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研究生: 鄧欽月
DENG, QINYUE
論文名稱: 探討電影《無主之作》虛構中的真實
Exploring Factuality within Fictionality in the Movie Never Look Away
指導教授: 諾斯邦
Valentin Nussbaum
口試委員: 何重誼
Jean-Yves Heurtebise
辛蒂庫絲
Candida Syndikus
諾斯邦
Valentin Nussbaum
口試日期: 2024/07/31
學位類別: 碩士
Master
系所名稱: 藝術史研究所
Graduate Institute of Art History
論文出版年: 2024
畢業學年度: 112
語文別: 英文
論文頁數: 165
中文關鍵詞: 無主之作格哈德·里希特卡斯帕·大衛·弗里德里希約瑟夫·博伊斯墮落藝術展成長小說傳記片電影與繪畫真實與虛構
英文關鍵詞: Never Look Away, Gerhard Richter, Caspar David Friedrich, Joseph Beuys, “Degenerate Art” exhibition, Bildungsroman, The Biopics, Film and Painting, Factuality and Fictionality
研究方法: 個案研究法主題分析比較研究
DOI URL: http://doi.org/10.6345/NTNU202401674
論文種類: 學術論文
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  • 傳記片與真實和虛構的關係是圍繞該類型電影爭論最多的問題,由弗洛里安·亨克爾·馮·杜能斯馬克 (Florian Henckel von Donnersmarck) 執導的影片《無主之作》(Never Look Away, 2018) 也不例外。它講述了一位虛構的藝術家庫爾特·巴納特 (Kurt Barnert) 的成長經歷及早期藝術生涯的故事。很明顯其原型是基於德國當代藝術家格哈德·里希特 (Gerhard Richter),僅管導演在影片中並沒有使用這位藝術家的真實姓名。除了電影主人公及其與真實人物的聯繫被評論家廣泛討論外,影片對歷史還原的準確性也受到批評。此外,影片也被指出在本質邏輯上依賴於成長小說的模式。
    基於以上問題,本文將深入探討導演在敘事上如何依賴於里希特的生活和作品,同時參考其他藝術家如浪漫主義畫家卡斯帕·大衛·弗里德里希 (Caspar David Friedrich) 和當代雕塑兼攝影家托馬斯·德曼 (Thomas Demand),對藝術創作及其意義進行更廣泛的反思。本文還將討論影片文化史的重構問題,重點分析其中兩個片段,一個為開頭場景對1933年至1937年由納粹舉辦的墮落藝術展的回顧,另一個為1960年代杜塞爾多夫藝術學院的重塑。本文最後討論了影片本質上是如何遵循成長小說的結構以及其對傳記片重複敘事的套路問題的回應。

    The biopic’s relationship to fact and fiction is one of the most debated issues surrounding the genre and Never Look Away (2018), directed by Florian Henckel von Donnersmarck, is no exception in this regard. This film that tells the story of the life and early artistic career of the fictional artist Kurt Barnert is clearly based on the German contemporary artist Gerhard Richter (b. 1932), although the director does not use the artist’s real name in the film. In addition to the discussion of the main character and his link to the real artist, the historical accuracy of the film has been criticized. It has also been frequently pointed out that the film’s logic essentially relies on the model of the Bildungsroman.
    Based on the above issues, this thesis will further explore how the director relies on Richter's life and works in his narrative, while at the same time elaborates a more general reflection on artistic creation and its meaning, in referencing other artists such as the Romantic painter Caspar David Friedrich (1774-1840) or the contemporary sculptor and photographer Thomas Demand (b. 1964). We will also discuss the reconstruction of the film’s cultural history, which involves two sequences, one of which is the opening scene that overlaps diverse Nazi-organized “Degenerate Art” exhibitions that took place between 1933 and 1937, the other one being the reshaping of the Academy of Arts in Düsseldorf during the 1960s. The paper concludes with a discussion of how the film essentially follows the structure of the Bildungsroman and responds to the repetitive narrative trope of the biopic.

    English Abstract i 摘要 ii Table of Contents iii Introduction 1 State of Research 5 Plot Summary 10 1. Inspiration, Pastiches, References 13 1.1 Kurt Barnert: Inspiration from Gerhard Richter 13 1.1.1 The Experience 13 1.1.2 Works: Pastiches 14 1.1.3 Film Techniques and Other Shots 22 1.2 References to Other Artists 23 1.2.1 Caspar David Friedrich: Romanticism and Landscapes 23 1.2.2 Thomas Demand: Mediation and Transformation 27 1.3 The Supporting Roles 28 Summary 31 2. Reconstruction of the Cultural History 32 2.1 The Opening Scene: Reconstruction of the “Degenerate Art” Exhibition 32 2.1.1 The 1937 “Entartete Kunst” Exhibit in Munich 32 2.1.2 The Precursors to “Entartete Kunst” 33 2.1.3 Analysis of the Opening Scene 35 2.2 The Düsseldorf Art Academy Scene: Its Recreation during the 1960s 39 Summary 44 3. Tropes, Clichés, Repetitions 46 3.1 Narrative Structure: The Bildungsroman 46 3.1.1 Socialization 49 3.1.2 Education 49 3.1.3 Mentors 51 3.2 Narrative Form: Repetition 52 3.2.1 “Never look away” 52 3.2.2 “You can do this” 53 3.2.3 “Ich, ich, ich” 54 3.2.4 The Representation of the Nude 54 3.2.5 The Skull and the Skeleton 56 3.2.6 “Calligraphy” Painting and Handwriting Circle 57 3.2.7 Photographs and the Projection 59 3.2.8 Cleaning the Staircases 62 3.2.9 Bus Honking 64 Summary 64 Conclusion 66 Bibliography 69 Appendix: Illustrations 76

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