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Il migliore dei documentari impossibili. Chung Kuo - Cina di Michelangelo Antonioni
No full textChina is one of the most ambitious and controversial projects of Antonioni. Filmed in 1972, in full swing of the Cultural Revolution, has had a reception history that is in a sense unique and extraordinary. Initially ignored by critics and public, later on the film was attacked by the Chinese press and governing institutions for the highly negative image it offered of the subcontinent, they even staged a worldwide campaign of condemnation of the director, accused of imperialism and fascism. The film therefore disappeared from the scene for several years, it was no longer programmed by the RAI, in part it was rejected by Antonioni himself. At the same time however during the years quite of few researchers (among whom I recall at least Eco, Sontag, Moravia, Chatman) considered it indicative of the problems inherent in the cultural translation, in the methods of approaching reality and of relation to images, in the ideological approach to representation. Recently however, the broad range of discussion that has evolved enables us to regard that particular experience from an unusual point of view, also underlining the elements of affinity and the processes of dialogue activated, despite disagreement and incomprehension, between the acting parts. The essay aims, in particular, at identifying the principal strategies of relation and conflict between the creative part of the film – that we commonly call ‘auteur’ and that occupies an invisible but invasive role in the narration – and the equally institutionalizing part represented by the Chinese political authorities
24 Frames di Abbas Kiarostami e la condizione inter-mediale
Full text link24 Frames è l’ultimo film di Abbas Kiarostami, realizzato nell’ultimo periodo della sua vita (2015-2016) e distribuito alcuni mesi dopo la sua morte (2017-2018). Si tratta di ventiquattro episodi di pochi minuti l’uno, nei quali un’immagine statica (un quadro o una fotografia) viene progressivamente animata dalla computer graphica. Prevalentemente dedicati ad ambienti naturali e a piccole scene di vita animale, i frames conservano un portato teorico che il saggio cerca di esplicitare, poiché richiamano direttamente o indirettamente alcuni contributi ‘classici’ dei film studies, da quelli di Gunning e Gaudreault sul cinema dei primi tempi a quelli di Bazin e Pasolini sui rapporti tra cinema e vita, dal Barthes de La camera chiara fino agli studi più recenti su rimediazione, convergenza e intermedialità. È proprio quest’ultimo concetto di inter-medialità a subire i contraccolpi più interessanti perché il film problematizza l’idea che esista una ‘naturale’ porosità tra i sistemi espressivi o una reale integrazione tra i media. Nella superficie non così limitata di una immagine (in movimento) è possibile infatti che fotografia e cinema, così come analogico e digitale, o ancora narrativo e mostrativo, convivano, sì, ma come una coppia in crisi, senza grande dialogo o erodendo talvolta l’uno lo spazio di significazione dell’altro.24 Frames is Abbas Kiarostami’s last film, made during the last period of his life (2015-2016) and distributed a few months after his death (2017-2018). It consists of twenty-four episodes of only few minutes each, where a static image (a painting or a photo) is progressively animated through computer graphics. The frames, mainly dedicated to natural environments and small scenes of animal life, retain a theoretic content that this essay aims at making explicit because they refer directly or indirectly to certain ‘classical’ theories of film studies, from Gunning and Gaudreault on the Early Cinema to Bazin and Pasolini on cinema and life, from Barthes’ Camera lucida to the most recent studies on remediation, convergence and intermediality. It is precisely this last concept of inter-mediality that undergoes the most interesting impacts as the film problematizes the idea that there exists a ‘natural’ permeability between different expression systems and a real integration between different media. Upon the not too limited surface of an image (in motion), it is actually possible that photography and cinema, or the analogical and the digital or also the monstrative and the narrative dimensions coexist. They coexist however as a struggling couple, without too much dialogue, where one of the two sometimes tends to erode the space of signification of the other
Il Giappone sprofonda in una palude. Ossessioni acquatiche e crepuscolarismo nel cinema postbellico di Kurosawa Akira
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Viaggio in Oriente: l’esperienza dell’altro e dell’alterità nel cinema odeporico modernista
Full text linkDuring the years of the appearance of the new waves in cinema and of the breakthrough of the so called “politique des auteurs” many European film directors make films abroad, especially in Asian countries such as India, China and Japan. Rossellini, Antonioni, Marker, Ivens, Pasolini and many others live the experience of the journey introducing innovative approaches: these are among the first travellers that are
aware of the injustice caused by colonialisation, being themselves its cultural offspring and its political opponents; they are among the first who wish to go beyond a typified representation of foreign cultures that they show sympathy for openly; they are among the first who use light film cameras (16 mm) that make the practical approach easier. Viewing this phenomenon within the odeporic narrative and orientalist figurative tradition and pursuing a multidisciplinary theoretical and methodological approach, the present study aims at illustrating how modernist cinema questions and disconcerts, rather than conferming some of the historiographical characteristics commonly assigned to this period and to its protagonists: the rule of mimesis, the question of intentionality, the contextualization of the “auteur” in discussions on the other and otherness
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