When paintings appear in the films of celebrated auteurs such as Peter Greenaway or Rainer Werner Fassbinder, critical debate tends to ask how, rather than if, the inclusion of these works impacts the broader meaning of the film as a whole. But despite the prevalence of painting in horror—from the clichéd moving-eyes-behind-the -portrait as typified … Continue reading Subversive Frames: Vermeer And Lucio Fulci’s SETTE NOTE IN NERO – Alexandra Heller-Nicholas