首页> 外文期刊>H-ermes. Journal of Communication >Racconti dalle periferie d’Italia. Il ritorno al cinema della Suburra = Tales from the Italian suburbs. The return of the Suburra to the cinema
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Racconti dalle periferie d’Italia. Il ritorno al cinema della Suburra = Tales from the Italian suburbs. The return of the Suburra to the cinema

机译:来自意大利郊区的故事。从意大利郊区返回Suburra = Tales的电影院。 Suburra返回电影院

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Tales from the Italian suburbs. The return of the Suburra to cinema. Prompted by thoughts and cues read in Stefano Cristante and Valentina Cremonesini’s research La parte cattiva dell’Italia (2015) this paper aims to delve into the study of the media representation of specific Italian places through a comparative analysis of the national audiovisual imaginary. Given the deep connection between cinema and metropolitan scenarios (Abruzzese 2017; Brancato 2003), the setting is the key-concept to use in the selection of the movies and tv series with fictional narratives linked to the main metropolitan realities of our country: Milan, Rome, Naples and Palermo. Defining the setting in the iconic and hyperbolic terms of the suburbs, emerged in a first scan as having already been depicted as an element of growing importance in audiovisual Italian productions explicitly in relation with the territory, is the focus of this research. A definition required in order to compare different images of the Modern Cities (Benjamin 2007) of Italy and the possible stereotypes they could contain, with the objective to cross the dimension of landscapes at the borders of metropolitan areas with that of narrative genres. The distinction between drama and comedy of the sample of films and tv series set in the suburbs, produced and released in a time-frame that goes from the 1990s to nowadays, identifies a first level of breakdown of the elements contained in the audiovisual texts which, preluding to the necessity of a qualitative interrogation of them, mirrors the data of an increasing presence of the suburbs in the audiovisual imaginary of our country as much as the emergence of important quantitative and qualitative differences strictly correlated to the Italian place represented. More than the cinematographic and tv representation of Gomorrah the storytelling of the Roman suburbs is gaining in stature, seemingly committed to the restoration of its historical-cinematographical roots, in the face of a much more feeble and sporadic representation of the respective poles in Northern Italy and the insular reality of Sicily.
机译:来自意大利郊区的故事。 Suburra返回电影院。在Stefano Cristante和Valentina Cremonesini的研究(La parte cattiva dell’Italia)(2015)研究中所提出的思想和线索的提示下,本文旨在通过对国家视听影像的比较分析来深入研究意大利特定地方的媒体表现形式。考虑到电影和大都市场景之间的紧密联系(Abruzzese,2017年; Brancato,2003年),该设置是在选择电影和电视连续剧时使用的关键概念,其虚构叙事与我们国家的主要大都市现实相关:米兰,罗马,那不勒斯和巴勒莫。定义郊区的标志性和双曲线形式的背景是本研究的重点,该领域在第一次扫描中就已经被描述为在视听意大利作品中与该地区明显相关的越来越重要的元素。为了比较意大利现代城市的不同图像(本杰明,2007年)及其可能包含的刻板印象,需要进行定义,以使大都市区边界的景观尺寸与叙事类型的尺寸相交。在1990年代到现在的时间范围内制作和发行的电影样本和电视连续剧在郊区的戏剧和喜剧之间的区别,确定了视听文本中所包含元素的第一层次分解,在对他们进行质询的前提下,反映了郊区在我国视听影像中的存在增加的数据,以及与意大利所代表的地点严格相关的重要数量和质量差异的出现。面对远古意大利北部各个极点的微弱而零星的表征,罗马戈尔郊区的叙事不仅在电影和电视上得到了体现,而且在罗马郊区的叙事也日趋重要,似乎致力于恢复其历史电影的根源。以及西西里岛的现实。

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