life (bird-becoming).

Питер Гринуэй - одна из ярких фигур современного авторского кинематографа. Его фильмы отличаются насыщенной визуальной составляющей и склонностью к взаимодействию с другими искусствами. Статья посвящена основным методам работы Питера Гринуэя с живописью в кино, а также их использованию в фильме "Гольциус и Пеликанья компания"  (2012)

Peter Greenaway, one of the most outstanding directors of the contemporary cinema, is famous for his works with rich visual component, tending to mix different types of art. The article investigates main Peter Greenaway's methods to rework paintings in his movies, which finds its perfect implementation in his film "Goltzius and the Pelican Company" (2012)

Este texto é uma proposta de reflexão em três partes sobre o tema “roupa” em O Livro de Travesseiro, de Sei Shônagon (Japão, séculos X–XI), discutindo a importância dos fazeres relacionados ao têxtil na sociedade aristocrática japonesa da Antiguidade; as suas ressonâncias no contexto da moda no século XX; e a maneira como a metáfora escritura-corpo-vestimenta se atualiza e amplifica na adaptação do livro para o cinema. No livro, texto, têxtil e memória se confundem, formando uma metáfora complexa que é também um comentário sobre a condição feminina na Corte Imperial de Heian. A adaptação da obra para o cinema (O Livro de Cabeceira, de Peter Greenaway, 1996) conta com a colaboração do designer desconstrutivista Martin Margiela, e acrescenta novas camadas interpretativas a esse aglomerado de imagens relacionadas aos atos de escrever, tecer, ler, traduzir, adaptar e desconstruir. O caráter fragmentário da obra literária pode ainda ser lido como em diálogo com o jornalismo de moda do século XX. O ideal estético do okashi, da literatura clássica japonesa, encontra eco no conceito de pizzazz, de Diana Vreeland, assim como no esteticismo da poética modernista. A roupa como metáfora do texto e a ideia de que roupa é texto estão presentes nesses três momentos interpretativos. Palavras-chave: quimono, Sei Shônagon, Peter Greenaway, desconstrutivismo, okashi, pizzazz.

This text is a three-part reflection upon the theme of “clothing” as it is found in a literary work of Ancient Japan — on the importance of garment-making skills as a device for the production of difference in the context of the Imperial Court; on how the theme from the book resonates in the context of 20th century fashion; and on how it is brought up to date and amplified, working as a metaphor for writing, in the film adaptation of the ancient text. In The Pillow Book of Sei Shônagon (Japan, 10th–11th centuries), text, textile and memory merge into an extended, web-like metaphor that is also a commentary on the status of women in Imperial Heian. The adaptation of the written work for the cinema (The Pillow Book, by Peter Greenaway, 1996) features clothes by deconstructivist Martin Margiela, adding new interpretative layers to this cluster of images, relating them to the acts of writing, weaving, reading, translating, adapting and deconstructing. The fragmentary character of Sei Shônagon’s work also resonates with fashion journalism of the 20th century. The aesthetic ideal of okashi, a concept from classical Japanese literature, resonates with 20th century conceptions of fashion, such as Diana Vreeland’s pizzazz, and with the aesthetics of modernist poetry. Clothing as a metaphor for text and the idea of clothing as text are present in those three interpretative moments.

My paper explores corporeality in Peter Greenaway’s Prospero’s Books and draws comparisons with Shakespeare's The Tempest . I am particularly interested in how sixteenth-century anatomy books embody the search for (metaphysical) meaning hidden in the human body. I will discuss the rich matrix of meaning in these works, drawing on examples from Prospero’s Books with reference to Andreas Vesalius’s De Humani Corporis Fabrica .