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La ri-scrittura della storia: «Un’ora sola ti vorrei» di Alina Marazzi e la memoria delle immagini

digital La ri-scrittura della storia: «Un’ora sola ti vorrei» di Alina Marazzi e la memoria delle immagini
Articolo
rivista COMUNICAZIONI SOCIALI
fascicolo COMUNICAZIONI SOCIALI - 2005 - 3. Il metodo e la passione. Cinema amatoriale e film di famiglia in Italia
titolo La ri-scrittura della storia: «Un’ora sola ti vorrei» di Alina Marazzi e la memoria delle immagini
autore
editore Vita e Pensiero
formato Articolo | Pdf
online da 2005
issn 03928667 (stampa) | 18277969 (digitale)
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This paper analyzes Un’ora sola ti vorrei (2002), a film assembled and edited by Alina Marazzi, using the home movies originally made by her maternal grandfather Ulrico Hoepli between 1926 and 1972. A singular attempt to reconstruct the memory of her dead mother exclusively by using traces from the past (home movies, her mother’s letters and diaries and clinical documents), the film is much more than a found-footage operation, standing halfway between documentary and film diary. The reconstruction of the life of Liseli Hoepli proceeds by interweaving discourses (familial, social, medical, amorous) and representations (home movies, diary entries, medical-social ‘normality’) so as to present us with a many-sided portrait of a woman who was unable to adapt to the identity of the role which others sought to impose on her. So home movies with their images of happiness give us not so much sensitive memories of an experience and a life but rather scenes from an inviolable social performance.

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