in Film modernism
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What is important in the doubling of Bacon’s paintings by Bertolucci in Last Tango is less the specific duplications in his work and their re-creation in film, than a more general practice in Bertolucci’s work at once classical and resistant to classicism. Bertolucci’s narratives turn back on themselves, are enigmatic and elliptical, sometimes obscure, often unresolved, as in Ingmar Bergman’s films, especially Bergman’s Persona where identity and doubling are central as they are in the films of Orson Welles


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