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• W2395713532 abstract "From Ovid’s Pygmalion and Galatea to American cinema in the 1970s, lifelike statues have been haunting our visual history for centuries. Kenneth Gross remarked that the idea of a statue coming to life could be bound to the opposing thought that the statue was once something living. It is precisely this tension that lies at the heart of a number of films inspired by the myth of the moving statue. This myth proved very attractive for filmmakers since cinema itself has been conceived as a medium capable of animating static images. Surrealist filmmaker Jean Cocteau, for instance, often refers in his writings to the idea that composer Modest Mussorgsky launched in the 1880s of an art that “will express itself by statues that are moving.” A highly influential group of films take their cue from a late eighteenth-century and nineteenth-century sculptural advance towards realism, namely the wax museum. This phenomenon was inherently linked with death as Madame Tussaud was praised especially for her stunning death masks of prominent victims of the guillotine, which she is said to have crafted off of the decapitated heads found in the streets. A separate space known as the Chamber of Horrors was devoted especially to the traumatized body when Tussaud set up a permanent museum in London in 1835. The wax creations’ semblance of life has unnerved visitors ever since and cinema was quick to pick up on the mysteries of the wax museum. It was Charles Spencer Belden’s short story The Wax Works that served as a blueprint for many American horror films since Mystery of the Wax Museum (Michael Curtiz, 1933). This paper deals with the place and form of sculpture in several American horror films such as Mad Love (Karl Freund, 1935), A Bucket of Blood (Roger Corman, 1959), and Crucible of Terror (Ted Hooker, 1971), that incorporate both the myth of Pygmalion and the tradition of the wax museum. Featuring the recurrent character of the mad artist, these films present sculpture as an act of mortification while suppressing and stimulating desire. Playing on the tensions between flesh and wax as well as those between the static and the moving image, these films present death and sexuality as an inherent part of the sculptural process." @default.
• W2395713532 created "2016-06-24" @default.
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• W2395713532 date "2012-01-01" @default.
• W2395713532 modified "2023-09-27" @default.
• W2395713532 title "Mysteries of the Wax Museum: Eros, Thanatos and sculpture in cinema" @default.
• W2395713532 hasPublicationYear "2012" @default.
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