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Peter Greenaway

Filmmaker

1/6: Bringing a perfect replica of Milan's crumbling 510-year-old chapel wall and painting of Leonardo's Last Supper to Melbourne

films short-films
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Peter Greenaway

Filmmaker

2/6: Tell me about the sinking of the Titanic

films
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Peter Greenaway

Filmmaker

3/6: My big bugbear

films well-said
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Peter Greenaway

Filmmaker

4/6: Cutting the umbilical cord between cinema and the bookshop

films process the-business-of
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Peter Greenaway

Filmmaker

5/6: The role of the painter

films well-said
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Peter Greenaway

Filmmaker

6/6: The best seat in the house

films process

PeterGreenaway

Peter Greenaway is a visionary film maker who is internationally renowned for his original and unique films. Highly critical of cinema’s dependency on the written word, Greenaway suggests that Western culture lacks visual literacy. Applying his training as a painter to a variety of media including documentary, shorts, installations and feature films, Greenaway has developed a distinct and highly influential visual style.

His first feature film, The Draughtsman’s Contract (1982) established him internationally, but he is probably best known for his films The Cook, the Thief, his Wife & her Lover and The Pillow Book. Whilst he has been successful within the industry, he is openly critical of Hollywood’s reliance on storytelling - candidly criticising the umbilical attachment of the cinema to the bookshop.

His media installations combine technology and craftsmanship to produce active, fresh and perspectival attention from viewers. His reproduction of Da Vinci’s masterpiece The Last Supper involved a perfect, three-dimensional sculptural replica of Milan's crumbling, 510-year-old chapel wall and painting. Combined with projected images and light, Greenaway’s installation draws attention away from the centre, highlighting and manipulating the surfaces and the framing. It’s an evocative work that creates mood and ambience in a novel way.

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