La bella scontrosa: la letteratura incarnata e il cinema d’autore
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Anna Masecchia [1]
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[1] Università ‘Federico II’
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- Localización: Moderna: semestrale di teoria e critica della letteratura, ISSN 1128-6326, Vol. 23, Nº. 1-2, 2021, págs. 167-181
- Idioma: italiano
- Texto completo no disponible (Saber más ...)
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Resumen
La Belle noiseuse: littérature incarnée and Auteur Cinema · The essay deals with literature as metadiscursive device for cinema. In the field of author cinema, literary writing can act as a challenge to the director’s eye, far beyond (and to some extent regardless of ) the common practices of adaptation. We know that painting, as Barthes suggested, provided the realist novel an aesthetic model to define its status and its horizon of representation. And cinema has often taken up this particular intermedial relationship to question and force the limits of visibility, moving between reality and imagination, mimetic illusionism and expressive transfiguration. Within this theoretical framework, the essay takes into account a typical narrative situation explored first by literature, then by cinema: the relationship between the painter and the model. It then investigates two films that share, despite their historical distance, a similar authorial stance: on the one hand Michael by Carl Th. Dreyer (1924), whose visual techniques represent an innovation for the cinema of the period, and, on the other, La Belle Noiseuse by Jacques Rivette (1991), which comes to terms with the legacy of the Nouvelle Vague and tackles The Unknown Masterpiece by Balzac to suggest a reflection on the process of artistic creation and on some central issues of Western aesthetics.
