Splice monster y grown1/16/2024 Invece di analizzare la relazione fra cinema e realtà storica, questo saggio esamina l’uso degli effetti speciali nel cinema di Sorrentino con lo scopo di esplorare il modo in cui forma, riflessività e movimento raggiungono nuovi livelli di espressività nel formato digitale. SOMMARIO La critica su due film recenti di Paolo Sorrentino (La grande bellezza, 2013 Youth, 2015), è solita identificarli con un rifiuto formalistico dello stato disgraziato della nazione italiana. In order to substantiate this thesis, the essay traces material and theoretical connections between Italian filmmaking, its links with the stationary art of painting, and video games. It argues that the new techniques and technology utilized in these films represent a potentially positive creative direction, away from transparent, photographic realism and towards arrangements of visual illusion that are typical of global digital media in the age of media convergence. Instead of analysing these films according to their relation to historical reality, this article examines Sorrentino’s use of special effects and how form, reflexivity, and motion achieve new levels of cinematic expressivity in the digital format. In this interview Mario Masini discusses his participation in Roman experimental cinema as well as his cooperation with other artists such as Carmelo Bene.ĪBSTRACT Criticism on two recent films by director Paolo Sorrentino (La grande bellezza, 2013 Youth, 2015) has tended to identify them with a formalistic retreat from the afflicted state of the Italian nation. His film Der rote Schal (‘The red scarf’) was released in 2018. He was the cinematographer for Haile Gerima’s Teza (Morning Dew), which received the Special Jury Prize at the Venice International Film Festival (2008). Masini was the cameraman of Paolo and Vittorio Taviani’s San Michele aveva un gallo (Saint Michael Had a Rooster) (1973) and Padre Padrone (Father and Master) (1977), which was awarded the Palme d’Or at the Cannes Film Festival. Masini collaborated with Carmelo Bene on the cinematography of Nostra Signora dei Turchi (Our Lady of the Turks) (1968), Il barocco leccese (Lecce’s Baroque) (1968), Don Giovanni (1970), Salom (1972) and Un Amleto di meno (One Hamlet Less) (1973). Mario Masini is an active figure of Roman experimental cinema alongside Paolo Brunatto, Alberto Grifi and Alfredo Leonardi, Mario Masini began his career as a director with two short films: Il sogno di Anita (‘Anita’s dream’) (1963) Immagine del Tempo (‘Images of time’) (1964) – from the title of a lithography by Emilio Vedova and one feature-length film X chiama Y (‘X calls Y’) (1968). This paper is in an attempt to review the film, Splice from a postmodern perspective and mainly its two outcomes, feminism and interpretations of Freudian sexuality with regard to the issues of “otherness” and “identity”. This technophobic stand of the film derives from the mixture of genres, science-fiction and horror. The dark and gloomy tone of the opening music in the film alerts the audience for the forthcoming technophobia though the film seems to embrace a lovely family portrayal through the middle. Vincenzo Natalie’s film Splice (2009) is a reflection of these anxieties along with some other tensions of postmodern society. As Magalhães and Dinello stated, science has been evolving so rapidly that the postmodern society started to shelter the anxieties of being replaced by a copy, or automation (Dinello, 2005 Magalhães, 1997). However, experiments on genes gave rise to several fears of “uncanny” as can be observed in different conspiracy website forums as well as in the broad field of science-fiction films. This whole process of creation in science could be considered as the sign of a God-like power. Scientists even managed to create copies of DNA fragments, a process called “cloning” and in 1996 there happened to be the first copy of a living organism, the sheep Dolly. In order to cure diseases, genetic engineers have been trying to find the right medicines by conducting experiments on artificial selection, transformation and regeneration. Alongside with the technological improvements in science, people progressively understand the mystery of the most important unit of genetic information: DNA.
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