🇮🇹 LEGGI IN ITALIANO

Online Journal Title: ElectroAcoustics Magazine

Print Series Destination: Arts & Technologies (Annual Print Selection)

Classification / Category: 2026 Official Series · Film Theory & Audio-Visual Media / Film Analysis Essay

Article Identifier: Art. 2026.02.en

Publishing Model: Continuous Digital Publication · Peer-Review Selected for Print

Contribution & Peer Review Status: Keynote Paper / Scientific Directorate Essay.

Subjected to methodological rigor verification and archive peer review.

Issue #01 «Electroacustic Imperative»

Indexing & Registrations

ISSN (Online): Application in Progress

ISBN (Print): Reserved for Arts & Technologies 2027

DOI: Pre-assigned (eam.2026.02.en)

Publication Date: April 29, 2026

📥 PDF (ITA) | PDF (ENG)

Editorial and Typographical Note: To bridge European philosophical traditions with international indexing standards in bilingual contexts, Arts & Technologies / ElectroAcoustics Magazine utilizes a hybrid APA 7/Chicago Notes citation framework embedded seamlessly within footnotes. Rather than using parenthetical in-text citations, each footnote pairs the original work's chronological origin with complete translation and pagination metadata [e.g., Metz, C. (1991), ... [Eng. tr. ..., p. XX]]. Readers will also note our signature European typographic hierarchy: guillemets («...») designate core theoretical concepts and primary quotes, double quotation marks ("...") mark nested citations, and single quotes ('...') frame metaphors or scare quotes, with foreign terms uniformly italicized.

A Crisis Between Technological Superstructure and Artistic Truth: Introducing Loving Vincent. Through the use of digital rotoscoping applied to oil painting, the film transforms van Gogh’s tools into a form of «stylistic taxidermy» that sterilizes genius by reducing it to a «true crime» case. The analysis extends its critique to the receptive dimension and the electroacoustic setup of the screening at the SoundScape Park in Miami Beach, drawing a theoretical parallel with the bourgeois-inflected cinematic treatments suffered by Pier Paolo Pasolini. Ultimately, it demonstrates that the operation is not merely a failure of formal execution: by reducing van Gogh’s subversion to an entertainment commodity, the 'digital corpse' exposes the violence of a biopolitical apparatus that wants to neutralize every origin in order to render radical thought an inoffensive simulacrum.

Film Analysis: The Digital Cadaver – A Critique of Loving Vincent

Annotated Index & Reading Guide

Critical Framework and Technical-Parodic Fiche

Analyzes the semiotic and aesthetic impasse of the film Loving Vincent (2017) in an analytical fiche detailing production parameters, the model of the «Fordist assembly line» applied to oil painting, dramaturgical roles, the rotoscoping structure, and the conditions of outdoor acoustic reception at the SoundScape Park in Miami Beach.

Analytical Paragraphs And Critical Development

• Part I — The Uncanny Valley of the Digital Brush. On the technological paradox between static, inherited oil painting and digital interpolation at 24 fps; critique of «stylistic taxidermy», the loss of the original vibration, and the friction between the live-action skeletal structure of the actors (the «flash of bones») and the painted surface; examination of facial cosmetics and the para-Hollywoodian domestication of the «good ruggedness» of Van Gogh's features.

• Part II — Anatomy and Blights of the Technological «Anti-Medium». Systematic and anatomical comparison between the physics of the canvas and the mechanics of digital rendering; examination of chromatic-vectorial compression, the algorithmic planing of the oil brushstroke, and the way technological capitalism replaces authentic creation with a fallacious, high-definition simulation.

• Part III — The Narrative of Death and the Investigative Rebus: Disconnections Between Facts and Vacuum. On the transition from the clinical-psychoanalytic interpretation of genius to the true crime drift; on the reduction of the artist to a passive victim and the dramaturgical distortion entrusted to the fake detective Armand Roulin in a lemon-yellow jacket and the 'bully' René Secrétan; critical parallel with the bourgeois reduction and spectacle suffered by the life and death of Pier Paolo Pasolini; recall to the theatrical dignity of Vincent Price in the recitations of the artist's letters.

• Part IV — Electroacoustic Critique: The Soundscape Experience. Examination of the performance of the park's sound reinforcement system in «Cinema Bypass» mode; on the «audibility gap» and «urban crossover» that crush Clint Mansell's score, rendering it a «ghost soundtrack» incapable of engaging in dialogue with the visual impasto and shaping the architectural space.

• Part V — Conclusion: Not a Signature. On the fictitious letter of Johanna van Gogh-Bonger as an attempt at the historical legitimization of the Naifeh-Smith thesis; synthesis on the commercial sterilization of artistic genius and the conversion of a revolutionary legacy into a monument to his death rather than a temple for his spirit.

Appendix A: Film Antecedents, Rotoscoping, and Theoretical Frameworks

A unified conceptual framework weaving together past filmic models (from the internal exploration of Alain Resnais and Akira Kurosawa to the material realism of Maurice Pialat, Robert Altman, and the drift of Julian Schnabel) with the genealogy of painting in motion (from Max Fleischer's patent to Ralph Bakshi, up to Aleksandr Petrov and the algorithmic impasse of Bob Sabiston's Rotoshop for Richard Linklater), ultimately anchoring the reflection to the theoretical frameworks of Jean-Luc Godard's tableau vivant and André Bazin's «mummy complex».

Critical Apparatus

Includes extended figure captions, the framing fiche, and the index of illustrations, alongside an annotated bibliography articulated into five thematic sections: filmography and audiovisual works; theories of cinema, painting, and the visual apparatus; discography, scores, and soundtracks; museum sources, archives, news, and institutional resources; correlated publications in ElectroAcoustics Magazine.

Fig. 1: Armand Roulin. Comparison between the original oil portrait painted by Vincent van Gogh (1888) and its digital rotoscoping re-elaboration within the film Loving Vincent (2017). The transition from the material brushstroke to the dynamic replica highlights the phenomenon of «stylistic taxidermy» and entry into the Uncanny Valley. The origin of the film's aesthetic and narrative «software» lies at the Museum Folkwang in Essen: this institution houses the original 1888 portrait of Armand Roulin in the yellow jacket, which served as the primary aesthetic and narrative model for the film's investigation.

Editorial Note: Validated for first-draft publication on April 30, 2026, the theoretical apparatus, integration of historical-critical notes, and structure of Appendix A of this essay were finalized on September 1, 2026, reaching its definitive monographic form ahead of the scheduled print publication.

Critical Framework and Technical-Parodic Fiche

• Title: Loving Vincent (2017)

• Directorial Vision: Dorota Kobiela, Hugh Welchman

• Technological Framework: Digital Rotoscope / Oil-on-canvas interpolation (65,000 frames)

• Score: Clint Mansell (the «Ghost Soundtrack»)

• The Subject of Legacy: Vincent van Gogh (absent/interrogated)

• The Protagonist of Death: Armand Roulin (the «Detective» in the yellow jacket)

• The Historical Antagonist: René Secrétan (the source of the «Bad Story»)

• Screening Environment: SoundScape Cinema Park, Miami Beach (open-air acoustic crossover)

To witness Loving Vincent [1] at Miami Beach’s SoundScape Park is to experience a profound semiotic disconnect. While the screen attempts to dazzle with a 'mastery of copying' — reanimating Van Gogh’s brushstrokes through the labor of 125 painters — the result is not a resurrection, but a digital cadaver.

By choosing to focus exclusively on the mechanics of his death through the eyes of a fictionalized detective (Armand Roulin), the film strips the subject of his agency and his legacy. We are presented with a «flash of bones»—para-models in flesh and blood wearing a digital mask of Van Gogh’s style—while the man himself remains a 'strange, distant personality', interrogated even on his deathbed. In this crudely 'invented space', the vibrant soul of the artist is replaced by modern language anachronisms and a narrative that refuses to let him rest in peace, giving birth to a 'bad story' told poorly through the lens of digital tourism.

It is our opinion that Loving Vincent represents a dangerous intersection where a tendentious technological mastery overpowers artistic and narrative truth. By utilizing an extrapolation of Van Gogh’s own aesthetic tools — his revolutionary brushstrokes and color palettes — only to serve a narrative for which the adjective «alien» would be too noble, the film performs a sort of «stylistic taxidermy». They used his tools (the paintings) to tell a story that is not his (the death investigation): the tools of a genius to build a monument to his death rather than a temple to his spirit.

While many critics have noted the film’s descent into the Uncanny Valley [2] (the perturbing zone), we find that this term only scratches the surface. It is not merely a technical error of our perception; rather, it is the organized staging of a «flash of bones»—a moment where the spirit is evicted to make room for a purely anatomical mimicry.

Notes to the Critical Framework and Technical-Parodic Fiche

[1] See Kobiela, D., & Welchman, H. (Directors) (2017), Loving Vincent [Animated Film], UK/Poland: BreakThru Productions / Trademark Films. The open-air film screening is part of the programming of the SoundScape Cinema Series, an event promoted by the City of Miami Beach in collaboration with the New World Symphony, held regularly from October to May with weekly free-admission screenings every Wednesday (cf. City of Miami Beach, n.d., SoundScape Cinema Series: Program, Tourism and Culture Department, Miami Beach: City of Miami Beach, available at: https://www.miamibeachfl.gov/soundscape-cinema-series/; Peikert, M., 2025, This beloved outdoor movie series is back: here is the full lineup of films to catch, «Time Out Miami», October 23; Gulliksen, J., 2026, SoundScape Cinema Series: Free outdoor movies in Miami Beach, «Miami on the Cheap», September 1, available at: https://www.timeout.com/miami/news/this-beloved-outdoor-movie-series-is-back-here-is-the-full-lineup-of-films-to-catch-102325. For a comparative and systematic analysis of the programming management, the Safe Mode switching, and the electroacoustic repercussions in «Cinema Bypass» mode during the film festival, reference is made to the companion essay: Daniele, R. (2026), The Ghost in the Garden: An Electroacoustic Critique of the Miami Beach SoundScape Park, ElectroAcoustics Magazine (Continuous Digital Publication) / Arts & Technologies, Issue #01 «The Electroacoustic Imperative», Vol. 1 (Selected for Print Edition), RDM Records, 2026 Series, Art. 2026.03.en. DOI: Pre-assigned (eam.2026.03.en). Available at: https://rdmrecords.com/the-ghost-in-the-garden](https://rdmrecords.com/the-ghost-in-the-garden.

[2] The term Uncanny Valley (the perturbing zone) was coined by roboticist Masahiro Mori in 1970 to describe the sense of revulsion triggered by near-perfect human imitations (cf. Mori, M., 1970, «Bukimi no Tani» [The Uncanny Valley], Energy, 7(4), pp. 33–35 [Eng. tr. «The Uncanny Valley», trans. Karl F. MacDorman & Norri Kageki, IEEE Robotics & Automation Magazine, vol. 19, no. 2, 2012, pp. 98–100]). Mori thus draws upon the conceptual foundation of the uncanny(Unheimlich), a phenomenon first theorized by Ernst Jentsch (1906, «Zur Psychologie des Unheimlichen» [On the Psychology of the Uncanny], Psychiatrisch-Neurologische Wochenschrift, 8(22), pp. 195–198; 8(23), pp. 203–205) and subsequently formalized by Sigmund Freud (1919, «Das Unheimliche» [The Uncanny], Imago, 5(5-6), pp. 297–324), who defined it as that distressing anxiety arising when an inanimate object (an automaton, a waxwork figure, or a dynamic painting) simulates life, or when that which is familiar suddenly reveals itself as alien. In the context of Loving Vincent, this phenomenon and the aesthetic fatigue of «stylistic taxidermy» have been extensively analyzed both by Anglo-American criticism (cf. Scott, A. O., 2017, «Review: "Loving Vincent" Animates van Gogh’s Works. But to What End?», The New York Times, September 21; Mintzer, J., 2017, «"Loving Vincent": Film Review | Annecy 2017», The Hollywood Reporter, June 13) and by European and Italian film criticism and essayistics. In the Italian domain, specialized criticism has highlighted how the hybridization between live-action and painting generates a slick surface and an expressive paralysis that projects the subjects into the Uncanny Valley (cf. Masoni, T., 2017, «Loving Vincent: Il museo animato e i suoi limiti» [Loving Vincent: The Animated Museum and Its Limits], Cineforum, 57(10), pp. 45–48; Rossi, G., 2017, «La pittura congelata: "Loving Vincent" e il paradosso del rotoscopio» [Frozen Painting: "Loving Vincent" and the Paradox of Rotoscoping], Lo Sguardo Blanco, October 18). In the Francophone sphere, Cahiers du Cinéma similarly remarked on the loss of the original painterly gesture in favor of a mere mechanical simulation (cf. Malausa, V., 2017, «Loving Vincent: Le faux tableau», Cahiers du Cinéma, no. 737, p. 52).

Part I — The Uncanny Valley of the Digital Brush

The central technological paradox of Loving Vincent lies in its bold attempt to animate a support that was never meant to move: static, textured oil painting. While the film is marketed as a feat of manual labor, the final result is unequivocally and technically a victim of a «stylistic taxidermy». This would not be the case if the work had been conceived directly as digital painting; rather, the transaction from a historical style such as Van Gogh’s renders the operation not only bold but clumsy, despite the indisputable technical mastery of digital tools that remain helpless before the task that the artist masters of copying were called upon to perform: beginning with the mimicry of Van Gogh’s style, the storyboard drawings upon which the digital operation is built were commissioned.

Indeed, the «original sin» of the film is not the use of digital technology, but the forced transition (the 'relocation') of a historical soul into a synthetic and alien body: the fault lies not at all with the machine, but with the initial «commission»that transformed art into a task of copying.

There is a jarring friction between the manual work of the 125 painters and the digital interpolation used to smooth the animation. In Van Gogh’s original oeuvre, the brushstroke is the soul: it is the physical record of a specific moment of a specific man. In the film, these strokes are executed by a certain category of artists who are not creating something new but are 'mastering' a lesson (Van Gogh’s). These strokes are then subjected to digital rotoscoping (tracing over live-action footage), creating a subtle effect where the movement feels too fluid for the medium. The result is a 'mastery of copying' that lacks an origin.

Flesh, blood, and the «flash of bones»: using live actors as the underlying skeletal structure for the paintings, the filmenters the «uncanny valley». Instead of the «distortion» of Van Gogh's expressiveness, we see «blood and flesh models» wearing a digital mask of his style. The faces possess the correct proportions, but they lack the spiritual resonance of the original subjects. It is like looking at a «flash of bones» — the structural remains of a human being without their own light. One recognizes the skeletal structure of the layers of skin, which is not deep enough to sustain the truth of the first layer instead. Even if Van Gogh’s original work hummed with life, that frequency does not resonate here; it has become the physical record on the support of a person who is no longer present — the structural remains of a human being without that light of the spirit that Van Gogh fought so hard to capture. In this absence of the original spiritual resonance, the lack of a real creator — replaced by master copiers — becomes the primary model. They may have captured the physical movement (the layers of skin and bones), but they lost the originally vibration; they may have captured the remains of Van Gogh without capturing his vital force.

With the missing resonance of Van Gogh's «spirit», it must be specified that, despite talk of an admirably executed copy, in truth this is not even essentially true. At the very level of figurative execution, the alleged technical skill is constantly «smoothed over» by a certain sense of Hollywood-style costume — where the original expressive charge is bent toward a slick, polished, and domesticated rendering for the screen. All the tension, the waves, the physiognomic character, and the «good ruggedness» of the facial expressions and skin — typical of Northern Europe and Van Gogh's painting — are here rendered with this taxonomic presumption made of lines straight and clean of any flaw. What on canvas was dramatic vibration and living matter is cleaned up in the film and converted into an 'ordered' graphic perfection, where even the roughness of the faces undergoes a form of stylistic cosmetics. At times, the waves are entrusted to the continuous movement of the animation on screen, which constitutes the true substance of this technocratic operation they have called a film [3]. And let it be called Van Gogh, with all due respect, and not Vincent: for the genius was neither brother nor friend to anyone in this production, and certainly not one of them [4].

Ultimately, the film uses modern technical experience to justify and flaunt a placement of material that Van Gogh never inhabited, and which he would never have inhabited even if he had lived in a digital or copy-paste era. By forcing his style not only into the 24-frames-per-second requirements of modern cinema, but into high-quality replication and copying, the filmmakers have built a polished, digital simulation. It is a monumental achievement in automatisticcoordination, and a failure in legacy and in the true sense of making art.

Notes to Part I

[3] The relationship between Loving Vincent and the Hollywood model goes far beyond the mere adoption of «proven stylistic trademarks» or a slick aesthetic: it concerns the production structure, the logic of the cultural industry, and the operation through which an attempt is made in every way to «re-modulate» the aesthetics of art. Although Loving Vincent was publicized and perceived as an independent, artisanal, and European auteur operation (a British-Polish co-production that created the first feature film painted entirely in oil), its structural relationship with Hollywood unfolds on three fundamental levels: the «Fordist assembly-line» model applied to painting; the narrative genre structure (the procedural whodunit); and the live-action starring Hollywood actors with concealed rotoscoping. Hollywood is founded on the rational division of labor and industrial standardization. Loving Vincent borrowed precisely this technocratic logic: it enlisted over 125 painters, transforming them into worker-executors subject to a rigid protocol of visual replicability to guarantee the continuity of the figurative brand. -- For data and details on the painter selection process and assembly line, see the official production documentary and notes (Kobiela, D., & Welchman, H., 2017, Loving Vincent: The Impossible Dream, BreakThru Films, UK/Poland, BreakThru Films / Trademark Films) as well as technical archive documentation on LovingVincent.com. — Painting, which for Van Gogh was a visceral gesture, an unrepeatable uniqueness, and a neuro-psychic struggle with the canvas, is converted by Hollywood/BreakThru into a digital assembly-line workflow, where the human factor is functional only to achieving the desired asset. The Hollywood industry has always worked toward telling the story of art by reducing it to its standardized, mythological narrative structures. To make Van Gogh 'salable' to a global audience, the direction employs the structure of the classic mystery/investigative thriller — namely Orson Welles's dramaturgical model of inquiry (Welles, O., 1941, Citizen Kane, RKO), whose technical-aesthetic innovation (deep focus, unconventional low-angle framing, and non-linear temporal montage) is here reduced to a mere procedural mystery device in black-and-white flashbacks — where Armand Roulin becomes the archetypal 'detective' who goes around with a letter to deliver, interrogating witnesses and reconstructing the death through black-and-white flashbacks. Hollywood reduces the discourse on art to a mere worldly question: «Who killed him?». The film was first shot entirely in traditional live-action in London with a cast of well-known actors (Saoirse Ronan, Chris O'Dowd, Eleanor Tomlinson, Robert Gulaczyk) according to Western theatrical acting conventions (cf. LovingVincent.com – Production & Cast Notes). Subsequently, the paintings were overlaid onto the actors' faces via rotoscoping. The «Hollywood» operation lies in using painting as a digital acting mask: Van Gogh's original wrinkles, shadows, and Northern European physiognomies were «smoothed over» and adapted to the facial structures of well-known contemporary film actors. As we have seen, mainstream criticism (USA/UK) — see the reviews that appeared in publications such as The New York Times (Scott, A. O., 2017, «Review: "Loving Vincent" Animates van Gogh’s Works. But to What End?», cit.) or The Hollywood Reporter (Mintzer, J., 2017, «"Loving Vincent": Film Review | Annecy 2017», cit.)—limited itself to praising the «technical feat» or pointing out, sui generis, that the mystery narrative plot was weak or a commercial gimmick. Industry-specific European criticism (Cahiers du Cinéma, Cineforum), with Vincent Malausa in Cahiers (Malausa, V., 2017, «Loving Vincent: Le faux tableau», cit.) and Tullio Masoni in Cineforum (Masoni, T., 2017, «Loving Vincent: Il museo animato e i suoi limiti», cit.), highlighted the limit of the «animated museum» and the Uncanny Valley effect (Mori, M., 1970, «The Uncanny Valley», cit.). Such readings halted, however, at a generic observation regarding the static nature of rotoscoping or the loss of the painterly gesture. If we turn at this point to evaluate the diagnosis proposed by us of «physiognomic cosmetics» and the «stripping of good ruggedness» (supported by the visual comparison with Fig. 1), one easily realizes that the technical mastery is not even a true copy, but a domesticating of lines. The myth of "fidelity" to Van Gogh's stroke is debunked: the original painting was sterilized to meet the parameters of a standardized, consumer-oriented beauty. This is directly tied to the observed artistic failure of the film, to the loss of the original artist's ontological «frequency» and «vibration», and to the concept defined by us as «flash of bones». If one considers once more that crucial technical-aesthetic details such as the 'waves' and dynamism do not belong to the painting, but were delegated to the mechanical movement of 24 frames per second, one directly frames the mechanism by which digital capitalism and Hollywood logic replace authentic creation with a high-definition simulation.

[4] The title of the film (Loving Vincent) and its entire promotional narrative play on the false intimacy of calling the artist by his first name (Vincent), as if to suggest an empathy or an elective affinity with the painter, in line with digital cosmetics/smoothing and the bourgeois, spectacle-driven reduction of the artist.

Part II — Anatomy and Blights of the Technological «Anti-Medium» [5]

The systematic and anatomical comparison between the physics of the canvas and the mechanics of this digital rendering demonstrates, both mathematically and visually, how the computer «machine» has smoothed the original painting in order to flatten it and adapt it to the standardized canons of cinematic consumption.

• Pressure and thickness of the brushstroke (oil matter) and Pixel compression and 2D adaptation (digital flattening).

• Geometry of the original face (expressionist asymmetry and Northern European ruggedness) and Rotoscoping cosmetics (homogenizing overlay onto live-action actor features).

• Light of the oil matter (reaction to real light) and Dynamic interpolation rendering for the 24 fps frame rate.

The computer/digital «machine» interposed between the original oil painting and the final frame on screen reveals a process that is hardly multidisciplinary or multimediatic in the linguistic-philosophical sense dear to theories of the cinematic apparatus, resolving instead into a mere algorithmic automatism of interpolation (Optical Flow / Frame Interpolation). The software (through morphing plugins and motion estimation algorithms) calculates the vector «micro-passages» between one painted frame and the next: a deterministic calculation of motion vectors that cannot account for the rhythmic «jerk» and gestural discontinuity typical of the human hand, generating an unnatural, synthetic, and affected fluidity, before which even the metaphorical adjective 'oily' would prove completely inadequate, as it lacks any material substance or grain.

Consider, as an example, Figure 1 (Armand Roulin) in the reading of the analytical comparison between the original canvas and the film frame: where the materiality of the original brushstroke is alive and brings pigment thickness, directional gesture, and reaction to real light, the digital rendering responds with the flatness of chromatic compression and the surgical leveling of oil impastos.

The faces of the live actors appear literally 'stretched' by rotoscoping, which eliminates the expressionist asymmetry typical of Van Gogh. In conforming to the conventional features of the live-action actor, the treatment of physiognomies falls into the abyss of the technological «anti-medium». The prefix «anti», placed before the notion of technological medium (be it cinematic or electroacoustic), is intended here to denote the ontological reversal of téchne. If in its originary root and in the aesthetic-technological dimension of the apparatus [6] technology becomes poíesis — that is, a revealing instrument of sense and sensory substance (aísthesis) — here algorithmic automatism degrades the medium to a mere homogenizing and sterilizing filter. The «anti-medium» does not reveal reality nor does it exalt the eversive charge of the painterly gesture; rather, it purifies it, converting the visceral truth of Northern European faces into a plastic skin of cosmetic surgery, for the use and consumption of the entertainment industry.

Notes to Part II

[5] For an extended comparative and historiographical analysis of filmic precedents dedicated to Van Gogh's work, for the technical genealogy of rotoscoping (from Max Fleischer’s 1915 analog patent to digital algorithmic interpolation), and for the theoretical reference framework (tableau vivant and the André Bazin «mummy complex»), see Sections I, II, and III of Appendix A: Filmic Precedents, Rotoscoping, and Theoretical Frameworks, placed at the end of this essay. On the other hand, the thesis of the 'murderous bully' and death at the hands of René Secrétan was formulated by Steven Naifeh and Gregory White Smith, Pulitzer Prize winners, in their 2011 biography, Van Gogh: The Life. Their proposal — that Vincent was accidentally shot by a local teenager he was protecting — forms the technical basis for the theme of «social murder» (Naifeh, S., & Smith, G. W., 2011, Van Gogh: The Life, New York: Random House). The two authors hypothesize that the fatal gunshot was fired accidentally or provocatively by the sixteen-year-old René Secrétan, a young man from a wealthy family who spent the summer in Auvers-sur-Oise dressed as a cowboy and armed with a defective .380 caliber pistol. In the film Loving Vincent (2017), this investigative hypothesis is elevated to a dramaturgical pivot, transforming Armand Roulin — historically a minor figure, son of the postman Joseph Roulin — into an improper 'detective' who retraces the stages of the artist’s final days (cf. LovingVincent.com – The Story of Armand Roulin, where details are provided regarding the choice of Armand Roulin as the «indifferent» observer who transitions from skepticism to being haunted by the «mystery and magic» of Van Gogh). However, forcing the character of Armand into the role of a private investigator not only creates a glaring stylistic anachronism (sealed by the lemon-yellow jacket drawn from the famous 1888 painting), but shifts the center of gravity of the work from the truth of painting-gesture to the search for a fictional culprit (cf. Museum Folkwang, Essen; this institution houses the original 1888 portrait of Armand Roulin in the yellow jacket, which served as the primary aesthetic and narrative model for the film’s investigation). On the use of the detective genre as a commercial pretext, see Note [3].

[6] Cf. Daniele, R. (2026), The Ghost in the Garden: An Electroacoustic Critique of the Miami Beach SoundScape Park, cit. In particular, Part IV examines the nature of cinema as a total and aesthetic-technological apparatus, in which téchne is not reduced to engineering calculation or mere utility broadcast (Gestell), but becomes poíesis and the ontological architecture of signification, capable of disclosing the «sense of possibility» (Möglichkeitssinn). The essay analyzes the fracture that occurs when the phonic infrastructure is downgraded to a «Cinema Bypass» mode, relinquishing a genuine «democracy of listening» and the spatialization of the work.

Part III — The Narrative of Death and the Investigative Rebus: Disconnections Between Facts and Vacuum

When one analyzes a genius, the most depreciating recognition they can receive is to be treated as a 'clinical case'. This is particularly true for artists from the late nineteenth century onward, as psychoanalysis was invented shortly thereafter; on the other hand, it provides us—living after 2000—with a way to justify a society that cannot and could not have accepted them. This mechanism fails doubly on the screen of this film, in a mainstream diabolical circus that scrambles to suppress the natural artistic flow of life.

The clinical investigation is not merely a medical tool, but a social filter used to castrate not only genius, but ultimately anyone who—along the line of genius—can be recognized and thus live [7]. By keeping Van Gogh as an absent protagonist—a «strange, distant personality»—the film disconnects the audience from any main subject. This focuses the narrative on a poor story of victimhood rather than on the story of a person living in the true flow of natural art.

The use of modern language and anachronistic phrasing — such as discussions regarding 'credit' — further shatters the historical illusion. We are left watching a detective in a yellow jacket hunt for a ghost, while the actual Vincent van Gogh is pushed far away — distanced by millennia from true human and artistic history, silenced by a script that prefers mystery over the masterpiece.

The film’s narrative engine relies on a true crime investigation led by Armand Roulin, but the viewer cannot help but notice the cracks in this role. How could a 'detective' wear such a conspicuous, lemon-yellow jacket? The reality is that Armand was never a detective at all, but simply the son of a postman. By forcing him into the role of a private investigator, the film indulges in a narrative convenience that makes his attire and actions stylistically false or anachronistic.

This investigative lens also distorts the figure of René Secrétan, the sixteen-year-old bully who tormented Vincent in Auvers [8]. Although the film supports the theory that René was the source of the bullet, this choice provides a type of modern alibi that present society applies to great men and geniuses who were never reconciled with the rules of the system. The present writer believes neither in the suicide nor in the bully murderer. This is a very sad connection to the saddest case ever: that of Pier Paolo Pasolini [9]. The actualization of the story with a contingent killer element and a passive murder is the ultimate low-quality cliché that we can trace on this screen.

When Loving Vincent applies this scheme to Van Gogh—as other terrible films have done with Pasolini—it reduces the life of this genius to an episode of true crime. It is a formula; a way to distract the public from the fact that it was society itself—its rules and its 'unresolved space'—that destroyed true artists, not just a boy with a gun. And they continue to kill them every day, attempting to cheat the audience, polluting their history in this way.

By pointing toward the 'René Secrétan' theory, the film attempts to bypass the official version—the one long defended by the Van Gogh Museum, which is suicide: namely, that the painter shot himself in the wheat field. It is as if they wanted to create a provocative act in this; however, the final result for a skilled eye is nothing more than a cinematic 'alibi'. In doing so, the film treats the artist's existence as a solvable crime rather than an existential reality. Yet, the work occasionally stumbles into a few seconds of recalled greatness, particularly in the dialogue between the Roulins. The 'best scene'—the exchange of memories—echoes the theatrical dignity of a performer like Vincent Price [10]. -- This can be seen as the 'best scene' or as a moment that establishes reference connections, instead of those deliberately constructed self-references that dominate the entire viewing, from the technique itself used up to the plot of the story. -- This is a brilliant cinematic callback. We refer to the scene in which the postman Joseph Roulin (Armand’s father) drinks and nostalgically recalls Vincent Van Gogh. The recall to Price’s declamatory dignity confers upon the scene a fleeting yet precious moment of human weight and authentic theatrical breath, standing out as a parenthesis of autonomous expressive density within an apparatus otherwise dominated by technological automatisms and an invasive, blatant stylistic self-referentiality.

On the other hand, the emotional stakes of the film often blur historical lines to create continued feelings of linguistic lack. The subplot involving Marguerite Gachet as a 'fiancée' is largely a scenographic invention, and the confusion regarding a 'missing child' highlights the careless handling of the artist's legacy. While Van Gogh had no children of his own, the movie likely confuses his intense family ties with the figure of his infant nephew, Vincent Willem (Theo’s son), who was only a child at the time of the artist's death. By using modern financial language — and centering the final «answers» on Dr. Paul Gachet—the film prioritizes a contemporary emotional return over the stark reality of the nineteenth century. The result is merely an attempt to splendidly paint a 'bad story', yet full of contrarieties, which appears disconnected from the artist's true expression and an effective historical representation of his final days. Finally, the brother Theo is painted as Van Gogh’s counter-ego. And it is frustrating that this brother is the only one treated as the protagonist of a plot in which the real main actor is a false detective, one year after the death of the genius.

Fig. 2. Pier Paolo Pasolini. Archival portrait of the author and filmmaker. His theoretical and existential figure is invoked as a critical parallel against true crime biographical reductions and the spectacular mystifications of the genius's life and thought.

Notes to Part III

[7] This precise strategy of castration of eversive and radical bodies and thoughts was analyzed by Pier Paolo Pasolini himself in his mature political writings (cf. Pasolini, P. P., 1975, Scritti corsari, Milan: Garzanti [Eng. tr. Corsair Writings, London: Patrick Firth, 2023]; Pasolini, P. P., 1976, Lettere luterane, Milan: Garzanti [Eng. tr. Lutheran Letters, Dublin: Carcanet Press, 1983]), in which the author described how the «hedonistic fascism» of consumer society does not limit itself to suppressing or censoring opposition, but literally castrates it. In a Pasolinian sense, castration is the systematic extraction and mutilation of the revolutionary charge, vital force, and generative potentia of the artist — an operation carried out by subtracting the possibilities of thought, namely by deliberately providing the community with wrong decoding tools. In Pasolini, the term «fascism» does not merely designate a right-wing political ideology or the historical Italian regime (1922–1943), but rather something broader, an anthropological mutation and a new type of totalitarianism: the «hedonistic fascism» of consumer society. While historical fascism was a power imposed from above, operating through the enforcement of laws — distinct from the «biopower» highlighted by Michel Foucault’s rigorous analysis —, it gave the illusion of leaving intact the languages, local cultures, and psychological structures of the originary people (who qualify as such in the possibility and act of struggling to assert their authentic and visceral sense); the new consumer fascism, by contrast, operates an immanent and irreversible homogenization that renders struggle, and even its conceptualization, properly biopolitically impossible. Through the hedonistic model, mass media, and the flattened unification of language, it destroys subaltern cultures and reprograms bodies and consciences. It achieves this by concealing or minimizing lesser-known cases, centralizing communication through its own privatist channels even in the case of border or independent realities—whose actual border and independent status remains entirely to be proven — ; and it does so by staging doubles or spectacular films that overturn and exhaust their radical meaning — through a sort of media expropriation — for the emblematic and genius figures of all time, precisely as occurs with the figures of Pasolini or van Gogh. Finally, it accomplishes this by dispensing this homogenization to every order and rank, including historically Pop phenomena, in order to adapt them to the Pop worldly sphere to which historical Pop — possessing greater density and identity — remains uncomfortable. Consider, for example, the recent processes of commercial readaptation and standardized reduction of The Addams Family, where all «the good» of the original creation by Charles Addams (1938) and of the original television series (1964–1966) has been literally stripped — in a process ratifying the regressive arc of Tim Burton, from an interest-driven eversive author of the 1980s (Beetlejuice, 1988; Edward Scissorhands, 1990) to a brand costumer for consumer «gothic» (The Nightmare Before Christmas, 1993 and following), within an entertainment formula cleansed of the most successful aspects of a prior uncanny charge (cf. Addams, C., 1938/2000, The Addams Family, New York: Simon & Schuster; Levy, D. [Creator], 1964–1966, The Addams Family [TV Series], Filmways Television / ABC; Burton, T. et al., 2022, Wednesday, MGM Television / Netflix; Hamilton, C. A., 2002, «The Aesthetic of the Ugly: Tim Burton and the Commercial Gothic», in Journal of Popular Film and Television, 30(3), pp. 134–142; Cornwell, D., 2014, Tim Burton: The Melancholy Maniac and the Marketing of Gothic Style, London: Wallflower Press; Bradshaw, P., 2022, «Wednesday Review – Tim Burton’s Addams Family Spin-off Is Lacking in Dark Magic», in The Guardian, November 18). Indeed, the «hedonistic fascism» denounced by Pasolini imposes an implicit «zero tolerance» conformism, incomparably more totalitarian than any past dictatorship that acted through external laws rather than through the anthropological refounding of the subject; an actual «re-semantization» of reality and myths, as highlighted by Vincenzo Notaro in his essay Medusa (cf. Notaro, V., 2026, MEDUSA. Dal presente all'eterno [MEDUSA. From the Present to the Eternal], Cimitile: Extremalia 000 / Il Pensiero Harduo). Such a depotentiating converts the «self-affirmation of knowledge» —understood in its originary sense as an immanent act of "knowing as the fact that I know and you know", situated this side of the modern degradation of «political science» into mere political science (politologia) of «political systems» — and the associated visceral struggle (namely politics in its pure etymological sense of acting and thinking for the polis and for the people, or «originary people», today replaced by merely ordinary «society») into anodyne material, easily digestible and disposable for cultural consumption. The «self-affirmation of knowledge» is realized only this side of this worldly politicization of science, implying an originary awakening of consciousness. Where «society» takes the place of the «people», academic and everyday freedom transitions into a fallacious «freedom from worry» — a negative freedom, conditioned by worldly nothingness —, and exercising genuine freedom toward the essentializing of knowledge inevitably entails exclusion from «official sources» and the demotion of the intellectual to the status of a «conspirator» or an irrelevant figure (cf. Daniele, R., 2020, «The Self-Affirmation of Knowledge», in ElectroAcoustics Magazine [forthcoming; orig. draft August 25, 2020]; Daniele, R., 2008, Aisthànomai, il Dramma della Coscienza [Aisthànomai, the Drama of Consciousness], CD Theoretical Line, Milan: RDM Records). «The inept unfit for the struggle for life», as theorized in the Svevian diagnosis of modernity (cf. Svevo, I., 1892, Una vita, Trieste: Vram [Eng. tr. A Life, London: Secker & Warburg, 1963]; Svevo, I., 1923, La coscienza di Zeno, Bologna: Cappelli [Eng. tr. Zeno's Conscience, New York: Vintage Books, 2003]), has always existed, yet ordinary society wants him to predominate in order to make the thinker an element to be marginalized. The «struggle for life» is nothing other than the «struggle for research» into «what we originally and authentically are, and which indeed is missing, and we have been searching for» (cf. Heidegger, M., 1927, Sein und Zeit, Halle: Max Niemeyer Verlag [Eng. tr. Being and Time, New York: Harper & Row, 1962]). The opening of research into the originary sense is likewise the urgent, closer, and originary responsibility, as own as the breath is, which reveals itself in front of the missing, «the essential stake and the research that we ourselves are» and of which, drowned as we are in the false and the worldly, «we can imagine only an opening and not a pre-established path» (cf. Daniele, R., 2015, Spannung, theoretical introduction to the triple audio CD Voce Sola, Milan: RDM Records). It goes without saying that eliminating the possibilities of struggling for research is one and the same thing with perdition — «a kind of be/pretend, be/childish, vampire state, undead state» (cf. Daniele, R., 2010, «"Assenza o soglia del mio dolore…"» ["Absence or Threshold of My Pain…"], in Poesie 1995–2005, Milan: RDM Records). In this horizon of generalized nullification, Pasolinian castration merges in our perspective with Martin Heidegger's diagnosis of «the age of technique» and the disintegration of originary science into its various specialized derivations—political science, cybernetics, psychology — (cf. Heidegger, M., 1938/1950, «Die Zeit des Weltbildes», in Holzwege, Frankfurt a.M.: Klostermann [Eng. tr. «The Age of the World Picture», in Off the Beaten Track, Cambridge: Cambridge University Press, 2002, pp. 57–85]; Heidegger, M., 1954, «Die Frage nach der Technik», in Vorträge und Aufsätze, Pfullingen: Neske [Eng. tr. «The Question Concerning Technology», in The Question Concerning Technology and Other Essays, New York: Harper & Row, 1977, pp. 3–35]; Heidegger, M., 1966/1976, «"Nur noch ein Gott kann uns retten"», Der Spiegel, 30 (23), pp. 193–219 [Eng. tr. «"Only a God Can Save Us": The Spiegel Interview», in Philosophical and Political Writings, New York: Continuum, 2003, pp. 24–48]; ID., 1933, Die Selbstbehauptung der deutschen Universität [The Self-Assertion of the German University], Breslau: Korn). Modern technology is not a mere «tool» that man deludes himself into mastering, but an immanent power («posture» / Ge-stell) that tears and uproots man from the earth. Confronted with the «slaughterhouse» of the twentieth century and the rule of the technical state — blind and executive —, the metaphysical distinction between theory and praxis (outdated, to be sure, but even fundamentally unknown to the worldly and ordinary citizen) blocks the path to thought, that is, to the opening toward its most proper path: the necessity thus imposes itself to prepare the readiness for an «other thought, unthought», an action residing in dialogue (Zwiesprache) and poetic dwelling (poetare), well before the paradigm of opposites paralyzes the self-affirmation of truth (cf. Heidegger, M., 1954, «Die Frage nach der Technik», cit.; Derrida, J., 1967, De la grammatologie, Paris: Les Éditions de Minuit [Eng. tr. Of Grammatology, Baltimore: Johns Hopkins University Press, 1976]). — Upon such a paradigm, the writer carries out an analysis aimed at laying bare the nullities of the nothingness that constitutes it in the basic structures of the forthcoming monograph Voce Sola. Saggio Intorno al Discorso Vocale [Voce Sola. Essay Around the Vocal Discourse] (cf. Daniele, R., in final draft stage, Milan-Miami: RDM Records; Daniele, R., 2020, «The Self-Affirmation of Knowledge», in ElectroAcoustics Magazine [forthcoming; orig. draft August 25, 2020]; Daniele, R., 2008, Aisthànomai, il Dramma della Coscienza, Milan: RDM Records). — Concurrently, Michel Foucault demonstrated how modern power operates no longer by sovereign executive means, but through «biopower» — a regime of normalization, medicalization, and clinical classification that sterilizes and docilizes every dissident body (cf. Foucault, M., 1975, Surveiller et punir: Naissance de la prison, Paris: Gallimard [Eng. tr. Discipline and Punish: The Birth of the Prison, New York: Pantheon Books, 1977]; Foucault, M., 1976, Histoire de la sexualité. Tome I: La volonté de savoir, Paris: Gallimard [Eng. tr. The History of Sexuality, Volume 1: An Introduction, New York: Pantheon Books, 1978]). Simultaneously, Gilles Deleuze and Félix Guattari decoded the ways in which capitalist axiomatics deterritorializes revolutionary desire solely to reterritorialize it as a standardized and harmless commodity (cf. Deleuze, G., & Guattari, F., 1972, L'Anti-Œdipe, Paris: Les Éditions de Minuit [Eng. tr. Anti-Oedipus, Minneapolis: University of Minnesota Press, 1983]; Deleuze, G., 1990, «Post-scriptum sur les sociétés de contrôle», in Pourparlers: 1972–1990, Paris: Les Éditions de Minuit, pp. 240–247 [Eng. tr. «Postscript on the Societies of Control», October, Vol. 59, 1992, pp. 3–7]). [Translational and Methodological Note: While established English translations vary between 'emasculation' and 'castration', the term 'castration' is adopted here to render Pasolini's concept of 'evirazione', defining the radical extirpation of the artist’s vital and generative potentia. Furthermore, while the English term 'struggle' is maintained in alignment with canonical translations of Foucault, Deleuze, and Svevo, it should be noted that in Italian and French, 'lotta' / 'lutte' carries an intrinsic charge of sovereign force, pride, and active political combat, whereas 'struggle' shifts the semantic emphasis primarily toward effort and exertion.]

[8] Cf. Naifeh, S., & Smith, W. G. (2011), Van Gogh: The Life, New York: Random House.

[9] This refers specifically to the narrative distortion observed during the theatrical release and festival premiere in September 2014 of Abel Ferrara's Pasolini (2014): the reduction of a complex existence to a sordid true crime obsession — a portrait further weakened by Willem Dafoe's disconnected performance. Hence the parallel between the media reduction of Vincent van Gogh to a 'clinical case' and the treatment reserved for the figure and work of Pier Paolo Pasolini. As highlighted by critical historiography and direct testimonies — including that of director David Grieco, a close personal friend of Pasolini and among the first to arrive at the crime scene at the Idroscalo in 1975, contained in the film The Ploy (La Macchinazione, 2016, Italy: Propaganda Italia / Toent Film) and in the homonymous volume (Milan: Rizzoli, 2015) — , the death of Pasolini at the Idroscalo in Ostia in 1975 was reduced by bourgeois media and the judicial apparatus to a matter of common criminality or a 'sexually motivated crime', isolating the material perpetrator (Pino Pelosi) to cover up the political matrix and the assaults against the radical intellectual. Grieco's film focuses on the systemic and political «machination» (macchinazione) that sought — and seeks — to erase a «non-conforming» genius by speaking ill of him (cf. Pasolini, P. P., 1992, Petrolio, Turin: Einaudi). Grieco reconstructs the complex plot of blackmail linked to the theft of the original reels of the film Salò, or the 120 Days of Sodom and the theft of the typescripts of Petrolio (Turin: Einaudi, 1992) — an unfinished novel aimed at exposing systemic corruption within the Italian oil industry (ENI) and Eugenio Cefis—, demonstrating how the physical destruction of the author and the tampering with his works were accompanied by a systematic narrative of denigration and political depotentiating. On the level of recognition, David Grieco's La macchinazione (2016) gathered an articulated path of critical acclaim and awards in the national and international festival circuit. While not winning the main prizes at the Silver Ribbons (Nastri d'Argento) and Golden Globes (Globi d'Oro) — where it nevertheless obtained prominent nominations for Fabio Zamarion's cinematography, the screenplay by Grieco and Guido Bulla, and performances by Milena Vukotic and Libero De Rienzo —, Grieco's La Macchinazione was awarded Best Director and Best Film at the Premio Charlot (2017) and Best Screenplay at the Magna Grecia Film Festival. Internationally, it won the Grand Prix du Jury at the Russia-Italy Film Festival, the Prix d'Interprétation Masculine awarded to Massimo Ranieri for the role of Pier Paolo Pasolini at the Annecy Italian Cinema Festival, and the Student Jury Award at the Rencontres du Cinéma Italien in Toulouse. Against the fictitious spectacularization of the media and 'cinematographic taxidermy', the philological rigor of official archives — such as the Museum Folkwang in Essen (custodian of the Portrait of Armand Roulin) and the Centro Studi - Archivio Pier Paolo Pasolini at the Cineteca di Bologna — constitutes the historical reality in 'black and white' that opposes the 'sanitized' or 'painted' myths created by modern tamers of art, serving as the sole bulwark for the protection of memory and the historical truth of the artist. Finally, for an in-depth analysis of the acoustic and fruitional dimension of the Miami Beach park and the implications of sound space, reference is made to the twin essay: Daniele, R., (2026), «The Phantom in the Garden: An Electroacoustic Critique of the Miami Beach SoundScape Park», cit.

[10] Vincent Price (1911–1993) — a graduate in Art History from Yale University and the Courtauld Institute in London, a prominent international collector and scholar (cf. Sears, Roebuck and Co., 1962, The Vincent Price Collection of Fine Art, Chicago: Sears, Roebuck and Co.; Price, V., 1959, I Like What I Know: A Visual Autobiography, New York: Doubleday & Company) — represented the voice of Hollywood's great declamatory and theatrical tradition, in addition to having recorded fundamental dramatized readings, art history audiobooks, lectures, and educational programs dedicated to master painters. During his eclectic activity, two audiovisual works of significant interest regarding the human and epistolary profile of van Gogh were produced. The first was Vincente Minnelli's Lust for Life (1956), in which Vincent van Gogh was played by Kirk Douglas, Theo van Gogh (the epistolary interlocutor who recites and gives voice to the letters) by James Donald, and Paul Gauguin by Anthony Quinn, who won the Academy Award (cf. Academy of Motion Picture Arts and Sciences, 1957, The 29th Academy Awards, Los Angeles). The second was the NBC television special/documentary Vincent van Gogh: A Self-Portrait (1961), directed by William A. Graham, in which the reading voice of the painter's letters was entrusted to actor Lee J. Cobb, while the narrative voice was that of Martin Gabel (cf. Graham, W. A., 1961, Vincent van Gogh: A Self-Portrait, NBC Network [issued on vinyl LP RCA Victor, VDM-101 / LOC-1081, New York, 1963]). Lee J. Cobb and James Donald shared precise professional and historical relationships with Vincent Price in classical cinema and theater: Cobb and Price starred together in one of the great masterpieces of Hollywood cinema, Henry King's The Song of Bernadette (1943), a film that won 4 Academy Awards (cf. King, H., 1943, The Song of Bernadette, USA: 20th Century Fox)—Price played the imperial prosecutor Vital Dutour, while Cobb portrayed Dr. Dozous. Both belonged to the pantheon of character actors with theatrical and declamatory training in 1940s and 1950s Hollywood—Cobb was also the legendary first Willy Loman on Broadway in Arthur Miller's Death of a Salesman (cf. Miller, A., 1949, Death of a Salesman: Certain Private Conversations in Two Acts and a Requiem, New York: Viking Press). Both embodied a stage presence founded on the «chest voice» (voce di petto) and the solemnity of the recited text. As the main reading voice of van Gogh's letters in the 1961 NBC special (Vincent van Gogh: A Self-Portrait), Lee J. Cobb consolidated the same tradition of «theater of the word» that Price was concurrently disseminating in his audiobooks and art lectures (cf. Price, V., 1972, The Vincent Price Treasury of American Art, Waukesha, WI: Country Beautiful Corp.). James Donald was a Scottish actor trained in Shakespearean theater (Old Vic, West End, the historic institutions of London's classical stage and drama), known for the rigid dignity and composure of his dramatic roles—such as Major Clipton in The Bridge on the River Kwai (cf. Lean, D., 1957, The Bridge on the River Kwai, UK/USA: Columbia Pictures) or Group Captain Ramsey in The Great Escape (cf. Sturges, J., 1963, The Great Escape, USA: Mirisch Company / United Artists; BFI Archive, James Donald Biography & Stage Roles). Although Price was tied to the American/gothic strand of American International Pictures (The Masque of the Red Death, House on Haunted Hill) and Donald to the great British horror/sci-fi of Hammer and Amicus — Donald was indeed the famous Dr. Roney in the masterpiece Quatermass and the Pit (1967), directed by Roy Ward Baker (cf. Baker, R. W., 1967, Quatermass and the Pit, UK: Hammer Film Productions / Seven Arts)—, both became cult figures of genre cinema for their ability to confer theatrical dignity, gravity, and verbal nobility even upon entertainment screenplays. Although they never shared a film set, both played the same role of Prince Albert in two significant productions of the play Victoria Regina—Price on Broadway in the 1930s, Donald on television in 1957 (cf. Housman, L., 1935, Victoria Regina: A Dramatic Biography, London: Jonathan Cape / New York: Broadhurst Theatre Production; Broadway debut, December 26, 1935, featuring Vincent Price as Prince Albert and Helen Hayes; Schaefer, G., 1957, Victoria Regina [Live Drama TV Special], in Hallmark Hall of Fame, Season 7, Episode 2; broadcast on November 30, 1957 on the NBC network; featuring James Donald as Prince Albert and Helen Hayes; USA: NBC Television Network). In being the reading voice of the letters in Minnelli's Lust for Life (1956) playing Theo, James Donald placed himself along the same stylistic trajectory as Cobb (NBC, 1961) and Price regarding the solemn declamation of the painter's epistles. Vincent Price was therefore a contemporary and an extraordinary exponent of the same stylistic and declamatory climate as Cobb and Donald: classical acting from the Golden Age of Hollywood cinema and radio. The sequence of the postman Joseph Roulin recovers a gravity and declamatory dignity «that recalls the archetype and tradition of the theater of the word represented by a figure like Vincent Price» (and which belongs to that same stylistic horizon to which performers like Cobb and Donald pertained). The theoretical association is not devoid of ironic adherence: just as in the horror films starring Price — consider André De Toth's House of Wax (1953) (cf. De Toth, A., 1953, House of Wax, USA: Warner Bros.) — plastic artifice and wax attempt to freeze or reanimate simulacra of real life, the process of algorithmic interpolation and rotoscoping in Loving Vincent ends up producing an analogous macabre effect—transforming van Gogh's living painting into a puppet-like digital corpse in constant reanimation. In the sequence where the postman Joseph Roulin (voiced and acted via rotoscope by Chris O'Dowd) drinks and recalls the figure of van Gogh with moved nostalgia in front of his son Armand, the declamatory register and vocal cadence recover a theatrical gravity that directly recalls the great tradition of classical performance in the figure of Vincent Price, famous not only as an icon of dramatic and macabre cinema, but as a refined art historian.

Fig. 3. 3. Vincent Price and Helen Hayes in Victoria Regina. Original stage photograph from the Broadway theatrical production (Broadhurst Theatre, 1935). The interpretation of Prince Albert marked Price’s triumphant debut and is recalled here to document the shared theatrical and declamatory matrix with James Donald (who performed the same role for television in 1957). This solid root in the «theater of the word» constitutes the critical prerequisite for the solemn reading of van Gogh's epistles and for the contrast with the puppet-like reanimation of digital rotoscoping. (Source: John Springer Collection / Corbis via Getty Images).

Part IV —Electroacoustic Critique: The Soundscape Experience

The Miami Beach SoundScape Park—a civic-architectural infrastructure designed by Frank Gehry and the West 8 landscape architecture firm in continuity with the New World Center, and equipped with an imposing projection wall of over 600 m2 — was born as a true open-air «electroacoustic cathedral». Designed to overcome the flatness of traditional outdoor sound systems, the park boasts a complex architecture of 167 active loudspeakers distributed across 72 independent DSP processing and Meyer Sound amplification channels, articulated between perimeter aerial structures (Ballet Bars) and a capillary network of ground-level proximity emitters (Media Hydrants). Governed by ultra-high-precision calculation matrices (D-Mitri/NADIA) and the active acoustic architecture Meyer Sound Constellation for the simulation and phase response control of the impulse response in an open-air environment, this imposing monumental 'sound sculpture' is theoretically credited as one of the most advanced permanent immersive listening systems in the world. However, right in the presence of such an engineering marvel, the environmental and management context of the Loving Vincent screening acted as a second, unintentional layer of failure. This is due to the continuous gap — active across all the film series we have witnessed over the last three or four years—between the technical 'potential' of the system and its actual 'performance'. It is far-fetched that in a program titled Soundscape Cinema Series, the overall audio setup was reduced to its bare bones: the operational practice of disabling the 360∘immersive matrix and the active acoustic architecture algorithms to switch to «Cinema Bypass» mode (or Safe Mode stereophonic) confines the signal solely to the front loudspeakers, canceling out any spatial depth and leaving the system's distribution nodes out of phase or inactive [11]. This technical choice merely confirms the sensation of a sound that exists in a vacuum, aligning by a paroxystic paradox with the lack of resonance typical of this manifestation of material absence while discussing one of the most brilliant painters in history.

For an 'immersive' audiovisual place, the park's speaker system appeared tragically underutilized; the refusal to employ the capillary network of Media Hydrants (the ground-level proximity emitters designed for field synthesis and the near field) deprived the projection of any sonic structuring. The tangle between the film's audio and the general situation of blankets, chairs, and picnics — together with urban background noise (noise floor) and park maintenance sounds — created an uncontrolled «urban crossover» (an acoustic encroachment and overlap) that degraded the sound message to mere secondary transmission, creating a jarring disconnect. Instead of bestowing and entering into a dialogue with the space, the soundscape was rendered flat and thinned out.

This «audibility gap» — dramatically acute due to the onset of comb filtering (comb filtering and phase cancellation caused by incoherent signal delivery across loudspeakers lacking delay compensation or time alignment) — exposed the substantial irrelevance of the score [12]. One could describe Clint Mansell’s score as a «ghost soundtrack» [13] — music that haunts the background but fails to relate to the visual «flash of bones» on screen. The music appeared too polite, too safe for the textured and essential philological style of the reconstructed paintings, failing in its coherent historical alternative to the story after having failed to bridge the gap between the digitized imagery and the rendering of a historical reality dated 1890. Accommodating the structural socio-artistic lack, this sound represented a weak backdrop without a visceral partner in the audiovisual movement, further thinning out the 'soul' of the experience, leaving the viewer trapped in a vacuum where sound and spirit never meet.

While the visual apparatus clumsily mimics van Gogh's materiality, the music remains a standard cinematic background, confirming it has nothing powerful to compare or contrast with. Finally, the presence of the ghost was further aggravated by the open-air acoustic dispersion and the total absence of low frequencies (normally guaranteed by active subwoofers in the base bunkers), leaving the audience with the «flash of bones» of a man, but none of his resonance.

Note to Part IV

[11] The Miami Beach SoundScape Park is equipped with an infrastructure of 167 active loudspeakers distributed across 72 independent DSP processing and amplification channels, managed by the Meyer Sound D-Mitri calculation matrix (recently upgraded in February 2026 to the new Meyer Sound NADIA processing platform by the Solotech integration team and the audio direction led by Roberto Toledo). The infrastructure integrates the Meyer Sound Constellation active acoustic architecture—based on regenerative reverberation algorithms and virtual space synthesis—and the Vector Based Amplitude Panning (VBAP) positioning technique across the elevated Ballet Bars structures and the ground-level Media Hydrants proximity emitters. In projections of the Soundscape Cinema Series, switching to «Cinema Bypass» or Safe Mode excludes the matrix's three-dimensional processing circuits, sending a mere stereophonic sum to the front loudspeakers alone. This degradation of the system to a conventional PA (Public Address) system prevents the decoding of soundtracks designed according to the ISO 2969 (X-Curve) frequency response curve, originating comb filtering (comb filtering due to phase interference) and crossover bleed with urban background noise. In this regard, see system integration specifications in: ISO 2969:2015 (2015), Cinematography — B-chain electroacoustic response of motion-picture reproduction rooms — Specifications and measurements. Geneva: International Organization for Standardization; Meyer Sound Laboratories (2010), D-Mitri Digital Audio Platform: Technical Specifications and User Guide. Berkeley, CA: Meyer Sound Laboratories; Meyer Sound Laboratories (2026), New World Symphony WALLCAST & SoundScape Park: Immersive Audio Upgrade to NADIA Processing Platform. Technical Case Study, Berkeley, CA: Meyer Sound Laboratories; Sonitus Consulting (2017). Miami SoundScape Park / Lincoln Park Acoustic Design & Infrastructure Report. Archives Sonitus Consulting / West 8; as well as the detailed analytical-electroacoustic examination in Daniele, R. (2026), The Ghost in the Garden: An Electroacoustic Critique of the Miami Beach SoundScape Park, cit.

[12] See Mansell, C. (2017), Loving Vincent (Original Motion Picture Soundtrack) [CD/Album], Los Angeles: Milan Records.

[13] For a detailed technical analysis regarding the electroacoustic setup, the physics of comb filtering, frequency management via the Meyer Sound D-Mitri/NADIA matrix, and speaker configuration (Ballet Bars and Media Hydrants) in this review, see: Daniele, R. (2026), The Ghost in the Garden: An Electroacoustic Critique of the Miami Beach SoundScape Park, cit.

Part V — Conclusion: Not a Signature

In the final sequence, the film attempts a grand emotional synthesis through the device of the 'letter reveal'. In this scene, Theo’s widow, Johanna van Gogh-Bonger, addresses Armand Roulin, thanking him for his investigative efforts. Embedded within the body of this text is a famous autograph reflection by Van Gogh — «In the life of the painter, death may perhaps not be the most difficult thing...» [14] — a framing device with which the direction attempts to anchor itself to a presumed philosophical depth.

The letter from Johanna van Gogh-Bonger to Armand Roulin is a narrative invention and not a historical document. It is an attempt to grant a semblance of historical legitimacy to a recent theory (the manslaughter/accidental shooting hypothesis advanced in 2011), bending Van Gogh’s actual words to fit an alien true crime plot. Although Johanna was the fierce protector of the painter's legacy and maintained correspondence with many people to organize his exhibitions, there is no record of any 'thank-you note' sent to Armand for investigating a crime. On the contrary, there is a controversial biography: Van Gogh: The Life (2011) by Steven Naifeh and Gregory White Smith. They are the Pulitzer Prize-winning authors who first popularized the theory of the «homicide/accidental shooting» involving René Secrétan. The filmmakers took this recent (and highly debated) 2011 theory and tried to 'anchor' it to the past by creating a fictitious exchange with Johanna. By using Johanna — the most authoritative figure in Van Gogh's history — to validate Armand’s journey, the film attempts to make it seem as if this hypothesis had already been advanced or suspected at the time. It is a trick to make a true crime plot appear as 'a true story'. The quote — «In the life of the painter, death may perhaps not be the most difficult thing...» — is real, but it comes from a letter Van Gogh wrote to Theo (Letter 641). In that passage, the painter was talking about the stars and the infinite nature of the universe; he was certainly not providing clues for a detective story [15].

This framing is a further, hollow appropriation. The transition to the iconic Self-Portrait with Palette from 1889, followed by the fade-out to a modern cover of Vincent (Starry Starry Night) [16], confirms the status of the film as a contemporary 'emotional' product rather than a historical or artistic truth. Pairing the «flash of bones» visuals with such a 'polite' and radio-friendly soundtrack choice means preferring the safety of the cliché over the raw, unresolved reality of the artist's spirit, and above all, it signifies a complete disinterest in any authentic narrative.

Ultimately, Loving Vincent is a film about the death of Van Gogh. It uses the tools of a genius — his brushstrokes, his letters, and even the voice of his brother's widow — to distort them and transform them into a story that does not belong to him. Just like the terrible cinematic treatments of Pasolini observed in Milan in 2014, this film proves that when society cannot reconcile itself with a non-conforming genius, it simply chooses to domesticate him through a «wonderfully painted lie». The result may fascinate the less experienced fringes, but it remains an emotionally sterile actualization that 'stretches' history until nothing remains but its most marketable parts.

Notes to Part V

[11] Cf. Van Gogh, V. (1889, July), Letter 641 to Theo van Gogh, Saint-Rémy-de-Provence. Amsterdam: Van Gogh Museum Letters Database (Digital Edition: vangoghletters.org/vg/letters/let641/letter.html).

[15] Ibidem.

[16] McLean, D. (1971), «Vincent (Starry Starry Night)», in American Pie [LP], Los Angeles: United Artists Records.

APPENDIX A — Film Precedents, Rotoscoping, and Theoretical Frameworks

1. Film Precedents on Van Gogh

Throughout the twentieth century and into the contemporary era, cinema has engaged on multiple occasions with the painting of Vincent van Gogh, moving along a subtle hinge between material identification and dramaturgical reconstruction. Long before the advent of digital filters and automatisms reduced the painterly surface to a banal texture, several directors addressed the challenge of transposing the canvas onto the screen with linguistically conscious approaches, without violating its aesthetic autonomy.

It is possible to engage with the exploration of the painting from within through the avant-garde work of Alain Resnais, the short film Van Gogh (1948, 18'), shot in black-and-white on 35mm film and winner of the Academy Award in 1950 [17]. Resnais explores Van Gogh's paintings by editing and moving the camera inside the original canvases — in black-and-white to integrate disparate periods of Van Gogh’s production into a continuous, monolithic visual discourse —, without ever resorting to actors or re-paintings, respecting the autonomy of the painterly support. It is painting making itself into cinematic space while respecting the grain of the canvas and renouncing any artificial reconstruction.

On the side of biographical representation and the biopic, the figure of the artist finds an initial and famous Hollywood codification in the classic Lust for Life (1956) by Vincente Minnelli, where Kirk Douglas's dramatic performance relies on the presence of James Donald in the role of Theo van Gogh, an actor who gives visual form to the ideal interlocutor and affective support of the painter. Furthermore, the biographical dimension finds important educational and documentary recognition in the television special Vincent van Gogh: A Self-Portrait (1961) by William A. Graham, where epistolary dramatization is entrusted to the vocal interpretation of Lee J. Cobb (with narrating voice by Martin Gabel) [18].

Decades later, with Dreams (Yume, 1990) — specifically in the segment Crows (Karasu) — by Akira Kurosawa (presented out of competition at the 43rd Cannes Film Festival) [19], cinema physically meets the canvas. By making the dreamer enter directly inside the painter's landscapes (played by Martin Scorsese), the visual effects of the period — handled by Industrial Light & Magic—manage to integrate the human presence and the three-dimensional body while safeguarding and maintaining visible the thick oil stroke of the brushstroke.

Maurice Pialat's Van Gogh (1991) (winner of the César Award for Jacques Dutronc's performance) [20] is an extremely «concrete» work (in the sense theorized by Pierre Schaeffer in the musical domain: an adherence to raw matter and the pure phenomenological data, stripped of any slick orchestration or dramatic superstructure), standing this side of any polished aestheticism or affected romanticism. The light is natural and the painterly matter is rough, physical, and dirty in order to render the corporeal and daily reality of the last days in Auvers-sur-Oise. Similarly, despite the necessary stylistic differences, Robert Altman in Vincent & Theo (1990) [21] investigates with ruthless realism and historical rigor the fraternal neurosis and the art market of the period, opposing the banal reduction of human drama to romanticized fiction.

The search for painterly sensation degenerates once again into artifice in a film directed by a painter rather than a film director. With Julian Schnabel's At Eternity's Gate (2018) [22], the other side of mannerist drift manifests itself terribly between the paroxysmic use of the handheld camera and the villainous choice to alter/enlarge Willem Dafoe's eyes (despite winning the Volpi Cup and being clearly overrated after his experiences with Lars von Trier), in a useless deforming aestheticism.

2. Genealogy and Drift of the Rotoscope

To understand the evolution of moving painting, it is necessary to trace the history of rotoscoping, a technique whose genealogy oscillates between artisanal expressive inquiry and algorithmic automatism. Invented and patented by Max Fleischer in 1915 [23], the Rotoscope originated as an analog apparatus designed to project live-action frames and trace their outlines by hand, bestowing the naturalness of human movement upon animated drawing. After decades in which the technique remained confined to commercial animation and entertainment short films, rotoscoping underwent an authorial and expressionist evolution with Ralph Bakshi's The Lord of the Rings (1978) [24]. Bakshi applied rotoscoping onto live-action footage to construct a dramatic and grotesque aesthetic, in which the manual trace remained deliberately visible, imperfect, and pulsating.

With the advent of digital technology, the apparatus changed its fundamental nature. Richard Linklater, in the feature films Waking Life (2001) and A Scanner Darkly (2006), employed the interpolated rotoscoping software Rotoshop(developed by Bob Sabiston) [25]. Linklater used the digital rotoscope to depict altered states, paranoia, and lucid dreaming: the instability of the line is here a poetic choice consistent with the theme of the inconsistency of reality, where the fluid and «unstable» movement serves to represent a state of lucid dreaming or psychotropic paranoia. On the contrary, when the same digital automatism is applied to canvases created to celebrate the physicality of oil—as occurs in Loving Vincent (2017) through the use of Optical Flow algorithms—the smoothing of movement generates the rejection effect typical of the Uncanny Valley.

Contrasting with this algorithmic drift is the pure material choice of Aleksandr Petrov in the beautiful and fascinating short film The Old Man and the Sea (Starik i more, 1999, 20 minutes in 70mm IMAX format, Academy Award winner in 2000) [26]. Petrov painted by hand on glass plates illuminated directly beneath the camera (paint-on-glass animation), allowing moving painting to preserve its real texture, the transparency of pigments, and even fingerprints, without passing through any software mediation or algorithmic motion estimation smoothing (Optical Flow).

3. Theoretical Frameworks

The dialectic between painterly surface and cinematic image finds its essential conceptual coordinates in the theoretical contributions of André Bazin and Jean-Luc Godard [27].

In his essays collected in What Is Cinema?, André Bazin formulated the theory of the «mummy complex», according to which visual art arises from man's neurotic need to save being through the preservation of its appearance, embalming time. While Bazin praised Alain Resnais's 1948 short film for its ability to respect the spatial autonomy of the canvas without violating it, an operation like Loving Vincent attempts to «reanimate» Van Gogh's gesture, ultimately ending up paradoxically embalming it and replacing the life of the original canvas with a digital corpse in continuous movement.

In parallel, the concept of the tableau vivant finds an exemplary theoretical reflection in Jean-Luc Godard's Passion (1982) [28]. Godard recreates the great paintings of art history on set using flesh-and-blood actors and a complex cinematic lighting design. In this way, the dialectical tension between the three-dimensionality of real bodies and the two-dimensionality of painterly composition remains deliberately unresolved and vital, highlighting the discrepancy between the two languages where algorithmic synthesis seeks instead an artificial and leveling fusion.

Notes to Appendix A

[17] For a critical-theoretical analysis of Alain Resnais's formal choice to explore the painterly surface while rejecting actorial fiction in the film segment Van Gogh (1948, 18', France: Panthéon Productions): cf. Bazin, A., (1951), «Peinture et cinéma», in Qu'est-ce que le cinéma?, Paris: Éditions du Cerf, 1958–1962 [Eng. tr. «Painting and Cinema», in What Is Cinema?, vol. 2, Berkeley: University of California Press, 1971, pp. 125–139], who credits the short film with the ability to respect the aesthetic autonomy of the painting without violating its borders through theatrical artifice.

[18] Cf. Note [10].

[19] On the technical-realizational details and the use of visual effects by Industrial Light & Magic for the segment Crows(Karasu) within Akira Kurosawa's film Dreams (Yume, 1990, Japan/USA: Warner Bros. / Akira Kurosawa USA): cf. Dalle Vacche, A., (1996), Cinema and Painting: How Art Is Used in Film, Austin: University of Texas Press, pp. 135–160, analyzing the interpenetration between the three-dimensional body of the actor (Martin Scorsese) and the grain of Van Gogh's brushstroke.

[20] The reference to the concept of «concreteness» applied to Maurice Pialat's direction in the film Van Gogh (1991, France: Erato Films / Films A2): cf. Schaeffer, P., (1966), Traité des objets musicaux: Essai interdisciplines, Paris: Éditions du Seuil [Eng. tr. Treatise on Musical Objects: An Essay across Disciplines, Berkeley: University of California Press, 2017]. Just as Schaeffer proposes a return to the raw, material «sound object» freed from abstract harmonic structures, Pialat constructs a staging of the «image object» stripped of any romanticism or orchestral/emotional underlining, restoring the physical and everyday weight of existence.

[21] For an analysis of the ruthless realism and deconstruction of the romantic myth of the artist operated by Robert Altman in Vincent & Theo (1990, UK/France/Netherlands: Arena / Central Films / La Sept): cf. Bonitzer, P., (1985), Décadrages: Peinture et cinéma [Decadring: Painting and Cinema], Paris: Cahiers du cinéma / Éditions de l'Étoile, particularly regarding the commodification of the work of art and the conflict between visual matter and the market.

[22] Willem Dafoe was awarded the Volpi Cup for Best Actor at the 75th Venice International Film Festival (2018) for At Eternity's Gate (2018, USA/France/UK: CBS Films / Curzon Artificial Eye / ICON). The critical judgment expressed here traces Dafoe's performance back to a path of progressive mannerism and actorial exhibitionism initiated with the works of Lars von Trier. On a formal and technological level, the optical device aimed at distorting perspective and the physiognomic perception of faces was achieved by cinematographer Benoît Delhomme through the paroxysmic use of split-diopter lenses (or bifocal filters applied to the lens) combined with extreme wide angles in handheld camera shots, a choice advocated by Schnabel himself to simulate an «altered» vision of reality: cf. Buder, E., (2018), «How 'Beautiful Camera Mistakes' Brought van Gogh to the Screen: Cinematographer Benoît Delhomme on At Eternity's Gate», No Film School, November 14, 2018; Delhomme, B., (2021), «Between Painting and Cinematography: Conversation with Benoît Delhomme on At Eternity's Gate», ArtDigiLand Magazine, February 24, 2021; Mendelson, S., (2018), «At Eternity's Gate Review: Willem Dafoe's Van Gogh Biopic Is A Visual Experiment», Forbes, November 15, 2018. The collaboration between Lars von Trier and Willem Dafoe gave rise, with the so-called Depression Trilogy, to an actorial «sacrifice» that is one with the contemporary sense of manneristically self-serving provocatism and the exhibitionism of the «anti-medium». Among the feature films that compose and surround this path (Manderlay, 2005, Denmark/Sweden/France/UK/Germany: Zentropa; Antichrist, 2009, Denmark/Germany/France/Sweden/Italy: Zentropa / Lucky Red; Nymphomaniac: Vol. I and Vol. II, 2013–2014, Denmark/Germany/France/UK/Sweden: Zentropa / Good Films), the emblematic case is Antichrist. Dafoe plays the therapist/husband who claims to rationally «cure» the grief of his wife (Charlotte Gainsbourg), only to become both victim and executioner in an escalation of mutilation and visceral violence. Von Trier uses Dafoe's physical figure and acting not so much to unfold a poetic meaning, but rather as a «body to be martyred»: the famous sequence of genital mutilation, the use of porn-set body doubles for explicit close-ups (by direct admission of the director himself regarding the replacement of the anatomical-physiological double), and the shock manipulation of the actorial body push the performance toward a staging of complacent provocation, where algorithmic/technical artifice or visual trauma replace psychological depth or the truth of enunciation: cf.Bainbridge, C., (2007), The Cinema of Lars von Trier: Authenticity and Artifice, London: Wallflower Press; Badley, L., (2010), Lars von Trier, Urbana: University of Illinois Press; Dazed Digital, (2009), «Lars von Trier on Antichrist», Dazed, May 22, 2009. Originating under the banner of the Dogme 95 manifesto (the search for stripped-down truth, devoid of artificial lighting, special lenses, fictitious lights, or digital manipulations), Von Trier completely abandons that rigorous «impoverished» drive with Dafoe — or proves that the motivation was never authentic — to slide into its exact opposite: the immoderate use of digital super slow-motion via the ultra-high framerate Phantom Flex camera in an aestheticizing black-and-white, supported by the paroxysmic recourse to sacred and operatic music — in particular with the use of the aria «Lascia ch'io pianga» from Georg Friedrich Händel's Rinaldo (1711) in the prologue and epilogue of Antichrist (2009) — becomes the other side of exploiting the Hollywood actor as a guarantee mark for operations of crude voyeurism: see Bordwell, D., Thompson, K., (2013), Film History: An Introduction, 3rd ed., New York: McGraw-Hill. Dafoe's physiognomy is thus reduced to a ready-to-wear expressionist mask: even in Nymphomaniac: Vol. II (2014), Von Trier assigns him the role of L (or K in preliminary production notes), a visually grotesque loan shark/sadist, converting the actor's skin and features into a worn-out cliché of «torment», «perversion», or «martyrdom».

[23] For the documented history of the Rotoscope patent (1915) by the brothers Max and Dave Fleischer (Fleischer Studios, USA) and the analysis of the transition toward the digital see: Crafton, D., (1982), Before Mickey: The Animated Film 1898–1928, Cambridge, MA: MIT Press, esp. Ch. VI «The Fleischer Brothers and the Rotoscope»; Ward, A., (2004), «Flexible Bodies: The Rotoscope and Digital Animation», Animation Journal, Vol. 12, pp. 32–51.

[24] On the authorial and dramatic use of manual analog rotoscoping in Ralph Bakshi's The Lord of the Rings (1978, USA: Fantasy Films / Saul Zaentz Production) as a reaction to the homogenization of commercial animation see: Crafton, D., (1982), Before Mickey: The Animated Film 1898–1928, cit.; Manovich, L., (2001), The Language of New Media, Cambridge, MA: MIT Press.

[25] For a technical-theoretical analysis of digital interpolation via Rotoshop (designed by Bob Sabiston and used by Richard Linklater in the feature films Waking Life, 2001, USA: Thousand Words / Detour Filmproduction, and A Scanner Darkly, 2006, USA: Warner Independent Pictures) see: Sabiston, B., (2007), «Interpolated Rotoscoping: The Technical and Artistic Evolution of Rotoshop», in ACM SIGGRAPH 2007 Courses, New York: ACM, pp. 12–19. On the consequences of applying Optical Flow algorithms and the onset of the Uncanny Valley phenomenon (Masahiro Mori, 1970) in digital painterly animation as seen in Dorota Kobiela and Hugh Welchman's Loving Vincent (2017, UK/Poland: BreakThru Films / Trademark Films): cf. Buchan, S., (2013), Pervasive Animation, London/New York: Routledge; Prince, S., (1996), «Perceptual Realism, Digital Images, and Synthetic Reality», Film Quarterly, Vol. 49, No. 3, pp. 27–37.

[26] On the artisanal value and materiality of the paint-on-glass technique used by Aleksandr Petrov in the short film The Old Man and the Sea (Starik i more, 1999, 20', Russia/Canada/Japan: Panorama Film) on 70mm IMAX support, which excludes the mediation of software and vector tracking algorithms: cf. Buchan, S., (2013), Pervasive Animation, cit.

[27] The theoretical concept of the «mummy complex» and the embalming of time was formulated by André Bazin in the foundational 1945 essay «Ontologie de l'image photographique»: Bazin, A., (1958), Qu'est-ce que le cinéma?, Paris: Éditions du Cerf, 1958–1962 [Eng. tr. «The Ontology of the Photographic Image», in What Is Cinema?, vol. 1, Berkeley: University of California Press, 1967, pp. 9–16].

[28] For the theorization of the tableau vivant in modern cinema and the formal analysis of the relationship between painting and cinema in Jean-Luc Godard's compositions in the film Passion (1982, France/Switzerland: Sara Films / Sonimage) see: Aumont, J., (1989), L'œil interminable: Cinéma et peinture, Paris: Séguier [Eng. tr. The Endless Eye: Cinema and Painting, New York: Columbia University Press, 1997].

List of Figures and Sheets

Archival Photographs and Documentation

• Fig. 1. Armand Roulin. Comparative study between the original painterly surface and the dynamic oil-painting interpolation for the film frame.

• Fig. 2. Pier Paolo Pasolini. Archival documentation; icon of radical critical thought exposed to symbolic assassination and the distortions of bourgeois historiography.

• Fig. 3. Vincent Price and Helen Hayes in Victoria Regina. Archival documentation; testimony of the classical theatrical root and the «spoken theater» shared with the repertoire of James Donald.

Conceptual Overview Sheets

• Technical-Parodic Overview Sheet. Synopsis and chart of production parameters, characters, and acoustic reception context.

Iconographic Credits and Source Notes

• Fig. 1: Detail from the painting Portrait of Armand Roulin (1888, oil on canvas, Museum Folkwang, Essen) and promotional film frame from Loving Vincent (© 2017 BreakThru Productions / Trademark Films).

• Fig. 2: Archival documentation / Public domain vintage photograph reproduced for purposes of critical analysis and scientific research.

• Technical-Parodic Overview Sheet: Original analytical compilation by Romina Daniele & Jadys Daniele.

• Fig. 3: Archival stage photograph from the Broadway theatrical production of Victoria Regina (1935, Broadhurst Theatre, New York). Original source: John Springer Collection / Corbis via Getty Images, reproduced for purposes of critical analysis and scientific research

All archival documents and photographs are reproduced under scientific license and fair use / fair dealing provisions for musicological and film research.

Bibliography

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• Masoni, Tullio (2017). «Loving Vincent: Il museo animato e i suoi limiti» [Loving Vincent: The Animated Museum and Its Limits]. Cineforum, Vol. 57, No. 10, pp. 45–48.

• Mendelson, Scott (2018). «At Eternity's Gate Review: Willem Dafoe's Van Gogh Biopic Is A Visual Experiment». Forbes, November 15.

• Miller, Arthur (1949). Death of a Salesman: Certain Private Conversations in Two Acts and a Requiem. New York: Viking Press.

• Mintzer, Jordan (2017). «"Loving Vincent": Film Review | Annecy 2017». The Hollywood Reporter, June 13.

• Mori, Masahiro (1970). «Bukimi no Tani» [The Uncanny Valley]. Energy, Vol. 7, No. 4, pp. 33–35 [Eng. tr. «The Uncanny Valley», trans. Karl F. MacDorman & Norri Kageki, IEEE Robotics & Automation Magazine, Vol. 19, No. 2, 2012, pp. 98–100].

• Naifeh, Steven, & Smith, Gregory White (2011). Van Gogh: The Life. New York: Random House.

• Notaro, Vincenzo (2026). MEDUSA. Dal presente all'eterno (EXTREMALIA Series, Issue 000). Cimitile: Edizioni de Il Pensiero Harduo. Independent Digital Distribution (Telegram Channel @ilpensieroharduo).

• Pasolini, Pier Paolo (1975). Scritti corsari [Corsair Writings]. Milan: Garzanti [Eng. tr. Corsair Writings, Chicago: University of Chicago Press, 2026 / Heretical Empiricism, Bloomington: Indiana University Press, 1988].

• Pasolini, Pier Paolo (1976). Lettere luterane [Lutheran Letters]. Milan: Garzanti [Eng. tr. Lutheran Letters, London: Carcanet Press, 1983].

• Pasolini, Pier Paolo (1992). Petrolio. Turin: Einaudi [Eng. tr. Petrolio, trans. Ann Goldstein, New York: Pantheon Books, 1997].

• Price, Vincent (1959). I Like What I Know: A Visual Autobiography. New York: Doubleday & Company.

• Price, Vincent (1972). The Vincent Price Treasury of American Art. Waukesha, WI: Country Beautiful Corp.

• Prince, Stephen (1996). «Perceptual Realism, Digital Images, and Synthetic Reality». Film Quarterly, Vol. 49, No. 3, pp. 27–37.

• Rossi, Giancarlo (2017). «La pittura congelata: "Loving Vincent" e il paradosso del rotoscopio» [Frozen Painting: "Loving Vincent" and the Paradox of Rotoscoping]. Lo Sguardo Blanco, October 18.

• Sabiston, Bob (2007). «Interpolated Rotoscoping: The Technical and Artistic Evolution of Rotoshop», in ACM SIGGRAPH 2007 Courses, New York: ACM, pp. 12–19.

• Schaeffer, Pierre (1966). Traité des objets musicaux: Essai interdisciplines. Paris: Éditions du Seuil [Eng. tr. Treatise on Musical Objects: An Essay across Disciplines, Berkeley: University of California Press, 2017].

• Sears, Roebuck and Co. (1962). The Vincent Price Collection of Fine Art [Art Catalog]. Chicago: Sears, Roebuck and Co.

• Scott, Anthony Oliver (2017). «Review: "Loving Vincent" Animates van Gogh’s Works. But to What End?». The New York Times, September 21.

• Svevo, Italo (1892). Una vita. Trieste: Vram [Eng. tr. A Life, trans. Archibald Colquhoun, New York: Alfred A. Knopf, 1963].

• Svevo, Italo (1923). La coscienza di Zeno. Bologna: Cappelli [Eng. tr. Zeno's Conscience, trans. William Weaver, New York: Vintage Books, 2001].

• Van Gogh, Vincent (1889, July). Letter 641 to Theo van Gogh, Saint-Rémy-de-Provence. Amsterdam: Van Gogh Museum Letters Database (Online edition: vangoghletters.org/vg/letters/let641/letter.html) [Eng. tr. in Jansen, L., Luijten, H., & Bakker, N. (Eds.), Vincent van Gogh – The Letters: The Complete Illustrated and Annotated Edition (6 vols.), London: Thames & Hudson / Van Gogh Museum, 2009].

• Ward, Annabelle (2004). «Flexible Bodies: The Rotoscope and Digital Animation». Animation Journal, Vol. 12, pp. 32–51.

3. Discography and Film Scores

• Cobb, Lee J., & Gabel, Martin (1963). Van Gogh: A Self-Portrait [LP Album / Spoken Word]. New York: RCA Victor (VDM-101 / LOC-1081).

• Händel, Georg Friedrich (1711). Rinaldo, HWV 7 [Opera in three acts]. Libretto by Giacomo Rossi. Critical edition ed. by W. Steffen, Kassel: Bärenreiter [Aria «Lascia ch'io pianga», Act II, Scene IV].

• Mansell, Clint (2017). Loving Vincent (Original Motion Picture Soundtrack) [Album]. Los Angeles: Milan Records.

• McLean, Don (1971). «Vincent (Starry Starry Night)», on American Pie [LP]. Los Angeles: United Artists Records.

4. Museum Collections, Archives, Press, and Institutional Resources

• City of Miami Beach (n.d.). SoundScape Cinema Series: Program, Tourism and Culture Department. Miami Beach: City of Miami Beach. Available at: https://www.miamibeachfl.gov/soundscape-cinema-series/

• Cineteca di Bologna (n.d.). Centro Studi - Archivio Pier Paolo Pasolini. Bologna: Cineteca di Bologna. Available at: https://cinetecadibologna.it

• Gulliksen, Josie (2026). «SoundScape Cinema Series: Free outdoor movies in Miami Beach». Miami on the Cheap, September 1. Available at: https://miamionthecheap.com/free-movie-at-soundscape/

• ISO 2969:2015 (2015). Cinematography — B-chain electroacoustic response of motion-picture reproduction rooms — Specifications and measurements. Geneva: International Organization for Standardization.

• LovingVincent.com (2017). Official Production Documentation, Painter’s Process & Cast Notes. BreakThru Films / Trademark Films.

• Meyer Sound Laboratories (2010). D-Mitri Digital Audio Platform: Technical Specifications and User Guide. Berkeley, CA: Meyer Sound Laboratories.

• Meyer Sound Laboratories (2026). New World Symphony WALLCAST & SoundScape Park: Immersive Audio Upgrade to NADIA Processing Platform. Technical Case Study, Berkeley, CA: Meyer Sound Laboratories.

• Museum Folkwang (1888). Portrait of Armand Roulin (Portrait of Armand Roulin in the Yellow Jacket) [Oil on canvas painting by Vincent van Gogh]. Essen: Museum Folkwang. Available at: https://www.museum-folkwang.de

• Peikert, Mark (2025). «This beloved outdoor movie series is back: here is the full lineup of films to catch». Time Out Miami, October 23. Available at: https://www.timeout.com/miami/news/this-beloved-outdoor-movie-series-is-back-here-is-the-full-lineup-of-films-to-catch-102325

• Sonitus Consulting (2017). Miami SoundScape Park / Lincoln Park Acoustic Design & Infrastructure Report. Sonitus Consulting / West 8 Archives.

• Van Gogh Museum (n.d.). Official Collection and Research on Vincent van Gogh's Death. Amsterdam: Van Gogh Museum. Available at: https://www.vangoghmuseum.nl

5. Related Publications and Author's Essays

• Daniele, Romina (2008). Aisthànomai, il Dramma della Coscienza. Theoretical Essay enclosed with the Audio CD, Milan: RDM Records [Available online at: https://rominadaniele.com/it/aisthanomai-linea-teorica].

• Daniele, Romina (2010). «Assenza o soglia del mio dolore…», in Poesie 1995–2005, Milan: RDM Records.

• Daniele, Romina (2015). Spannung, introductory essay to the triple audio CD Voce Sola, Milan: RDM Records [Available online at: https://rominadaniele.com/it/spannung-saggio-introduttivo].

• Daniele, Romina (2020). «L’autoaffermazione del Sapere» [The Self-Assertion of Knowledge]. Arts & Technologies / ElectroAcoustics Magazine [forthcoming; original draft August 25, 2020].

• Daniele, Romina (2026). The Ghost in the Garden: An Electroacoustic Critique of Miami Beach SoundScape Park. ElectroAcoustics Magazine (Continuous Digital Publication) / Arts & Technologies, Issue #01 «The Electroacoustic Imperative», Vol. 1 (Selected for Print Edition), RDM Records, 2026 Series, Art. 2026.03.en. DOI: Pre-assigned (eam.2026.03.en). Available at: https://rdmrecords.com/the-ghost-in-the-garden

• Daniele, Romina (forthcoming). Voce Sola. Saggio Intorno al Discorso Vocale [Voce Sola: Essay on Vocal Discourse]. Milan–Miami: RDM Records.

How to Cite this Essay

APA 7th Edition: Daniele, Romina, & Daniele, Romina Jadys (2026). Film Analysis: The Digital Cadaver — A Critique of Loving Vincent. ElectroAcoustics Magazine (Continuous Digital Publication) / Arts & Technologies, Issue #01 «The Electroacoustic Imperative», Vol. 1 (Selected for Print Edition), RDM Records, 2026 Series, Art. 2026.02.en. DOI: Pre-assigned (eam.2026.02.en). Available at: https://rdmrecords.com/film-analysis-the-digital-cadaver

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