Throughout his strange domestic journey, the creature is particularly consumed with French Neoclassical painter Jacques-Louis David’s painting Death of Marat (1793). It pores over and fingers a reproduction in a book, and traces the figure on a steamed-up window pane. Jean-Paul Marat and David both, as members of the Committee of General Security, helped usher in the French Revolution’s murderous Reign of Terror. David’s painting, a masterpiece of propaganda, cloaked Marat in a seductive Christlike martyrdom to justify cruelty in the name of ideology. Rooted in the tradition of painting, the theatrical mimesis of computer-generated imagery, the substance from which the film emerges, marks a new stage in the history of manipulative representation.
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