The Tableau Vivant as a “Figure of Return” in Contemporary East European Cinema

Abstract

The paper analyses the re-conceptualization of the intermedial trope of the tableau vivant in recent East European cinema through several tableau vivant of a painting, the introduction of "the real into the image" (as Brigitte as images, and something that we can associate with what Mario Perniola considers the "sex appeal of the inorganic" or "the Egyptian moment in art." As such, the tableau becomes a powerful agent in generating metanarratives, offering a blueprint for a "big picture," a comprehensive vision of the world (reinforced by recurring mythological themes like the genesis or the end of the world, the loss of Paradise, etc.). tableaux vivants and to the reconstructive tendencies of contemporary post-postmodern art. 1

Video musical y nueva lógica en la ecología de los medios: extensión del formato hacia el álbum visual

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“…Meta-mediumistic, materialist strategies prevail in the cinema of the digital age. The increasingly sharper, high definition image and the immersivity of 3D technologies has resulted in a hyper-realist aesthetic, but also in a revival of the decorative, pretty image (Galt 2011) or the tableau aesthetic (Pethő 2014), but contemporary cinema also developed the opposing strategy of "poor images" (Steyerl 2009), low definition (Casetti-Somaini 2013, Balsom 2017, vague/ indefinite (Beugnet 2017), non-cinematic (Nagib 2016, Brown 2016 or the socalled precarious aesthetic (Fetveit 2015). Arild Fetveit identified the cinematic retooling of originally unwanted "symptoms of wear and tear, malfunctions characteristic of specific media as deliberate expressive devices" (2013, 189) as a new aesthetics: that of the medium-specific noise.…”