By Saige Walton

In Cinema’s Baroque Flesh, Saige Walton attracts at the philosophy of Maurice Merleau-Ponty to argue for a unique aesthetic classification of movie and a different cinema of the senses: baroque cinema. Combining media archaeological paintings with artwork historical past, phenomenology, and picture reviews, the publication deals shut analyses of various historical baroque works of art and flicks, together with Caché, Strange Days, the movies of Buster Keaton, and plenty of extra. Walton pursues formerly unexplored connections among movie, the baroque, and the physique, starting up new avenues of embodied movie idea that may make room for constitution, signification, and suggestion, in addition to the aesthetics of sensation.
 

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88). In the rear of the painting, Velázquez’s use of perspective renders an open door, a corridor, and a flight of stairs visible.  256). Although it is not certain whether Nieto is about to enter the room, his presence draws no attention from any of the painted figures and his own look is also directed outwards.  256). Despite its array of human figures, it is the luminous rectangle on the left of the far walls that catches the eye—drawing our attention towards a distant mirror. This mirror reflects the image of the Spanish king and queen, standing beneath a red drapery.

In the rear of the painting, Velázquez’s use of perspective renders an open door, a corridor, and a flight of stairs visible.  256). Although it is not certain whether Nieto is about to enter the room, his presence draws no attention from any of the painted figures and his own look is also directed outwards.  256). Despite its array of human figures, it is the luminous rectangle on the left of the far walls that catches the eye—drawing our attention towards a distant mirror. This mirror reflects the image of the Spanish king and queen, standing beneath a red drapery.

The machine of multiple mirrors that is said to have belonged to the great polymath Athanasius Kircher, for example, is said to have contained a portrait of Pope Alexander VII at its centre.  125–126).  8). Given that the baroque has been associated with a rampant and manic desire to see, is it any wonder that Barthes synopsizes the baroque as the ‘art of the thing seen’?  65). An overt fascination with vision is also staged within the space of baroque representation. That fascination persists in baroque cinema, as we will later discover.

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