This essay examines Ettore Scola's innovative integration of digital technology into his filmmaking, particularly during the final stages of his career. By adopting digital tools early on, Scola redefined the boundaries between historical and personal narratives, seamlessly blending microhistory and macrohistory in his films. The analysis highlights key works such as Concorrenza sleale (2001), Gente di Roma (2003), and Che strano chiamarsi Federico (2013), where digital technology facilitated unique cinematic expressions, ranging from reconstructed historical settings to symbolic and imaginative visual effects.
Uva, C. (2020). Ettore Scola and Digital Technology: History, Memory, and Interpretation of the Present.. In E.B. R. Lanzoni (a cura di), The Cinema of Ettore Scola (pp. 102-115). Detroit : Wayne State University Press.
Ettore Scola and Digital Technology: History, Memory, and Interpretation of the Present.
Uva c.
2020-01-01
Abstract
This essay examines Ettore Scola's innovative integration of digital technology into his filmmaking, particularly during the final stages of his career. By adopting digital tools early on, Scola redefined the boundaries between historical and personal narratives, seamlessly blending microhistory and macrohistory in his films. The analysis highlights key works such as Concorrenza sleale (2001), Gente di Roma (2003), and Che strano chiamarsi Federico (2013), where digital technology facilitated unique cinematic expressions, ranging from reconstructed historical settings to symbolic and imaginative visual effects.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
