Next Article in Journal
Calligraphic Glass: Making Marks with Glass
Previous Article in Journal
Acknowledgement to Reviewers of Arts in 2018
Article Menu
Issue 1 (March) cover image

Export Article

Open AccessArticle

Leonora Carrington on and off Screen: Intertextual and Intermedial Connections between the Artist’s Creative Practice and the Medium of Film

Department of Media, Edge Hill University, Lancashire L39 4QP, UK
*
Author to whom correspondence should be addressed.
Received: 28 November 2018 / Revised: 29 December 2018 / Accepted: 7 January 2019 / Published: 10 January 2019
(This article belongs to the Section New Media)
Full-Text   |   PDF [290 KB, uploaded 11 January 2019]

Abstract

This article explores the under-researched intertextual and intermedial connections between Leonora Carrington’s transdisciplinary practice and the medium of film. The analysis focuses on the artist’s cameo appearances in two 1960s Mexican productions—There Are No Thieves in This Village (Alberto Isaac 1964) and A Pure Soul (Juan Ibáñez 1965)—which mark her creative collaborations with Surrealist filmmaker Luis Buñuel and Magic Realists Gabriel García Márquez and Carlos Fuentes. Carrington’s cameo roles are analyzed within a network of intertextual translations between her visual and literary works that often mix autobiographical and fictional motifs. Moreover, it is argued that Carrington’s cinematic mediations employ the recurring Surrealist tropes of anti-Catholic and anti-bourgeois satire. The article also investigates Carrington’s creative approach towards art directing and costume design, expressed in the Surrealist horror film The Mansion of Madness (Juan López Moctezuma 1973). The analysis examines the intermedial connections between Carrington’s practice of cinematic set design and her earlier experiments with theatrical scenography. Overall, this study aims to reveal undiscovered aspects of Leonora Carrington’s artistic identity and her transdisciplinary oeuvre. View Full-Text
Keywords: Leonora Carrington; surrealism; film; cameo role; art directing; There Are No Thieves in This Village; A Pure Soul; The Mansion of Madness; Luis Buñuel; Alejandro Jodorowsky Leonora Carrington; surrealism; film; cameo role; art directing; There Are No Thieves in This Village; A Pure Soul; The Mansion of Madness; Luis Buñuel; Alejandro Jodorowsky
This is an open access article distributed under the Creative Commons Attribution License which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited (CC BY 4.0).
SciFeed

Share & Cite This Article

MDPI and ACS Style

Markova, L.; Shannon, R. Leonora Carrington on and off Screen: Intertextual and Intermedial Connections between the Artist’s Creative Practice and the Medium of Film. Arts 2019, 8, 11.

Show more citation formats Show less citations formats

Note that from the first issue of 2016, MDPI journals use article numbers instead of page numbers. See further details here.

Related Articles

Article Metrics

Article Access Statistics

1

Comments

[Return to top]
Arts EISSN 2076-0752 Published by MDPI AG, Basel, Switzerland RSS E-Mail Table of Contents Alert
Back to Top