Face and mask : a double history
著者
書誌事項
Face and mask : a double history
Princeton University Press, c2017
- タイトル別名
-
Faces : eine Geschichte des Gesichts
大学図書館所蔵 全7件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Originally published: München : C.H. Beck , c2013
Includes bibliographical references (p. 263-266) and index
内容説明・目次
内容説明
A cultural history of the face in Western art, ranging from portraiture in painting and photography to film, theater, and mass media This fascinating book presents the first cultural history and anthropology of the face across centuries, continents, and media. Ranging from funerary masks and masks in drama to the figural work of contemporary artists including Cindy Sherman and Nam June Paik, renowned art historian Hans Belting emphasizes that while the face plays a critical role in human communication, it defies attempts at visual representation. Belting divides his book into three parts: faces as masks of the self, portraiture as a constantly evolving mask in Western culture, and the fate of the face in the age of mass media. Referencing a vast array of sources, Belting's insights draw on art history, philosophy, theories of visual culture, and cognitive science. He demonstrates that Western efforts to portray the face have repeatedly failed, even with the developments of new media such as photography and film, which promise ever-greater degrees of verisimilitude.
In spite of sitting at the heart of human expression, the face resists possession, and creative endeavors to capture it inevitably result in masks--hollow signifiers of the humanity they're meant to embody. From creations by Van Eyck and August Sander to works by Francis Bacon, Ingmar Bergman, and Chuck Close, Face and Mask takes a remarkable look at how, through the centuries, the physical visage has inspired and evaded artistic interpretation.
目次
Introduction: Defining the Subject 1 I Face and Mask: Changing Views 1 Facial Expression, Masks of the Self, and Roles of the Face 17 2 The Cult Origin of the Mask 32 3 Masks in Colonial Museums 42 4 Face and Mask in the Theater 48 5 From the Study of the Face to Brain Research 63 6 Nostalgia for the Face and the Death Mask in Modernity 77 7 Eulogy for the Face: Rilke and Artaud 84 II Portrait and Mask: The Face as Representation 8 The European Portrait as Mask 91 9 Face and Skull: Two Opposing Views 106 10 The "Real Face" of the Icon and the "Similar Face" 118 11 The Record of Memory and the Speech Act of the Face 126 12 Rembrandt's Self-Portraiture: Revolt against the Mask 135 13 Silent Screams in the Glass Case: The Face Set Free 150 14 Photography and Mask: Jorge Molder's Own Alien Face 157 III Media and Masks: The Production of Faces 15 The Consumption of Media Faces 175 16 Archives: Controlling the Faces of the Crowd 192 17 Video and Live Image: The Flight from the Mask 205 18 Ingmar Bergman and the Face in Film 211 19 Overpainting and Replicating the Face: Signs of Crisis 221 20 Mao's Face: State Icon and Pop Idol 229 21 Cyberfaces: Masks without Faces 239 Acknowledgments 247 Notes 249 Literature Cited 263 Index of Names 267
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