Lebende Bilder in Pasolinis La Ricotta
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Studienarbeit aus dem Jahr 2009 im Fachbereich Kunst - Fotografie und Film, Note: 1,0, Friedrich-Schiller-Universit t Jena (Kunsthistorisches Seminar), Veranstaltung: Lebende Bilder, Sprache: Deutsch, Abstract: Es ist schon eine sch ne Besch ftigung sein Wochenende in einer Ausstellung alter Meister zu verbringen. Ganz so wie es immer gepredigt wird, wirken Gem lde in Natura tats chlich ganz anders als ihre Kopien in B chern. Man erkennt die reale Gr e, die realen Farben und mit etwas Gl ck sogar die Pinself hrung des K nstlers. Das ganze Kunstwerk wird viel realer. Es gibt aber noch eine Steigerung des Wirklichkeitscharakters von Bildern in Tableaux vivants - Lebenden Bildern. Dabei wird das Bild aus seiner Zweidimensionalit t gerissen und schreitet mit Hilfe von lebendigen Personen tats chlich in die Wirklichkeit. Gem lde werden m glichst detailgetreu und bewegungslos nachgestellt. Besonders in der Goethezeit war dieser Zeitvertreib sehr beliebt. Sch nheit und Anmut sollten vermittelt werden, und die Grenzen zwischen betrachtendem Subjekt und betrachtetem Objekt wurden spielerisch verwischt. Wieso aber greift ein Filmemacher des zwanzigsten Jahrhunderts auf die Darstellung lebender, aber trotzdem statischer, Bilder inmitten eines bewegten Filmes zur ck? Eben das tat Pasolini 1963 in seinem dritten Film La Ricotta. Dreimal wird der schwarz-wei e Handlungsverlauf von cholorierten, statischen Bildern, die einen sehr starken Kontrast zum restlichen Film darstellen, unterbrochen. Steht auch hier die Darstellung des Sch nen im Vordergrund oder handelt es sich nur um Effekthascherei, um Farbtupfer in farbloser Umgebung? Diese Hausarbeit stellt sich der Frage nach der Funktion der lebenden Bilder in La Ricotta. Daf r werden zun chst einige allgemeine Anmerkungen zum Thema Tableaux vivants gemacht, bevor nach Blick auf die Vorbilder des Regisseurs Pasolini ein Versuch erfolgt die Stellung und Funktion der lebenden Bilder im vorliegenden Film zu verstehen.
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