Contrary to the common method of analyzing the relationship between painting and cinema, the book disclaims obvious uses of painting in cinema such as in procedures of quotations, thematic coincidences, or formal references3 . In this regard, Bonfand’s approach takes into account one of the main intuitions of Jacques Aumont’s groundbreaking book, L’oeil interminable: the rejection of any literal pictorial citation. Straight citation is a pitfall for cinema: ‘Painting sometimes becomes in the film and even in cinema in general a regressive and often unfounded mean. It is not this pictorial presence on the surface that interests me;.
