In many of D. G. Rossetti＇s paintings, Elizabeth Siddal appears as a model. In real life, they formed a married couple, and the relatonship was not as idealistic as it might have been, between a muse-figure and an ar...In many of D. G. Rossetti＇s paintings, Elizabeth Siddal appears as a model. In real life, they formed a married couple, and the relatonship was not as idealistic as it might have been, between a muse-figure and an artist. After Elizabeth＇s death, Rossetti seemed to have been preoccupied with the ＂Lilith＂ theme in his painting and poetry and somehow he could not free himself from the haunting memory of the ＂wronged wife＂, the muse. This often found manifestation in his portrayal of the ＂femme fatale＂ images. Applying psychoanalysis to art-criticism and literary appreciation, this paper is an attempt to explore the relationship between a model and an artist, which both psychologically and aesthetically, seemed to be working beyond the former＇s death. Through a detailed analysis of the ＂Lilith＂ image in D. G. Rossetti＇s art, this paper has shown the coplexities of the artist＇s agony and anxiety over the image of a muse, a homely beloved--turned into a threatening ＂femme fatale＂, now distant, unknown, frightening yet fascinating, and mystified by death.展开更多
The term film noir was coined by two French film critics Borde and Chaumenton in 1956 to describe American detective stories mode in the 1940s.Noir films were seen as a counter-cultural movement within Hollywood at th...The term film noir was coined by two French film critics Borde and Chaumenton in 1956 to describe American detective stories mode in the 1940s.Noir films were seen as a counter-cultural movement within Hollywood at that time,and the French new wave continued this feature in the 1960s.Therefore,the term noir itself connects the Frenchness and Americanness.This paper tends to map out the film noir sensibilities in French content through unfolding the characteristics of femme fatale in two French noir films Jean-Luc Godard’s A bout de souffle(Breathless)(1960)and Jean-Jacques Beineix’s Diva(1981).展开更多
文摘In many of D. G. Rossetti＇s paintings, Elizabeth Siddal appears as a model. In real life, they formed a married couple, and the relatonship was not as idealistic as it might have been, between a muse-figure and an artist. After Elizabeth＇s death, Rossetti seemed to have been preoccupied with the ＂Lilith＂ theme in his painting and poetry and somehow he could not free himself from the haunting memory of the ＂wronged wife＂, the muse. This often found manifestation in his portrayal of the ＂femme fatale＂ images. Applying psychoanalysis to art-criticism and literary appreciation, this paper is an attempt to explore the relationship between a model and an artist, which both psychologically and aesthetically, seemed to be working beyond the former＇s death. Through a detailed analysis of the ＂Lilith＂ image in D. G. Rossetti＇s art, this paper has shown the coplexities of the artist＇s agony and anxiety over the image of a muse, a homely beloved--turned into a threatening ＂femme fatale＂, now distant, unknown, frightening yet fascinating, and mystified by death.
文摘The term film noir was coined by two French film critics Borde and Chaumenton in 1956 to describe American detective stories mode in the 1940s.Noir films were seen as a counter-cultural movement within Hollywood at that time,and the French new wave continued this feature in the 1960s.Therefore,the term noir itself connects the Frenchness and Americanness.This paper tends to map out the film noir sensibilities in French content through unfolding the characteristics of femme fatale in two French noir films Jean-Luc Godard’s A bout de souffle(Breathless)(1960)and Jean-Jacques Beineix’s Diva(1981).
