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Copyright by Laura Mareike Sager 2006 Copyright by Laura Mareike Sager 2006 The Dissertation Committee for Laura Mareike Sager Certifies that this is the approved version of the following dissertation: WRITING AND FILMING THE PAINTING: EKPHRASIS IN LITERATURE AND FILM Committee: Alexandra K. Wettlaufer, Supervisor Janet K. Swaffar Lily Litvak Virginia Higginbotham Seth Wolitz Richard Shiff Writing and Filming the Painting: Ekphrasis in Literature and Film by Laura Mareike Sager, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December 2006 Dedication Für meine Eltern Peter und Else-Maria Sager, meinen Mann Ivan Eidt, und unseren Kater Strohmian Acknowledgements I would like to express my thanks and gratitude to Dr. Alexandra Wettlaufer for her guidance and insights and the stimulating conversations. I would also like to thank the members of my committee, Dr. Janet Swaffar for her careful editing and constructive criticism as well as for her encouragement and engagement, Dr. Virginia Higginbotham for her help with the discussions of film and film terms, Dr. Lily Litvak for her perspective on the Spanish texts and films, Dr. Seth Wolitz for his interesting and stimulating ideas and references, and Dr. Richard Shiff for his art historical perspective, so central to my work. I also thank my parents, Peter and Else-Maria Sager for all their interest in and support of my work, and my husband Ivan Eidt for his encouragement and love. v Writing and Filming the Painting: Ekphrasis in Literature and Film Publication No._____________ Laura Mareike Sager, Ph.D. The University of Texas at Austin, 2006 Supervisor: Alexandra K. Wettlaufer This dissertation compares literary texts and films in which with works of art play a mayor role. Literary texts about works of art are today called “ekphrasis.” However, the concept has not yet been applied to films about art. Comparing filmic treatments of paintings by three well-known painters (Goya, Rembrandt, and Vermeer) with ekphrases in literary texts, I examine how the medium of ekphrasis (i.e. literary or filmic) affects the representation of the visual arts in order to show what the differences imply about issues such as gender roles, and the function of art for the construction of a personal and/or social identity. vi After developing a framework of four types of ekphrasis with increasing degrees of complexity, which I call attributive, depictive, interpretive, and dramatic ekphrasis, I apply my expanded definition of ekphrasis as an interpretive tool, in order to demonstrate how different genres in either modality influence the way the reader or viewer reconstructs the implications of a work of art. In so doing, I show that literary and filmic ekphrases have a similar underlying agenda – they are both closely connected to the paragone , the rivalry of the arts – but often different social dynamics: While the literary texts tend to use ekphrasis to underscore the personal function of art, the films generally emphasize art’s involvement in socio-political contexts. In other words, in both the texts and the films, ekphrasis is formally linked to the competition between the arts; yet, thematically the literary texts generally focus more on identity issues, whereas the films tend to be more interested in how art is related to the social, public roles of individuals. In my conclusion, I discuss the audience-related function of ekphrasis in film, as either cerebral or affective, which distinguished it from literary ekphrasis. vii Table of Contents Chapter 1: Toward a Definition of Ekphrasis in Literature and Film ..................... 1 Introduction .................................................................................................... 1 The Aesthetics of Ekphrasis........................................................................... 3 Ekphrasis and Ideology .................................................................................. 8 Expanding the Definition of Ekphrasis ........................................................ 11 The Case for Cinematic Ekphrasis ............................................................... 14 Film and Painting ......................................................................................... 18 Chapter 2: Methodology........................................................................................ 26 Thomas Struth’s Museum Photographs and Visual Ekphrasis .................... 26 Ekphrastic Categories in Texts and Films.................................................... 34 Four Categories of Ekphrasis in Literature and Film................................... 43 Attributive Ekphrasis........................................................................... 45 Depictive Ekphrasis............................................................................. 48 Interpretive Ekphrasis ......................................................................... 52 Dramatic ekphrasis.............................................................................. 60 Chapter 3: Goya’s The Sleep of Reason in Poetry, Drama and Film: Dramatizing the Artist’s Battle with his Creatures ...................................... 71 Introduction .................................................................................................. 71 Word and Image in Goya’s Caprichos and the Sueño de la razón .............. 74 Goya’s El sueño de la razón in A Poem by Günter Kunert, A Drama by Buero Vallejo, and A Film by Carlos Saura........................................ 86 Günter Kunert’s Poem......................................................................... 86 Buero Vallejo’s Drama........................................................................ 91 Carlos Saura’s Film........................................................................... 109 Conclusion.................................................................................................. 119 viii Chapter 4: Goya’s El sueño de la razón in Lion Feuchtwanger’s Novel and Konrad Wolf’s Film Adaptation: Private or Social Demons?.................... 125 Introduction ................................................................................................ 125 Uses of Ekphrasis in the Novel and the Film ............................................. 129 El Sueño de la razón In The Novel and The Film..................................... 138 Conclusion.................................................................................................. 150 Chapter 5: From Screenplay to Film: Rembrandt’s Self-Portraits and Social Identity Construction through Ekphrasis.................................................... 156 Introduction ................................................................................................ 156 Self-Stylization in Rembrandt’s Self Portraits ........................................... 163 Artistic Ambitions: Self Portrait at the Age of 34 ............................. 164 Three Self Portraits as Painter........................................................... 165 Rembrandt as Painter of the Word .................................................... 170 Rembrandt’s Self Portraits in Alexander Korda’s Film (1936) and Carl Zuckmayer’s Screenplay (1936) ....................................................... 173 From Screenplay to Film: Self Portrait as Zeuxis vs. Self Portrait at the Age of 34 ......................................................................... 174 Saskia and The Painter in his Studio ................................................. 180 The Late Self Portraits in Screenplay and Film ................................ 182 Conclusion.................................................................................................. 189 Chapter 6: Vermeer’s Women in Film and Fiction: Ekphrasis and Gendered Structures of Vision.................................................................................... 192 Introduction ................................................................................................ 192 Vermeer’s Women: Constructing Private, Aesthetic, and Socio-Cultural Identities ............................................................................................ 196 The Girl with a Pearl Earring ........................................................... 199 Tracy Chevalier and Peter Webber: Girl with a Pearl Earring ................. 201 Susan Vreeland’s Girl in Hyacinth Blue and Brent Shield’s Brush with Fate .................................................................................................... 210 Conclusion.................................................................................................. 217 ix Chapter 7: Conclusion: The Cerebral and the Affective Function of Ekphrasis .................................................................................................... 226 Introduction ................................................................................................ 226 The Discourses of Cinematic Ekphrasis..................................................... 227 Paragone ..................................................................................................... 233 Works Cited......................................................................................................... 238 Filmography .......................................................................................................
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