abstract
The article investigates different aspects of the relationships between cinema and the art of portraiture. Firstly, we seek to define in terms of aesthetics what could be called a cinematographic portrait, always in tension with the formal criteria and stylistic standards that historically constituted the pictorial portrait. Then we related this issue to the importance of close-up shots in the first decades of cinema, when it was assigned to the films an unprecedented role in the study of physiognomy and facial expression. Finally, we show examples of self-portraits in painting and cinema to expose the way by which self-representation problematizes the notions of subjectivity and identity upon which the classical definition of portrait was fixed.
keywords:
film; painting; portrait; face; subjectivity
