نبذة مختصرة : The lively debate on cinema, literature and the visual arts between the two wars fed into Italian Neorealism in an intertextual way, as emerges in Bazin’s, Zavattini’s and Deleuze’s writings on Neorealism. The French philosopher observed how Neorealism breaks the sensory motor connection typical of classical cinema, thus paving the way for a cinema of pure optical situations. W.J.T. Mitchell’s concept of ‘the image as agent’ exemplifies how neorealist movies possess a lasting iconic impact capable of affecting different medias, thus making new venues viable for innovative intertextual narrations. The present contribution analyses how this debate may be translated today in a multimedia theory that orients aesthetic choices and forms of reception in a globalized context. ; In rethinking transmediality as a concept we are forced to address semiotics rather than linguistics, and therefore incorporate written, oral and, most of all, visual texts in a new conjuncture. This contribution explores how the Neorealist decade (1945-1956) in Italy can be assimilated to what Thomas Pavel in 1975 theorized as a “possible world” where written and visual expressions are assembled in an unprecedented form of storytelling. W.J.T. Mitchell’s concept of ‘the image as agent’ illustrates how Neorealist cinema has an emotional impact capable of transcending written forms of signification, thus making new venues viable for a participated forms of reception, which are still present in later works such as Tornatore’s Cinema Paradiso (1990) and Costanzo’s My Brilliant Friend (2018).
Processing Request
No Comments.