Download (12MB) - University of Salford Institutional Repository
Download (12MB) - University of Salford Institutional Repository Download (12MB) - University of Salford Institutional Repository
the hues are kept in the same tone by the use of appropriate filters, the intention being to merge the light touch of Humanistic art with the brightness of Impressionism. The filters make the hues vibrant during the day - and the effect is particularly vivid in the scene where Lucy, filmed frontally, cycles along a path which is flanked by trees curving almost to the ground and forming a stunning natural arc. Within sunsets the use of colour is dramatic, and is particularly impressive within the theatrical mise-en-scene of the party at Niccolo's 18 th century villa, where side lighting is used to create a stylized effect and to evoke the atmosphere of a Bacchanalia. This colour and lighting strategy evokes the scheme deployed in The Sheltering Sky as it succeeds in temporarily privileging an affective, sensual engagement with the film over cognitive or intellectual activity, enchanting viewers with the aesthetic beauty of the locations and mises-en-scene. Conveying meaning through film style The colour motifs that emerge through the careful combination of setting, lighting, and costume create a sense of elegant continuity, and ensure consistency in the film's visual style. But the colour motifs' function goes beyond style as it marks the contrast between the harmony implied by the film s aesthetic perspective and the discomfort implied by its social perspective. In this respect, another valuable outcome from the use of this visual technique is its contribution in creating the artistic effect of still life paintings, as Bertolucci seems to use this technique as a metaphor to represent the characters as fixed in a lifestyle that has lost its original authenticity, just as still life itself has lost its vital lymph. Lucy awakens their consciences, this being evoked in the early sequence of her arrival at the Graysons' home. Everything inside and outside the house is presented as still and immersed in silence as everyone sleeps. Lucy gently awakens Diane, who loudly announces her arrival to lan who is sleeping indoors; then, gradually, the whole house stirs into life, hi thematic terms, many characters - stirred by the issues brought to light by Lucy's arrival - will find aspects of their 308
life revitalized. Diane rediscovers the erotic side of a marriage overwhelmed by daily routine; lan's creativity is reinvigorated; Miranda becomes true to herself again; Noemi experiences love for a younger, more sensitive man, after years of cynically evaluating the love affairs of others, whereas Alex tastes for one last time the joy of human interaction. In this light, the colour motif appears designed both to generate an aesthetic experience so intense that viewers at times feel enchanted by the harmonious beauty, and also to emphasize the descriptive quality of the narrative, which centres not on an ongoing plot but on the process of attaining awareness about the existential limits caused by the ways in which contemporary relationships are established. Conclusion The stylistic techniques used by Bertolucci in Stealing Beauty allow him to connect the affective and intellectual threads of the film to give viewers a dual experience of similar intensities. Viewers experience the vivid fascination of actually being at the Graysons' home as invisible guests and, at the same time, viewers are made constantly aware of the social discourse that is being explored. However, the film's visual approach to Lucy VLiv Tyler's face and body - with the repeated close-ups and extreme close-ups of her mouth, eyes, breast, and legs often not being attached to a character's point of view - can be perceived as a contradiction of the critical perspective of voyeurism implied by the narrative, because the shots are ultimately experienced as a further objectification of the actress's beautiful features. In addition, the film s narrative is markedly unconfrontational, as Lucy does not question Carlo Lisca's values, simply acknowledges Niccolo's calculating nature, and even agrees with lan that the fact that he is her real father should be kept secret. This underplayed approach possibly prevents viewers from developing a pro-attitude towards Lucy's character and situation, as she appears detached from the other characters and their circumstances. Consequently these factors ensure that the themes that this chapter has identified in Stealing 309
- Page 261 and 262: Piccolo Buddha /Little Buddha: A Jo
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- Page 287 and 288: illusion. In search of new scandals
- Page 289 and 290: That this sequence was written, pro
- Page 291 and 292: of Caterina discovering Joe's drug
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- Page 295 and 296: was considered to be Bertolucci's r
- Page 297 and 298: Hope, W. (2006) Giuseppe Tornatore,
- Page 299 and 300: of their 'elder sisters'. In a broa
- Page 301 and 302: she slowly changes position. Both s
- Page 303 and 304: evolve (M. Smith, 1995: 84-85). The
- Page 305 and 306: any allegiance towards the characte
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- Page 311: striking garden whose colours natur
- Page 315 and 316: L 'assedio I Besieged: A Cognitive
- Page 317 and 318: on the dusty road, while the priest
- Page 319 and 320: elongings, and his silent, secretiv
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- Page 323 and 324: other' as opposed to the individual
- Page 325 and 326: (Loshitsky, 2010: 90-93) via argume
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- Page 333 and 334: CONCLUSION This project's aim has b
- Page 335 and 336: had much to teach him, and his reso
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- Page 339 and 340: within Italian cinema has not been
- Page 341 and 342: Oneiric: The depiction of dream-lik
- Page 343 and 344: Bertolucci, B. (2002) 'Bertolucci i
- Page 345 and 346: Grodal, T. (1999) 'Emotions, Cognit
- Page 347 and 348: Orwell, G. (1949) Nineteen Eighty-F
- Page 349 and 350: Willett, J. (ed.) (1992) Brecht on
- Page 351 and 352: Cinematography: Giovanni Narzisi; P
- Page 353 and 354: Editing: Gabriella Cristiani; Music
- Page 355 and 356: SELECT FILMOGRAPHY A bout de souffl
- Page 357 and 358: Rashomon, Akira Kurosawa, 1951. Rat
life revitalized. Diane rediscovers the erotic side <strong>of</strong> a marriage overwhelmed by daily routine;<br />
lan's creativity is reinvigorated; Miranda becomes true to herself again; Noemi experiences<br />
love for a younger, more sensitive man, after years <strong>of</strong> cynically evaluating the love affairs <strong>of</strong><br />
others, whereas Alex tastes for one last time the joy <strong>of</strong> human interaction. In this light, the<br />
colour motif appears designed both to generate an aesthetic experience so intense that<br />
viewers at times feel enchanted by the harmonious beauty, and also to emphasize the<br />
descriptive quality <strong>of</strong> the narrative, which centres not on an ongoing plot but on the process<br />
<strong>of</strong> attaining awareness about the existential limits caused by the ways in which contemporary<br />
relationships are established.<br />
Conclusion<br />
The stylistic techniques used by Bertolucci in Stealing Beauty allow him to connect the<br />
affective and intellectual threads <strong>of</strong> the film to give viewers a dual experience <strong>of</strong> similar<br />
intensities. Viewers experience the vivid fascination <strong>of</strong> actually being at the Graysons' home<br />
as invisible guests and, at the same time, viewers are made constantly aware <strong>of</strong> the social<br />
discourse that is being explored. However, the film's visual approach to Lucy VLiv Tyler's<br />
face and body - with the repeated close-ups and extreme close-ups <strong>of</strong> her mouth, eyes, breast,<br />
and legs <strong>of</strong>ten not being attached to a character's point <strong>of</strong> view - can be perceived as a<br />
contradiction <strong>of</strong> the critical perspective <strong>of</strong> voyeurism implied by the narrative, because the<br />
shots are ultimately experienced as a further objectification <strong>of</strong> the actress's beautiful features.<br />
In addition, the film s narrative is markedly unconfrontational, as Lucy does not question<br />
Carlo Lisca's values, simply acknowledges Niccolo's calculating nature, and even agrees<br />
with lan that the fact that he is her real father should be kept secret. This underplayed<br />
approach possibly prevents viewers from developing a pro-attitude towards Lucy's character<br />
and situation, as she appears detached from the other characters and their circumstances.<br />
Consequently these factors ensure that the themes that this chapter has identified in Stealing<br />
309
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