抄録
This essay analyzes the embodiment, collective, and hybridity in the thought process visually represented in Henri-Georges Clouzot’s Le Mystère Picasso (1956), which through lens captures the process of production of La Garoupe, a painting by Picasso and others. Although the film has reinforced Picasso-worship in postwar years, it decomposes the myth attached to the name of Picasso as the self-standing genius in three ways. First, the shooting process of the film was highly alienated and fragmented. Second, the film shows the embodied “thought” of the painting which develops irrespective of the painter’s conscious control. Finally, the painting process in the film produces conglomeration of the edited images-sounds-words, which this paper calls the “concrescent” figure.
