Pretty: Film and the Decorative Image (Film and Culture Series)

Rosalind Galt


Film tradition frequently rejects visually wealthy photos, treating simplicity, austerity, or maybe ugliness because the extra provocative, political, and actually cinematic selection. Cinema could problem conventional principles of artwork, yet its competition to the ornamental represents a long-standing Western aesthetic bias opposed to female cosmetics, Oriental effeminacy, and primitive decoration. Inheriting this patriarchal, colonial perspective—which treats ornamental variety as international or sexually perverse—filmmakers, critics, and theorists have frequently denigrated colourful, picturesque, and richly patterned visions in cinema.

Condemning the exclusion of the "pretty" from masculine movie tradition, Rosalind Galt reevaluates acquired principles concerning the ornamental impulse from early movie feedback to classical and postclassical movie thought. the beautiful embodies lush visuality, dense mise-en-scène, painterly framing, and arabesque digital camera movements-styles more and more important to global cinema. From ecu artwork cinema to the flicks of Wong Kar-wai and Santosh Sivan, from the experimental motion pictures of Derek Jarman to the preferred pleasures of Moulin Rouge!, the beautiful is a crucial part of modern cinema, speaking specified sexual and political identities. Inverting the good judgment of anti-pretty idea, Galt firmly establishes the ornamental picture as a queer aesthetic, uniquely in a position to determine cinema's perverse pleasures and cross-cultural encounters. growing her personal severe tapestry from views in paintings concept, movie thought, and philosophy, Galt reclaims prettiness as a notably transgressive variety, shimmering with threads of political agency.

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