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The Gift: The Dark Corner - Book III
The Dark Corner. How to write a great review. The review must be at least 50 characters long. The title should be at least 4 characters long. Your display name should be at least 2 characters long. At Kobo, we try to ensure that published reviews do not contain rude or profane language, spoilers, or any of our reviewer's personal information.
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Don't Breathe. Don't Die. In this series View all Book 2. Book 3. Book 4. Book 5. Skip this list. Ratings and Book Reviews 0 0 star ratings 0 reviews. Overall rating No ratings yet 0. How to write a great review Do Say what you liked best and least Describe the author's style Explain the rating you gave Don't Use rude and profane language Include any personal information Mention spoilers or the book's price Recap the plot.
Close Report a review At Kobo, we try to ensure that published reviews do not contain rude or profane language, spoilers, or any of our reviewer's personal information. Would you like us to take another look at this review? Ace, Edwin L. Buckley The Verdict, Don Siegel, Sloper The Heiress, William Wyler, [iii.
Mankiewicz, [iii. Courtland Dishonored Lady, Robert Stevenson, [iii. Lowry Footsteps in the Fog, Arthur Lubin, Muir, Joseph L. Mankiewicz, [iv. X, Bernard Vorhaus, [iv. Kessler Invisible Ghost, Joseph H. Lewis, [iv. Portrait of Mrs. In an adjacent gallery, the visitor of this imaginary museum can contemplate the portraits of patriarchs that feature in films such as House of Strangers, Suspicion, Gilda, and Strangers on a Train. This is the exact concept of this book.
Apart from an extensive introductory essay, this museum guide comprises about a hundred entries on the artistic and cinematic aspects of these painted portraits. As in a real museum, these portraits are thematically grouped in separate picture galleries. The six galleries of this museum contain portraits of dying characters, patriarchs, matriarchs and female ancestors, ghosts, fatal women, and modern portraits respectively. Taking the fictitious for real, this book tallies with some of my earlier publications such as The Wrong House: The Architecture of Alfred Hitchcock Publishers, Rotterdam, , which was conceived as an architectural monograph containing floor plan reconstructions of a series of domestic buildings that feature in Hitchcock films.
For this, both Lisa and I owe Koen our deepest gratitude. We also owe thanks to various other individuals and institutions. This book is the result of a research project focusing on the cinematic representations of artworks at the School of Arts of University College Ghent, Belgium. We are grateful for the support of this institution, which made the publication of this volume possible. We also benefited greatly from the help offered by several film librarians and archivists.
In particular, our gratitude goes to. Other parts were published as an article in a theme issue on art and film of the Canadian film studies journal Cineaction in the fall We thank editor Susan Morison for her valuable remarks.
Some of the ideas of this book also developed at conference panels or seminars such as a session on imaginary artists at the Association of Art Historians Conference in Warwick in and at the Summer Film Seminar organized by VDFC in Antwerp. We like to thank chairs, co-presenters, audience members, colleagues, and students for their critical remarks.
We also thank MER. Publishers, who were immediately in favor of the museum guide format used in this book. Special thanks go to Susan Felleman University of South Carolina , who accepted to co-supervise the research project as well as research assistant Vito Adriaensens, who contributed to this project with numerous valuable remarks and editorial assistance. Steven Jacobs August In addition, there seems to be no symbolical correlation between the painting and the characters or the situation — a kind of relation that is often evoked in film scenes showing paintings, particularly those containing religious imagery.
Hitchcock himself, for instance, used this symbolical dimension of paintings in The Wrong Man and Psycho In The Wrong Man, a picture of Christ as the Sacred Heart becomes invested with a strong sense of psychic closeness when the protagonist prays to it at a significant moment in the story. In Cat People Jacques Tourneur, , the apartment of Irena Simone Simon is decorated with artworks representing cats, including a little statue of King John of Serbia on horseback, who is piercing cats with his sword.
The explanation for this 1 2. Erik S. Lunde and Douglas A. Fuller eds.
I. “So That’s Just One Of My Losses”
This differentiation had become highly popular in the United States in the late nineteenth and early twentieth centuries,ve possibilities of This differentiation between pictorial and photographic portraits is striking particularly when we take into account that, from a perspective outside the diegesis, many painted portraits featured in these films were actually retouched photographs. The famous portrait in Laura, for instance, was an enlarged photograph that was lightly brushed with paint to give it the appearance of an oil painting.
Instead of being based on pictorial qualities, the hypnotic powers of these painted portraits of the characters depend on photographic techniques and skills apart from the cinematic ones mentioned above. However, this hybrid combination of pictorial and photographic techniques was already an established convention in the history of portrait painting since the nineteenth century.
With the advent of photography, particularly in the United States many run-of-the-mill portrait-painting studios changed over to using the camera or actually painted in oils on top of photographs. In most films, however, the fictitious artist is unknown and even irrelevant to the story, which focuses on the relation between the painted portrait and its owners or beholders. Nonetheless, noir crime thrillers and melodramas are inhabited by quite a collection of artist characters. Films such as Bluebeard Edgar G. The following pages make up a museum catalogue comprising entries on about a hundred painted portraits that feature in noir thrillers, gothic melodramas, and supernatural ghost stories of the s and the s.
As is the case in every museum, the paintings are grouped in different rooms. This museum consists of six galleries. Some of them are dedicated to portraits of specific character types such as I dying characters, II patriarchs, III matriarchs and female ancestors, and IV ghost-like figures. The largest gallery V shows fatal portraits of desirable women. Self-evidently, as in all museums, the organization of the galleries is to a certain extent arbitrary; several works could be put on display in another room.
However, in each of the introductions to the galleries, we explain our choices and make explicit some of the interrelations between the exhibits. In short, it tells the story of the portrait before it became part of this museum collection. As in every common art gallery, this museum holds famous masterpieces as well as lesser-known or less interesting works.
This is reflected in the varying size of the catalogue entries. Longer entries, such as those dealing with the portraits in Laura Otto Preminger, , Scarlet Street Fritz Lang, , or Vertigo Alfred Hitchcock, , for instance, deal with the highlights of this museum, which are usually paintings that can be considered as principal characters in the films in which they feature. In addition, over the years, these paintings have also attracted much critical and scholarly attention, often becoming important topics in film theory.
In , Albert Lewin, a director with highbrow affectations, adapted the novel for the screen for MGM. The story about a painting that ages instead of its sitter prefigures the endless variations on the portrait as a harbinger of death. When the protagonist Ronald Colman is faced with his portrait, he is not only confronted with his downfall but also with his mortality. This is also the case in Mr. Skeffington Vincent Sherman, and Sunset Boulevard Billy Wilder, , in which portraits function as a memento of the lost beauty and youth of the female protagonists and as a shrine to their socialite identities.
Hallward was very secretive about the portrait when he had finished it. He did not have any ambition to exhibit it and was reluctant to show it to visitors. One night, Dorian noticed that a touch of cruelty had materialized in the mouth of his painted face. From then onward, Dorian refused to have anyone look at his portrait, even when his close friend Basil Hallward eventually decided that he wanted to. It depicts Dorian Gray in a well-tailored suit standing next to a table that displays a black Egyptian statuette of a cat. When Dorian posed for Hallward, it seemed as.
He also moved the life-size portrait from the central room of his luxurious mansion, where it had stood among other objects of his extensive art collection, to his old study in the attic, which had been unused for years.
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Dorian would only show the dreadfully altered portrait to Basil Hallward decades later. The artist hardly recognized his painting and thought it to be beyond nature and reason. For fear of the artist revealing his secret, Dorian killed him in front of the hideous picture. After the murder, the hands in the portrait became marked with bloodstains. Later, in an effort to undo the spell, Dorian attempted to destroy the picture. As he planted his knife into the heart of the portrait, his own body in fact took the blow.
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Dorian took his own life trying to destroy the portrait.