Art and the Historical Film: Between Realism and the Sublime

Half Title
Title Page
Copyright Page
Dedication
Contents
Figures
Acknowledgments
Introduction: Visual Storytelling and Filming the Historical Past
	The Historical Film
	“Visioning the Past”—New Research on History Painting
	The Films Chosen for This Analysis
Chapter 1: Realism and the Sublime in Cinema and Painting
	Realism: Accuracy, Authenticity, and Anachronism
	The Sublime
	History Painting and the Historical Film
	Loutherbourg: The Realistic Sublime
	Bryullov: The Empathetic Sublime
	Cole: The Apocalyptic Sublime
	Gérôme: The Spectacular Sublime
Chapter 2: Meek’s Cutoff: Realism and the Sublime in the Historical Film
	Realism and the Sublime in Meek’s Cutoff
	Landscape and the Sublime
	Accuracy, Authenticity, and Anachronism: Realism and History
Chapter 3: Girl with a Pearl Earring: Realism, Representation, and the Dutch Golden Age
	Making the “Real”
	Looking and Seeing
	Eroticism of the Everyday
	Film as Art History
Chapter 4: The Baader Meinhof Complex: “Journalism” as “Art”
	The Baader Meinhof Complex and Journalism
	Realism and Authenticity
	Visual Rhetoric and Narrative Structure
	The Inventio, or the Process of Developing and Refining the Argument
	The Dispositio, or Arrangement
	The Elocutio: Visual Style
	History as Thriller, Thriller as History
Chapter 5: Roel Reiné’s Admiral: Grand Narratives and the Spectacle
	National History, the “Nationalist Historical Film,” and Nation Building
	Epic Scale and the Grand Manner
	Past into Present
Chapter 6: Belle: Slavery, Race, and the Portrait
	Portraiture, Politics, and Identity
	Authenticity, History, and Realism
	Painting Embodied
Chapter 7: al-Mumya’ (The Night of Counting the Years): Time and History
	Time and History
	Ancient and Modern in Egyptian Cinema
	Shadi Abdel Salam’s al-Mumya’
	Realism, the Sublime, and the Anachronism
Chapter 8: Conclusion
Bibliography
Index