Quand le film raconte l’image. Variations cinématographiques autour de La Cène de Léonard de Vinci

Based on the hypothesis that in the cinema, a shot worked in the style of a picture doesn’t “stop” the storyline but expands the linear narrative with tabular semiotics and artistic references, this article analyzes the exemplary and recurring case of the shots which reconstitute Leonardo da Vinci’s...

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Main Author: Valentine Robert
Format: Article
Language:fra
Published: Laboratoire Interdisciplinaire Récits Cultures Et Sociétés 2009-05-01
Series:Cahiers de Narratologie
Subjects:
Online Access:https://journals.openedition.org/narratologie/956
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author Valentine Robert
author_facet Valentine Robert
author_sort Valentine Robert
collection DOAJ
description Based on the hypothesis that in the cinema, a shot worked in the style of a picture doesn’t “stop” the storyline but expands the linear narrative with tabular semiotics and artistic references, this article analyzes the exemplary and recurring case of the shots which reconstitute Leonardo da Vinci’s Last Supper as a “living picture”. Christus (Giulio Antamoro, 1914-1916), Ben Hur, a tale of the Christ (Fred Niblo, 1925), Quo Vadis (Mervyn LeRoy, 1951) and other movies are investigated, that replace the famous Cenacolo as both a phase and a stasis of the Christlike narrative. Films like Viridiana (Luis Buñuel, 1961) are mentioned too, where da Vinci’s composition occurs like an allegorical extension of a contemporary story, enriched both symbolically and iconographically.
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record_format Article
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spelling doaj-art-11dc1deebc004cd38a18a23b0439fb282025-08-20T02:34:28ZfraLaboratoire Interdisciplinaire Récits Cultures Et SociétésCahiers de Narratologie0993-85161765-307X2009-05-011610.4000/narratologie.956Quand le film raconte l’image. Variations cinématographiques autour de La Cène de Léonard de VinciValentine RobertBased on the hypothesis that in the cinema, a shot worked in the style of a picture doesn’t “stop” the storyline but expands the linear narrative with tabular semiotics and artistic references, this article analyzes the exemplary and recurring case of the shots which reconstitute Leonardo da Vinci’s Last Supper as a “living picture”. Christus (Giulio Antamoro, 1914-1916), Ben Hur, a tale of the Christ (Fred Niblo, 1925), Quo Vadis (Mervyn LeRoy, 1951) and other movies are investigated, that replace the famous Cenacolo as both a phase and a stasis of the Christlike narrative. Films like Viridiana (Luis Buñuel, 1961) are mentioned too, where da Vinci’s composition occurs like an allegorical extension of a contemporary story, enriched both symbolically and iconographically.https://journals.openedition.org/narratologie/956cinémapeintureLéonard de VinciCèneplantableau
spellingShingle Valentine Robert
Quand le film raconte l’image. Variations cinématographiques autour de La Cène de Léonard de Vinci
Cahiers de Narratologie
cinéma
peinture
Léonard de Vinci
Cène
plan
tableau
title Quand le film raconte l’image. Variations cinématographiques autour de La Cène de Léonard de Vinci
title_full Quand le film raconte l’image. Variations cinématographiques autour de La Cène de Léonard de Vinci
title_fullStr Quand le film raconte l’image. Variations cinématographiques autour de La Cène de Léonard de Vinci
title_full_unstemmed Quand le film raconte l’image. Variations cinématographiques autour de La Cène de Léonard de Vinci
title_short Quand le film raconte l’image. Variations cinématographiques autour de La Cène de Léonard de Vinci
title_sort quand le film raconte l image variations cinematographiques autour de la cene de leonard de vinci
topic cinéma
peinture
Léonard de Vinci
Cène
plan
tableau
url https://journals.openedition.org/narratologie/956
work_keys_str_mv AT valentinerobert quandlefilmracontelimagevariationscinematographiquesautourdelacenedeleonarddevinci