Cinematographic uses of Edward Hopper's work. Reclassification and complementary readings

Abstract

Conscious of the interrelationship that the artistic disciplines manifest between them, it is understandable the permeability that a field of expression such as cinema observes during its still short life cycle, assimilating influences, suggestions, languages, expression systems, textures, colors or impressions that refer to past or present moments of the History of the Art. Although we do not discover anything new by showing this syncretism between cinema and, in particular, painting, we would like to focus this proposal on the relationship established between the canvases of the American Edward Hopper (1882-1967) and cinematographic art. In fact, it is Hopper's poetics that is identified by the sensations he stimulates in the spectator, because of the tense calm that he senses where, in reality, there can be from a latent mystery to a complete banality. From these experiences the cinematographic field feeds heavily, an expert in the deception of making us see what does not exist and to hide what is before our eyes, just like many of Hopper's creations. This correlation, back and forth, known the artist's fondness for the cinema, presents, in addition, the particularity of transcending the scene of classic American cinema to arrive fresh to the XXI century, where it still remains valid in examples that we will try to dissect.