By Amilcare Iannucci
The Divine Comedy of Dante Alighieri (1265-1321) is likely one of the seminal works of western literature. Its effect on smooth tradition has been huge, immense, nourishing a plethora of 20th century authors from Joyce and Borges to Kenzaburo Oe. even if Dante's effect within the literary sphere is definitely documented, little or no has been written on his both picking function within the evolution of the visible media distinctive to our instances, particularly, cinema and tv. Dante, Cinema, and tv corrects this oversight.
The essays, from a wide variety of disciplines, disguise the impression of the Divine Comedy from cinema's silent period on via to the period of sound and the appearance of tv, in addition to its impression on particular administrators, actors, and episodes, on national/regional cinema and tv, and on genres. in addition they think of the several modes of appropriation via cinema and tv. Dante, Cinema, and tv demonstrates the numerous refined ways that Dante's Divine Comedy has been given 'new life' by means of cinema and tv, and underscores the great volume of Dante's endurance within the sleek world.
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Extra resources for Dante, Cinema, and Television (Toronto Italian Studies)
Hirsch, Foster. Love, Sex, Death and the Meaning of Life: Woody Allen's Comedy. New York: McGraw-Hill, 1981. lannucci, Amilcare. ' Lectura Dantis 13 (1993): 32^16. 20 Amilcare A. lannucci - 'Dante, Television and Education/ Quaderni d'ltalianistica, 10 (1989): 1-33. Jackson, Russell, ed. The Cambridge Companion to Shakespeare on Film. Cambridge: Cambridge University Press, 2000. Jacobs, Diane. The Magic of Woody Allen. London: Robson Books, 1982. Knight, Arthur. The Liveliest Art: A Panoramic History of the Movies.
La coppia in miniatura 24 John P. Welle Illustration 1. Cover of a publicity pamphlet for Milano Films' Inferno. Dante's Inferno of 1911 and the Origins of Italian Film Culture 25 Vargas Bisaccia reduce dal suo trionfale giro artistico in Russia, Spagna e Germania. L'etoile eccentrica francese Bloquelle, la baronessa Milford cantante tedesca, Hermand uomo serpente, la Belvalle canzonettista. In una parola, uno spettacolo attraentissimo. (Bernardini, Cinema muto italiano 1:31) [This evening the reopening of Margherita Hall with a completely new program.
Unlike the omniscient narrators of realist novels and the Hollywood cinema, the early cinema restricted narrative to a single point of view. For this reason, the early cinema evoked a different relationship between the spectator and the screen, with viewers more interested in the cinema as visual spectacle than as story-teller. So striking is the emphasis upon spectacle during this period that many scholars have accepted Tom Gunning's distinction between the early cinema as a 'cinema of attractions' and the transitional cinema as a 'cinema of narrative integration' ...
Dante, Cinema, and Television (Toronto Italian Studies) by Amilcare Iannucci