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KŘEST KNIHY: Umělecká díla a jejich role ve filmu Scarface - Jiří Procházka
THE BAPTIST OF THE BOOK: Works of art and their role in the movie Scarface - Jiří Procházka
Event by: Jiří Procházka
Location: PageFive, Veverkova 5, Praha 7
Talks & discussions
About event
The text maps the appearance of works of art in the film Scarface/Scarface, directed by Brian De Palma from 1983, their role, meaning and context within the framework of artistic direction
and trend at that time. Through individual locations and characters, the film presents several unidentified works, whose visual connotations, however, are closely related to the current trend
and happenings within the practice of contemporary art. The boundaries between set design, a work of art or its imitation are disappearing, and over time no longer available sources do not allow a specific determination of origin in all cases. However, the role of the works themselves in the film is different, independent of the technicalities of the individual artifacts or their authorial origin. Within the text, I describe how the film works with the use of works of art as a backdrop, a tool for describing specific characters or moods, the bearer of the central color of the film or a widely used appropriation.
The text is divided into three main chapters: The House of Frank Lopez, The House of Montana's Mother and Lopez Motors. The image portion was captured for research purposes via screenshots and all rights are reserved by Universal.
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The text traces the appearance of artworks in Brian De Palma's 1983 film Scarface, their role, significance and context within the artistic movement of the time
as well as the trend. Through individual locations and characters, the film introduces several unidentified works whose visual connotations, however, are closely related to the trend
of that time and developments within contemporary art. The boundaries between set design, artwork or imitation disappear, and in all cases the sources no longer available over time
do not allow a specific determination of origin. However, the role of the works themselves
in film is different, independent of the technicalities of the individual works or their origin. Within the text I describe how the film works with the use of works of art as a backdrop,
a tool for describing given characters or moods, a vehicle for the film's central color,
or a widely used appropriation .
The text is divided into three main chapters: Frank Lopez's House, Montana Mother's House, and Lopez Motors. The pictorial section was captured via screen shots for the purposes
of examination and all rights are reserved to Universal.
and trend at that time. Through individual locations and characters, the film presents several unidentified works, whose visual connotations, however, are closely related to the current trend
and happenings within the practice of contemporary art. The boundaries between set design, a work of art or its imitation are disappearing, and over time no longer available sources do not allow a specific determination of origin in all cases. However, the role of the works themselves in the film is different, independent of the technicalities of the individual artifacts or their authorial origin. Within the text, I describe how the film works with the use of works of art as a backdrop, a tool for describing specific characters or moods, the bearer of the central color of the film or a widely used appropriation.
The text is divided into three main chapters: The House of Frank Lopez, The House of Montana's Mother and Lopez Motors. The image portion was captured for research purposes via screenshots and all rights are reserved by Universal.
_
The text traces the appearance of artworks in Brian De Palma's 1983 film Scarface, their role, significance and context within the artistic movement of the time
as well as the trend. Through individual locations and characters, the film introduces several unidentified works whose visual connotations, however, are closely related to the trend
of that time and developments within contemporary art. The boundaries between set design, artwork or imitation disappear, and in all cases the sources no longer available over time
do not allow a specific determination of origin. However, the role of the works themselves
in film is different, independent of the technicalities of the individual works or their origin. Within the text I describe how the film works with the use of works of art as a backdrop,
a tool for describing given characters or moods, a vehicle for the film's central color,
or a widely used appropriation .
The text is divided into three main chapters: Frank Lopez's House, Montana Mother's House, and Lopez Motors. The pictorial section was captured via screen shots for the purposes
of examination and all rights are reserved to Universal.