Abstract
Chapter 2 investigates the influence of Modernist art and art theory on this highly sophisticated film artist's formal approach, which includes a rereading of Magnificent Obsession that has been deeply informed by the writings of the pioneering German Expressionist painter Wassily Kandinsky. Some mid-century American responses to Modernist art published in the popular press are also scrutinised before looking at Sirk's depiction of the other characters' reactions to the self-described "Surrealist" artist that appears in his 1951 small town musical comedy Has Anybody Seen My Gal? Finally, two texts that have previously addressed the relationship between film and painting, Brigitte Peucker's Incorporating Images: Film and the Rival Arts and Angela Dalle Vacche's Cinema and Painting: How Art is Used in Film, are considered in passing.
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