Dante, Cinema, and Television (Toronto Italian Studies) by Amilcare Iannucci PDF
By Amilcare Iannucci
The Divine Comedy of Dante Alighieri (1265-1321) is without doubt one of the seminal works of western literature. Its influence on sleek tradition has been huge, immense, nourishing a plethora of 20th century authors from Joyce and Borges to Kenzaburo Oe. even if Dante's impact within the literary sphere is definitely documented, little or no has been written on his both picking position within the evolution of the visible media special to our occasions, specifically, cinema and tv. Dante, Cinema, and tv corrects this oversight.
The essays, from a huge variety of disciplines, disguise the impression of the Divine Comedy from cinema's silent period on via to the period of sound and the appearance of tv, in addition to its effect on particular administrators, actors, and episodes, on national/regional cinema and tv, and on genres. additionally they contemplate different modes of appropriation through cinema and tv. Dante, Cinema, and tv demonstrates the numerous refined ways that Dante's Divine Comedy has been given 'new life' via cinema and tv, and underscores the super volume of Dante's endurance within the glossy world.
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Extra info for Dante, Cinema, and Television (Toronto Italian Studies)
This was the first frame, which disappeared, the light came back on, and then the darkness returned ... And it is so marvellous that a murmur of admiration escapes from every breast: It is The Dawn of the Twentieth of September in the Camp of the Bersaglieri. Here is the grey dawn, the Modena Brigade camped in Villa Bonacci, on the Via Nomentana, and here is the Twelfth Battalion of the Bersaglieri, which is part of it, still completely immersed in sleep. Suddenly the trumpeter sounds the alarm: all the soldiers jump to their feet, and the camp is seen rising.
Finally, as in Dante's Hell, unspeakable suffering is everywhere to be found. All of the murder victims, who are filmed in extreme graphic detail, are exposed to prolonged torture and appalling horrors. As an attending physician aptly remarks of one of the victims, 'He has experienced about as much pain and suffering as anyone I've encountered ... ' Moreover, the killer, chillingly portrayed by Kevin Spacey, is figured as Satan himself. ' As the movie progresses, John Doe becomes more and more the devil, until he is revealed in the film's closing sequence, whose tall electrical poles recall the giants of the lowest circle 16 Amilcare A.
These cinemas had names like 'Splendor/ 'Eden/ and 'Fulgor/ In Venice the cinema Rossini resembled architecturally the famous Venetian theatre La Fenice. 8 Let us now turn to briefly consider aspects of film production in Italy between 1905 and 1911. In 1905, a decade after the Lumiere brothers began making films in France, the first Italian film with a complex plot was produced by Filo Albertini: La presa di Roma (The Capture of Rome), an historical film celebrating the liberation of the Eternal City from papal control.
Dante, Cinema, and Television (Toronto Italian Studies) by Amilcare Iannucci