The article consists of two parts that focus on the connection between Edward Hopper and cinema. After the opening comments about the comparability of the moving image of cinema to the still image of painting, Hopper’s use of off-screen space is addressed and then compared and connected to the use of sound in Robert Altman’s early films. In the second part of the article, the distortions of perspective and space in Hopper’s painting are compared to the concept and effect of a glitch in cinema. The glitch in Holy Motors (Leos Carax, 2012) is presented as a way to understand the two main interpretative approaches in experimental cinema and at the same time used to widen the understanding of Hopper’s painting.

The integral version of this article can be found in the printed KINO!