L'armonia perduta di Napoli città di mare nel racconto cinematografico tra le due Guerre Mondiali
| Autor: | Massimo Clemente |
|---|---|
| Jazyk: | italština |
| Rok vydání: | 2016 |
| Předmět: | |
| Zdroj: | VII Convegno Internazionale di Studi-CIRICE 2016 "Delli Aspetti de Paesi-Vecchi e nuovi Media per l'Immagine del Paesaggio", Napoli, 27-29/10/2016 info:cnr-pdr/source/autori:Massimo Clemente/congresso_nome:VII Convegno Internazionale di Studi-CIRICE 2016 "Delli Aspetti de Paesi-Vecchi e nuovi Media per l'Immagine del Paesaggio"/congresso_luogo:Napoli/congresso_data:27-29%2F10%2F2016/anno:2016/pagina_da:/pagina_a:/intervallo_pagine |
| Popis: | The goal of this paper is the exploration of potentialities of short and full-length movies as tool for deepening non-evident aspects of the transformations of urban landscape in the coastal cities and the relationships between the urban community and the sea. Naples and its Gulf are the objectives of the case study. During the centuries, they have been widely drawn by landscape painters, in particular, in the eighteenth and nineteenth centuries. In the last century the photographic representation began. Photographic pictures were followed by the cinematographic representation. The movie Assunta Spina (1915), with the diva Francesca Bertini, began with scenes of the waterfront and of the Gulf of Naples. In the period between the two World Wars, movies described a double reality of landscape and urban identity. The port is still an urban place, a hub for commercial and passenger traffic. There is a city that sees and touches the sea, with daily and intense relationship. At the same time, there is a city that doesn't have physical and perceptive relationships with the sea. |
| Databáze: | OpenAIRE |
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