The Great Black Spider on Its Knock-Kneed Tripod traces the encounter of Italy’s writers with cinema, and in doing so offers vibrant new perspectives on the country’s early twentieth-century culture.
The Great Black Spider on Its Knock-Kneed Tripod traces the encounter of Italy’s writers with cinema, and in doing so offers vibrant new perspectives on the country’s early twentieth-century culture.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Michael Syrimis is an assistant professor in the Department of French and Italian at Tulane University.
Inhaltsangabe
Acknowledgements Illustrations Abbreviations Introduction: Reflections of Cinema and Technology in Marinetti, D’Annunzio, and Pirandello 1. Film Aesthetics of a Heroic Futurism 2. An Aesthetics of War: The (Un)Problematic Screening of Vita futurista 3. Velocita: Between Avant-Garde and Narrativity 4. Forse che si forse che no: Technological Inflections of a Decadent Text 5. Through a ‘Futuristic’ Lens: D’Annunzio’s Cinematic Re-Visions 6. The Humoristic Image in Pirandello’s Si gira 7. Cinema as Humour: The Ottre and the Superfluo Conclusion Notes Bibliography Index
Acknowledgements Illustrations Abbreviations Introduction: Reflections of Cinema and Technology in Marinetti, D’Annunzio, and Pirandello 1. Film Aesthetics of a Heroic Futurism 2. An Aesthetics of War: The (Un)Problematic Screening of Vita futurista 3. Velocita: Between Avant-Garde and Narrativity 4. Forse che si forse che no: Technological Inflections of a Decadent Text 5. Through a ‘Futuristic’ Lens: D’Annunzio’s Cinematic Re-Visions 6. The Humoristic Image in Pirandello’s Si gira 7. Cinema as Humour: The Ottre and the Superfluo Conclusion Notes Bibliography Index
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