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dc.contributor.advisor Dillon, Diane
dc.creatorRogers, Molly Paule
dc.date.accessioned 2009-06-04T06:41:20Z
dc.date.available 2009-06-04T06:41:20Z
dc.date.issued 1995
dc.identifier.urihttps://hdl.handle.net/1911/17044
dc.description.abstract The English painter Francis Bacon had a specific interest in the cinema. From this interest, though not independent of his other artistic concerns, arises two aspects of Bacon's images that relate to the cinematic medium: the sense of movement that the paintings engender, and the strong affect that they have on spectators. Bacon conceived of his images cinematically, that is, in series, and employed the technique of Eisensteinian montage with each panel of his triptychs functioning as a shot. Further, the spectator experiences Bacon's imagery both as presenting and representing movement, a condition of all cinema, and in a deeply affective manner, characteristic of certain film images such as the close-up. In short, Bacon's paintings are experienced phenomenologically in a manner similar to motion pictures.
dc.format.extent 100 p.
dc.format.mimetype application/pdf
dc.language.iso eng
dc.subjectArt history
dc.title Moving pictures: Francis Bacon and the movement-image
dc.type.genre Thesis
dc.type.material Text
thesis.degree.department Art and Art History
thesis.degree.discipline Humanities
thesis.degree.grantor Rice University
thesis.degree.level Masters
thesis.degree.name Master of Arts
dc.identifier.citation Rogers, Molly Paule. "Moving pictures: Francis Bacon and the movement-image." (1995) Master’s Thesis, Rice University. https://hdl.handle.net/1911/17044.


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