Edward Hopper’s cinema paintings: film palace nostalgia, usherette’s disillusionment, and bomb threats

Edward Hopper —who is known for his pictorial compositions reminiscent of film scenes and who inspired many filmmakers— went to the cinema himself very often. He also addressed cinema exteriors and interiors as a topic in some of his works. In the following, three central works on cinemas by Edward...

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Autor principal:	Rühse, Viola
Formato:	Articulo
Lenguaje:	Inglés
Publicado:	2020
Materias:	Historia del Arte Edward Hopper Film palaces Painting and cinema Usherette American art Palacios de cine Pintura y cine Acomodador Arte estadounidense
Acceso en línea:	http://sedici.unlp.edu.ar/handle/10915/108854
Aporte de:	SEDICI (UNLP) de Universidad Nacional de La Plata

id	I19-R120-10915-108854
record_format	dspace
institution	Universidad Nacional de La Plata
institution_str	I-19
repository_str	R-120
collection	SEDICI (UNLP)
language	Inglés
topic	Historia del Arte Edward Hopper Film palaces Painting and cinema Usherette American art Palacios de cine Pintura y cine Acomodador Arte estadounidense
spellingShingle	Historia del Arte Edward Hopper Film palaces Painting and cinema Usherette American art Palacios de cine Pintura y cine Acomodador Arte estadounidense Rühse, Viola Edward Hopper’s cinema paintings: film palace nostalgia, usherette’s disillusionment, and bomb threats
topic_facet	Historia del Arte Edward Hopper Film palaces Painting and cinema Usherette American art Palacios de cine Pintura y cine Acomodador Arte estadounidense
description	Edward Hopper —who is known for his pictorial compositions reminiscent of film scenes and who inspired many filmmakers— went to the cinema himself very often. He also addressed cinema exteriors and interiors as a topic in some of his works. In the following, three central works on cinemas by Edward Hopper —The Sheridan Theatre (1937), The Circle Theatre (1936), and New York Movie (1939)— whose historical context has not yet been examined in detail will be analysed. With their sophisticated compositions, they are very illustrative of cinema history in particular and American history of the 1930s in general. Hopper draws attention to contemporary urban trouble spots for unrest enhanced by cheapening strategies in the film exhibition business. He also deals with the changed cinema experiences in the 1930s and deconstructs the glamour of the job of the usherette and exposes the alienation of their work.
format	Articulo Articulo
author	Rühse, Viola
author_facet	Rühse, Viola
author_sort	Rühse, Viola
title	Edward Hopper’s cinema paintings: film palace nostalgia, usherette’s disillusionment, and bomb threats
title_short	Edward Hopper’s cinema paintings: film palace nostalgia, usherette’s disillusionment, and bomb threats
title_full	Edward Hopper’s cinema paintings: film palace nostalgia, usherette’s disillusionment, and bomb threats
title_fullStr	Edward Hopper’s cinema paintings: film palace nostalgia, usherette’s disillusionment, and bomb threats
title_full_unstemmed	Edward Hopper’s cinema paintings: film palace nostalgia, usherette’s disillusionment, and bomb threats
title_sort	edward hopper’s cinema paintings: film palace nostalgia, usherette’s disillusionment, and bomb threats
publishDate	2020
url	http://sedici.unlp.edu.ar/handle/10915/108854
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bdutipo_str	Repositorios
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Edward Hopper’s cinema paintings: film palace nostalgia, usherette’s disillusionment, and bomb threats

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