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A Moveable Form: The Diptych in Art, Book Culture, and (Post) Cinema.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	A Moveable Form: The Diptych in Art, Book Culture, and (Post) Cinema./
作者:	Bem, Caroline.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2015,
面頁冊數:	447 p.
附註:	Source: Dissertations Abstracts International, Volume: 82-10, Section: A.
Contained By:	Dissertations Abstracts International82-10A.
標題:	Art galleries & museums. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28266203
ISBN:	9798708712165

A Moveable Form: The Diptych in Art, Book Culture, and (Post) Cinema.
Bem, Caroline.

A Moveable Form: The Diptych in Art, Book Culture, and (Post) Cinema. - Ann Arbor : ProQuest Dissertations & Theses, 2015 - 447 p.

Source: Dissertations Abstracts International, Volume: 82-10, Section: A.

Thesis (Ph.D.)--McGill University (Canada), 2015.

This item must not be sold to any third party vendors.

Through an approach termed medial-formalist analysis, this thesis takes the diptych as its central object of investigation and considers it from a visual, a narrative, and a medial-material perspective. Historically, the diptych is a largely overlooked form whose most striking feature lies in its endurance throughout Western culture; as this thesis makes clear, this is a direct result of the form's moveable character that allows it to adapt to a wide range of media and narrative genres. Originating in Antiquity, the diptych, which simultaneously combines openness and closure within its form, began by spurring the birth of the codex before remaining an important fixture of the visual arts, especially prevalent throughout the medieval and Renaissance periods but enduring all the way through to the serialist experiments of the 1960s and 70s and, beyond, to contemporary painting and photography. As a literary form, the diptych has received some limited attention, though usually without much theorization of the form itself, from specialists of medieval poetry; yet, here too it applies to a great many more texts, ranging from operas to novels and theatre plays. Ultimately, however, it is in (post)cinema that the diptych finds a particularly fruitful environment where the basic tenets of its form are seen to take hold, and continue to develop. This happens at both the level of medial-material form, visible in film exhibition practices for both narrative and artist's film and video, and at the level of conceptual form in relation to narrative cinema specifically. One such film is Quentin Tarantino's 2007 film Death Proof, which constitutes the most substantial case study of this thesis and a guiding thread throughout. In itself, Death Proof is part of a complex multimedial two-film construct, Grindhouse (Tarantino and Robert Rodriguez, 2007, US), whose investments are manifold: on the one hand, Grindhouse comments, through its adoption of the diptych form, on exhibition practices, genres, and formats of both the past and the present. On the other hand, as a narrative diptych, Death Proof offers a complex experiment in narrative cinema that hinges on the basic principle of the diptych, namely its propensity to make visible and productively deploy paradox.

ISBN: 9798708712165Subjects--Topical Terms:

3561426
Art galleries & museums.
Subjects--Index Terms:

Diptych

A Moveable Form: The Diptych in Art, Book Culture, and (Post) Cinema.
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500 $a Source: Dissertations Abstracts International, Volume: 82-10, Section: A.
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502 $a Thesis (Ph.D.)--McGill University (Canada), 2015.
506 $a This item must not be sold to any third party vendors.
520 $a Through an approach termed medial-formalist analysis, this thesis takes the diptych as its central object of investigation and considers it from a visual, a narrative, and a medial-material perspective. Historically, the diptych is a largely overlooked form whose most striking feature lies in its endurance throughout Western culture; as this thesis makes clear, this is a direct result of the form's moveable character that allows it to adapt to a wide range of media and narrative genres. Originating in Antiquity, the diptych, which simultaneously combines openness and closure within its form, began by spurring the birth of the codex before remaining an important fixture of the visual arts, especially prevalent throughout the medieval and Renaissance periods but enduring all the way through to the serialist experiments of the 1960s and 70s and, beyond, to contemporary painting and photography. As a literary form, the diptych has received some limited attention, though usually without much theorization of the form itself, from specialists of medieval poetry; yet, here too it applies to a great many more texts, ranging from operas to novels and theatre plays. Ultimately, however, it is in (post)cinema that the diptych finds a particularly fruitful environment where the basic tenets of its form are seen to take hold, and continue to develop. This happens at both the level of medial-material form, visible in film exhibition practices for both narrative and artist's film and video, and at the level of conceptual form in relation to narrative cinema specifically. One such film is Quentin Tarantino's 2007 film Death Proof, which constitutes the most substantial case study of this thesis and a guiding thread throughout. In itself, Death Proof is part of a complex multimedial two-film construct, Grindhouse (Tarantino and Robert Rodriguez, 2007, US), whose investments are manifold: on the one hand, Grindhouse comments, through its adoption of the diptych form, on exhibition practices, genres, and formats of both the past and the present. On the other hand, as a narrative diptych, Death Proof offers a complex experiment in narrative cinema that hinges on the basic principle of the diptych, namely its propensity to make visible and productively deploy paradox.
520 $a Cette these prend pour objet d'etude central le diptyque, apprehende selon une approche mediale-formaliste. Ainsi, le diptyque est etudie sous un angle visuel, narratif, ou medial-materiel. Historiquement parlant, le diptyque est une forme largement meconnue, dont le trait le plus caracteristique est qu'elle s'est maintenue tout au long de l'evolution de la culture occidentale. Ceci resulte - comme la these le montre - de sa capacite a s'adapter a toute sorte de medias et de genre narratifs : ce que j'appelle sa mobilite. Ainsi, on trouve le diptyque dans la sphere des arts visuels des l'Antiquite et c'est lui qui est a l'origine du codex. Cette forme ouverte et fermee a la fois est particulierement bien representee au Moyen Age et a la Renaissance, mais elle se maintient bien au-dela, jusqu'aux experimentations serielles des annees 1960-70, et elle perdure toujours dans la photographie et dans l'art contemporains. Dans la sphere litteraire, le diptyque a interesse certains specialistes de la poesie medievale, mais sur le plan formel il n'a guere ete theorise par eux. Pourtant on s'apercoit que cette forme se retrouve dans des textes beaucoup plus varies - operas, romans, pieces de theatre. Mais c'est au cinema et dans les oeuvres post-cinematographiques que le diptyque rencontre son environnement le plus porteur ; c'est la, en particulier, que les elements constitutifs de cette forme revelent leur ancrage et continuent de se developper. Ceci s'observe sur deux niveaux : au sens medial-materiel, le diptyque influe sur les pratiques d'exposition et concerne autant les films narratifs que les films et videos d'artistes. Si l'on prend la forme comme concept, c'est dans le cinema narratif que le diptyque intervient. Parmi ces films, Death Proof (Boulevard de la mort, 2007, USA), de Quentin Tarantino, presente un cas exemplaire qui fait l'objet dans la these de l'etude de cas la plus poussee et lui tient ainsi lieu de fil conducteur. Il faut preciser que Death Proof n'est en fait qu'une des deux parties d'une oeuvre filmique double, complexe et multidimensionnelle, Grindhouse (Tarantino et Robert Rodriguez, 2007, USA) - ce dont decoulent plusieurs implications. D'un cote, le fait que Grindhouse a adopte la forme du diptyque apporte un eclairage sur le passe autant que sur le present de certaines pratiques d'exposition, de certains genres, de certains supports. D'autre part, en tant que diptyque narratif a part entiere, Death Proof apporte une experimentation complexe dans le cadre du cinema narratif. Celle-ci est articulee au principe de base du diptyque, a savoir la propension qu'a cette forme a rendre visible le paradoxe, auquel elle offre un espace pour se deployer de facon productive.
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