Il film di famiglia come progetto estetico del cinema italiano contemporaneo

digital

Articolo

rivista	COMUNICAZIONI SOCIALI
fascicolo	COMUNICAZIONI SOCIALI - 2005 - 3. Il metodo e la passione. Cinema amatoriale e film di famiglia in Italia
titolo	Il film di famiglia come progetto estetico del cinema italiano contemporaneo
autore	Roy Menarini
editore	Vita e Pensiero
formato	Articolo \| Pdf
online da	09-2005
issn	0392-8667 (stampa) \| 1827-7969 (digitale)
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Descrizione Commenti dei lettori
From the nineties on, ‘low fidelity’methods of filming and styles inspired by family films and home movies began to make their way also into mainstream cinema. In their turn digital technologies soon replaced traditional ones in recording family and intimate memories. The old glamour of cinéma-vérité and the chance to create an aesthetic in sharp contrast with Hollywood’s prompted some art-movie makers to adopt these techniques. In Italy the issue is still open. In Italian movies, the inscription of features of home movies in filming has two aspects: 1. inscription of the technology in representation 2. stylistic mimesis. Films like Io ballo da sola by Bernardo Bertolucci, Ovosodo by Paolo Virzì and Il più bel giorno della mia vita by Cristina Comencini exemplify the first type; Scarlet Diva by Asia Argento or L’amore probabilmente by Giuseppe Bertolucci the second. In any case they still entail introducing the subjects and techniques of home movies into fictional films, conceived for cinema audiences and usable almost exclusively in art films Inserisci un commento per Il film di famiglia come progetto estetico del cinema italiano contemporaneo

Descrizione Commenti dei lettori

From the nineties on, ‘low fidelity’methods of filming and styles inspired by family films and home movies began to make their way also into mainstream cinema. In their turn digital technologies soon replaced traditional ones in recording family and intimate memories. The old glamour of cinéma-vérité and the chance to create an aesthetic in sharp contrast with Hollywood’s prompted some art-movie makers to adopt these techniques. In Italy the issue is still open. In Italian movies, the inscription of features of home movies in filming has two aspects: 1. inscription of the technology in representation 2. stylistic mimesis. Films like Io ballo da sola by Bernardo Bertolucci, Ovosodo by Paolo Virzì and Il più bel giorno della mia vita by Cristina Comencini exemplify the first type; Scarlet Diva by Asia Argento or L’amore probabilmente by Giuseppe Bertolucci the second. In any case they still entail introducing the subjects and techniques of home movies into fictional films, conceived for cinema audiences and usable almost exclusively in art films

Inserisci un commento per Il film di famiglia come progetto estetico del cinema italiano contemporaneo