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.
Michael Syrimis is an assistant professor in the Department of French and Italian at Tulane University.
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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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