Starting from the observation that there is language in cinema and there is cinema in language, this little book shows the pertinence of both sides of this observation and does so from original and unusual perspectives, making cinema an opportunity to deal with language and language a way to talk about cinema. Here then, by investigating the ways in which a famous linguistic gag by Totò and Peppino works, the ambiguity of the title is highlighted and, consequently, of the overall interpretation of Ettore Scola's most celebrated and remembered film. The expressive traits of the actor Nanni Moretti become a tool for understanding the inspiring characters of the director Nanni Moretti. In the linguistic theme of a science fiction film by Denis Villeneuve (and in the story by Ted Chiang from which the film is inspired) we grasp the metaphor of the condition of the écrivain, to quote Roland Barthes, in opposition to the écrivant. The narrative core of the fascinating and disturbing war narrative of a film by Christopher Nolan, such as Dunkirk, unravels with the linguistic categories of time and aspect and with other tools of rhetorical analysis. It shows how in recent films by Robert Redford and Clint Eastwood, two ancient filmmakers from apparently opposite moral, if not political, positions spiritually wind a humanistic motto of very ancient cultural tradition. In the onomastic and narrative palindrome of another Nolan film, a much-discussed work, specific systematic correspondences of the current ideological (and not only ideological) conflict between future and present can be traced. In the words of the characters or, perhaps better, of the people of Marco Bellocchio's latest work, Marx can wait, we read the irony that ancient tragedy already proposed as the definitive horizon of family relationships and human destiny. Finally, and almost as a counterpoint, with the observation of the use of verb tenses in three well-known passages from the Promessi Sposi, it is said how Alessandro Manzoni made cinema through the use of words. In the nine parts, which make up this volume, made up of cinema and words, the reader will discover how a cultivated linguistic sensitivity of the ear and the mind's eye can increase the pleasure that quality films and novels provide to those who attend them. and to those who read them.
Partendo dall’osservazione che c’è lingua nel cinema e c’è cinema nella lingua, questo piccolo libro mostra la pertinenza di ambedue i membri di questa osservazione e lo fa da prospettive originali e inconsuete, facendo del cinema un’occasione per occuparsi di lingua e della lingua un modo per parlare di cinema. Ecco allora che, indagando i modi del funzionamento di una famosa gag linguistico di Totò e Peppino, si mette in luce l’ambiguità del titolo e, conseguentemente, dell’interpretazione complessiva della pellicola più celebrata e ricordata di Ettore Scola. I tratti espressivi dell’attore Nanni Moretti diventano strumento per comprendere i caratteri ispiratori del Nanni Moretti regista. Nel tema linguistico di un film di fantascienza di Denis Villeneuve (e nel racconto di Ted Chiang cui la pellicola si ispira) si coglie la metafora della condizione dell’écrivain, per dirla con Roland Barthes, in opposizione all’écrivant. Si dipana il nocciolo narrativo dell’affascinante e perturbante narrazione guerresca di un film di Christopher Nolan, come Dunkirk, con le categorie linguistiche del tempo e dell’aspetto e con altri strumenti dell’analisi retorica. Si mostra come in recenti pellicole di Robert Redford e di Clint Eastwood, due vegliardi cineasti dalle posizioni morali, se non politiche, apparentemente opposte, serpeggi spiritualmente un motto umanistico di antichissima tradizione culturale. Nel palindromo onomastico e narrativo di un altro film di Nolan, opera molto discussa, si rintracciano specifiche corrispondenze sistematiche dell’attuale conflitto ideologico (e non soltanto ideologico) tra futuro e presente. Nella parola dei personaggi o, forse meglio, delle persone dell’ultima opera di Marco Bellocchio, Marx può aspettare, si legge l’ironia che già la tragedia antica proponeva come definitivo orizzonte delle relazioni famigliari e del destino umano. Infine, e quasi come contrappasso, con l’osservazione dell’uso dei tempi verbali in tre noti passi dei Promessi Sposi, si dice come Alessandro Manzoni facesse cinema attraverso l’uso delle parole. Nelle nove parti, di cui si compone questo volume, fatto di cinema e parole, il lettore scoprirà come una coltivata sensibilità linguistica dell’orecchio e dell’occhio della mente possano far crescere il piacere che film e romanzi di qualità procurano a chi vi assiste e a chi li legge.
La Fauci, N. (2022). Cinema e parole. Pisa : Edizioni ETS.
Cinema e parole
La Fauci, Nunzio
2022-01-01
Abstract
Starting from the observation that there is language in cinema and there is cinema in language, this little book shows the pertinence of both sides of this observation and does so from original and unusual perspectives, making cinema an opportunity to deal with language and language a way to talk about cinema. Here then, by investigating the ways in which a famous linguistic gag by Totò and Peppino works, the ambiguity of the title is highlighted and, consequently, of the overall interpretation of Ettore Scola's most celebrated and remembered film. The expressive traits of the actor Nanni Moretti become a tool for understanding the inspiring characters of the director Nanni Moretti. In the linguistic theme of a science fiction film by Denis Villeneuve (and in the story by Ted Chiang from which the film is inspired) we grasp the metaphor of the condition of the écrivain, to quote Roland Barthes, in opposition to the écrivant. The narrative core of the fascinating and disturbing war narrative of a film by Christopher Nolan, such as Dunkirk, unravels with the linguistic categories of time and aspect and with other tools of rhetorical analysis. It shows how in recent films by Robert Redford and Clint Eastwood, two ancient filmmakers from apparently opposite moral, if not political, positions spiritually wind a humanistic motto of very ancient cultural tradition. In the onomastic and narrative palindrome of another Nolan film, a much-discussed work, specific systematic correspondences of the current ideological (and not only ideological) conflict between future and present can be traced. In the words of the characters or, perhaps better, of the people of Marco Bellocchio's latest work, Marx can wait, we read the irony that ancient tragedy already proposed as the definitive horizon of family relationships and human destiny. Finally, and almost as a counterpoint, with the observation of the use of verb tenses in three well-known passages from the Promessi Sposi, it is said how Alessandro Manzoni made cinema through the use of words. In the nine parts, which make up this volume, made up of cinema and words, the reader will discover how a cultivated linguistic sensitivity of the ear and the mind's eye can increase the pleasure that quality films and novels provide to those who attend them. and to those who read them.File | Dimensione | Formato | |
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