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24869.More information
Tim Burton's work has a particularly rich relationship with painting. This dialogue, between Burtonian cinema and the pictorial art, unfolds through the director’s creative dependence on the pictorial, through visual equivalences, explicit quotations, an analysis of light and color, but also around the question of the “aura” of the work. These interartistic crossings will be examined through film analysis, coupled with art history and its theorization. A concept nevertheless runs through this comparative study: haptics. If films are objectively made to be seen, those of Tim Burton constantly remind us that they are, just like painting, the fruit of work, not only optical, but above all tactile. Even if the work is intended to be seen from afar, its conception was done “up close”, in a tactile relationship between creator and creation. Burtonian cinema evokes something artisanal, even “manual”: the traces of his hands are sometimes visible in the image. Spectatorially, the two counterparts of painting’s tactile temptation are cinematically embodied: the desire to touch the canvas with the finger, and the desire to touch one's subject with the gaze.
Keywords: Tim Burton, Tim Burton, cinéma, cinema, peinture, painting, haptic, haptique, tacticité, tactility
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24870.