After a brief theoretical introduction to the concepts of reflexivity, self-reflexivity, metacinema, metafilm, metalanguage, and self-referentiality, the essay examines films that represent the world of cinema, concentrating in particular on the 1930s and the second postwar. I will examine the principal traits of the works of the fascist period that celebrate cinema as a “classic spectacle of modernity” (La stella del cinema, Mario Almirante, 1931; Dora Nelson and Due milioni per un sorriso, Mario Soldati, 1939; Voce senza volto, Gennaro Righelli, 1938; Fuga a due voci, Carlo Ludovico Bragaglia, 1943; Silenzio si gira!, Carlo Campogalliani, 1943) and neorealist and post-neorealist films that exalt, instead the “modern conscience of cinema” (Bellissima, Luchino Visconti, 1951; La signora senza camelie/The Lady Without Camelias, Michelangelo Antonioni, 1953; Il viale della speranza, Dino Risi, 1953; Siamo donne, Luchino Visconti, Roberto Rossellini, et al., 1953; La valigia dei sogni, Luigi Comencini, 1953; Cinema d’altri tempi, Steno, 1953).
Parigi, S. (2017). The Screen in the Mirror: Thematic and Textual Reflexivity in Italian Cinema. In Frank Burke (a cura di), A Companion to Italian Cinema (pp. 512-530). Hoboken (New Jersey) : Wiley Blackwell.
The Screen in the Mirror: Thematic and Textual Reflexivity in Italian Cinema
PARIGI, Stefania
2017-01-01
Abstract
After a brief theoretical introduction to the concepts of reflexivity, self-reflexivity, metacinema, metafilm, metalanguage, and self-referentiality, the essay examines films that represent the world of cinema, concentrating in particular on the 1930s and the second postwar. I will examine the principal traits of the works of the fascist period that celebrate cinema as a “classic spectacle of modernity” (La stella del cinema, Mario Almirante, 1931; Dora Nelson and Due milioni per un sorriso, Mario Soldati, 1939; Voce senza volto, Gennaro Righelli, 1938; Fuga a due voci, Carlo Ludovico Bragaglia, 1943; Silenzio si gira!, Carlo Campogalliani, 1943) and neorealist and post-neorealist films that exalt, instead the “modern conscience of cinema” (Bellissima, Luchino Visconti, 1951; La signora senza camelie/The Lady Without Camelias, Michelangelo Antonioni, 1953; Il viale della speranza, Dino Risi, 1953; Siamo donne, Luchino Visconti, Roberto Rossellini, et al., 1953; La valigia dei sogni, Luigi Comencini, 1953; Cinema d’altri tempi, Steno, 1953).I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
