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Coraline (Coraline - 2009) Psycho

In this animated fairy tale made with the technique of stop-motion, Henry Selick film's director, takes inspiration from some famous paintings by Van Gogh for the sequence where Coraline meets the spirits of the three children who were prisoners of the witch.

In the night sky of stars that formed arabesques and dance blend in textured brushstrokes of color. Are the same as starry nights the Dutch artist. Henry Selick carries on the screen at the same rate of excited and expressive paintings by Van Gogh .

Coraline


Vincent van Gogh, Starry Night over the Rhone (1888)


Vincent van Gogh, Starry Night (1889)

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1960 - Manhattan 1979 - The Untouchables (The Untouchables - 1987)

American cinema has often used for the construction of their set, the paintings of Edward Hopper ( compare the store in June 2008 - The Simpsons ). This artist, considered the founder of realist painting, painting the bleak and lonely life of America of his time. His paintings froze moments of everyday life that were consumed in cold offices or anonymous motel. Many directors have "used" these paintings for the realization of their sequences.

Alfred Hitchcock used a painting: House by the Railroad to rebuild the house left and distressing by Norman Bates in Psycho .

Psycho

Edward Hopper, House by the Railroad - 1927

Woody Allen the director of New York more than any American film, paid tribute to his city with Manhattan. For the sequence in which Isaac Davis and Mary Wilke are sitting on a bench in front of all 'East River, the film follows closely Queensboro Bridge.

Manhattan


Edward Hopper, Queensboro Bridge - 1913

Brian De Palma's for Untouchables , shooting the same perspective cut the same size and architectural Night Windows , in the sequence where Jimmy Malone will be brutally murdered .

The Untouchables


Edward Hopper Night Windows - 1928

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I Am Legend (I am leggend - 2007)

might seem risky to take this film as an example for establishing its connections with the visual arts. Yet in I Am Legend there are also interesting references to the Land Art, art in the area (for This topic compare archive July 2008 - A Quiet Place in the Country - part 2 ²).

After a deadly virus that has decimated the entire population of the planet, the film's protagonist spends his time walking the streets of New York abandoned and degraded. Some buildings in the background are completely wrapped in plastic sheets, testimony likely to have tried to quarantine the entire building during the epidemic. This view by the director Francis Lawrence finds its archetype in the work of Christo Javašev . A Bulgarian artist who works through the actual packaging of things and square kilometers of land or buildings.

I Am Legend

Javašev Christo, projects and studies to work on some buildings in New York - 1984 / 2003


Javašev Christo, The monument to Vittorio Emanuele bundled - Milan 1970


Javašev Christo, Wrapped Reichstag, Berlin 1971-95

Robert Neville, at his home, surrounded himself with the masterpieces of modern and contemporary art. We can see the background of some of the walls, the paintings of Van Gogh, from "Road with Cypresses" the "Starry Night." -ups in the room where he is leaning against the wall a picture of Keith Haring, while jogging a painting by Mark Rothko, "N.3/N.13. In the kitchen "Still life of peaches and pears" of Paul Cezanne.

I Am Legend

The desire to take art as a reference spectacularly to solve some pictures or a desire to simply show pictures of artists who really existed, shows how the film needs the arts to express visually his image in the world. Even in a film cassette can be found curious homage to the art world. A test of what is written, Godman screenwriter Akiva I Am Legend claimed: "Digging deep you could realize a lot of references to art."

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The Plot Boiardo (Ivan Grozny - 1945) - part 2

This second part was completed in 1945 but only released in 1958.

In these images Ivan begs not to let Phil Monaco, but to be faithful servant, after he ordered the Czar to repent of his choices. The movements of the actor Cherkasov and the custom of the pastor are referred to in the painting by Lebedev.

The conspiracy of the boyars


Klavdy Vasiliyevich Lebedev, Repentance Ivan


The sequence of the feast is developed through explosions of light and color, with distinct contrasts between the red and black, these colors symbolize the violence and death. Here Eisenstein puts into practice the concepts theorized in his numerous writings on color theory.

The conspiracy of the boyars

This is the only sequence of color throughout the film. Was shot with Agfa film, spoils of war the Red Army.

The director goes from natural tones with sudden splashes of color that invade the faces of the actors.

The conspiracy of the boyars

The final part of the conspiracy of the boyars, Ivan sees his aunt, Efrosina take arms the corpse of her son murdered by mistake, Eisenstein brings to the screen the exact same composition of the painting of Ilya Repin depicting her son's death, caused by the real Ivan.

The conspiracy of the boyars

Ilya Repin, Ivan the Terrible and his son Ivan (1885)


Eisenstein, for the creation of an entire sequence, drew from 'arts of the Russian' 800. But for the gestures and hand movements, the film follows closely some works of the Italian Renaissance. In the conspiracy of the boyars you can see a couple of shots that refer to Leonardo and Michelangelo.

The conspiracy of the boyars

Leonardo Da Vinci, Study for St. Anne (c. 1505)


St Anne Detail of the hands

Detail of a painting taken from Leonardo's drawing

The conspiracy of the boyars

Buanarroti Michelangelo, Last Judgement (1536-1541), particularly