%0 Journal Article
%T Leonora Carrington on and off Screen: Intertextual and Intermedial Connections between the Artist¡¯s Creative Practice and the Medium of Film
%J Arts | An Open Access Journal from MDPI
%D 2019
%R https://doi.org/10.3390/arts8010011
%X 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¡ª There Are No Thieves in This Village (Alberto Isaac 1964) and A Pure Soul (Juan Ib¨¢£¿ez 1965)¡ªwhich mark her creative collaborations with Surrealist filmmaker Luis Bu£¿uel and Magic Realists Gabriel Garc¨ªa M¨¢rquez 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 L¨®pez 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-Tex
%U https://www.mdpi.com/2076-0752/8/1/11