Angela Dalle Vacche is Associate Professor of Art History and teaches in the film studies program at Yale University. She is the author of The Body in the Mirror: Shapes of History in Italian Cinema.

• List of IllustrationsAcknowledgmentsIntroduction. A Thematic and Intertextual ApproachChapter 1. Vincente Minnelli's An American in Paris: Painting as Psychic UpheavalChapter 2. Michelangelo Antomom's Red Desert: Painting as Ventriloquism and Color as MovementChapter 3. Eric Rohmer's The Marquise of O: Painting Thoughts, Listening to ImagesChapter 4. Jean-Luc Godard's Pierrot le Fou: Cinema as Collage against PaintingChapter 5. Andrei Tarkovsky's Andrei Rublev: Cinema as the Restoration of Icon PaintingChapter 6. F. W Murnau's Nosferatu: Romantic Painting as Horror and Desire in Expressionist CinemaChapter 7. Kenji Mizoguchi's Five Women around Utamaro: Film between Woodblock Printing and TattooingChapter 8. Alain Cavalier's ThÉrÈse: Still Life and the Close-Up as Feminine SpaceNotesBibliographyIndex

In this ground-breaking study, the author shows how eight films variously define painting as an art. . . . For all the wide range of art references, the readings of the films are rigorous and sensitive as film criticism. This art historian knows film. (Choice)

Angela Dalle Vacche is Associate Professor of Art History and teaches in the film studies program at Yale University. She is the author of The Body in the Mirror: Shapes of History in Italian Cinema.

• List of IllustrationsAcknowledgmentsIntroduction. A Thematic and Intertextual ApproachChapter 1. Vincente Minnelli's An American in Paris: Painting as Psychic UpheavalChapter 2. Michelangelo Antomom's Red Desert: Painting as Ventriloquism and Color as MovementChapter 3. Eric Rohmer's The Marquise of O: Painting Thoughts, Listening to ImagesChapter 4. Jean-Luc Godard's Pierrot le Fou: Cinema as Collage against PaintingChapter 5. Andrei Tarkovsky's Andrei Rublev: Cinema as the Restoration of Icon PaintingChapter 6. F. W Murnau's Nosferatu: Romantic Painting as Horror and Desire in Expressionist CinemaChapter 7. Kenji Mizoguchi's Five Women around Utamaro: Film between Woodblock Printing and TattooingChapter 8. Alain Cavalier's ThÉrÈse: Still Life and the Close-Up as Feminine SpaceNotesBibliographyIndex

In this ground-breaking study, the author shows how eight films variously define painting as an art. . . . For all the wide range of art references, the readings of the films are rigorous and sensitive as film criticism. This art historian knows film. (Choice)

Angela Dalle Vacche is Associate Professor of Art History and teaches in the film studies program at Yale University. She is the author of The Body in the Mirror: Shapes of History in Italian Cinema.

• List of IllustrationsAcknowledgmentsIntroduction. A Thematic and Intertextual ApproachChapter 1. Vincente Minnelli's An American in Paris: Painting as Psychic UpheavalChapter 2. Michelangelo Antomom's Red Desert: Painting as Ventriloquism and Color as MovementChapter 3. Eric Rohmer's The Marquise of O: Painting Thoughts, Listening to ImagesChapter 4. Jean-Luc Godard's Pierrot le Fou: Cinema as Collage against PaintingChapter 5. Andrei Tarkovsky's Andrei Rublev: Cinema as the Restoration of Icon PaintingChapter 6. F. W Murnau's Nosferatu: Romantic Painting as Horror and Desire in Expressionist CinemaChapter 7. Kenji Mizoguchi's Five Women around Utamaro: Film between Woodblock Printing and TattooingChapter 8. Alain Cavalier's ThÉrÈse: Still Life and the Close-Up as Feminine SpaceNotesBibliographyIndex

In this ground-breaking study, the author shows how eight films variously define painting as an art. . . . For all the wide range of art references, the readings of the films are rigorous and sensitive as film criticism. This art historian knows film. (Choice)