This innovative interdisciplinary study compares the uses of painting in literary texts and films. In developing a framework of four types of ekphrasis, the author argues for the expansion of the concept of ekphrasis by demonstrating its applicability as interpretive tool to films about the visual arts and artists. Analyzing selected works of art by Goya, Rembrandt, and Vermeer and their ekphrastic treatment in various texts and films, this book examines how the medium of ekphrasis affects the representation of the visual arts in order to show what the differences imply about issues such as gender roles and the function of art for the construction of a personal or social identity. Because of its highly cross-disciplinary nature, this book is of interest not only to scholars of literature and aesthetics, but also for scholars of film studies. By providing an innovative approach to discussing non-documentary films about artists, the author shows that ekphrasis is a useful tool for exploring both aesthetic concerns and ideological issues in film. This study also addresses art historians as it deals with the reception of major artists in European literature and film throughout the 20th century.

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Dr. Laura M. Sager Eidt is currently a Visiting Assistant Professor of German, Spanish, and Comparative Literature at the University of Dallas. She received her Ph.D. in Comparative Literature from the University of Texas at Austin. While her current research focuses on interrelations between literature, film, the visual arts, and music, she has also published on East and West German poetry after unification, and connections between German Expressionism and the Spanish Avant-garde.
Writing and Filming the Painting is a valuable addition to the exponentially growing area of ekphrastic studies” - Erik Martiny, in: English Studies, Vol. 94.6, October 2013 pp. 748-50
Chapter 1: Toward a Definition of Ekphrasis in Literature and Film
Chapter 2:Methodology
Chapter 3: Goya’s Sleep of Reason in Poetry, Drama and Film: Dramatizing the Artist’s Battle with his Creatures
Chapter 4: Goya’s Sleep of Reason in Lion Feuchtwanger’s Novel and Konrad Wolf’s Film Adaptation: Private or Social Demons?
Chapter 5: From Screenplay to Film: Rembrandt’s Self-Portraits and Social Identity Construction through Ekphrasis Chapter 6: Vermeer’s Women in Film and Fiction: Ekphrasis and Gendered Structures of Vision
Chapter 7: Conclusion: The Cerebral and the Affective Function of Ekphrasis
Works Cited
List of Illustrations/Image Credits
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