‘Il filo di Arianna’ : La stanza del figlio and the Healing Value of Nanni Moretti’s Cinema of Poetry

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Abstract

In this essay Nanni Moretti’s La stanza del figlio (2001) is studied through the deployment of symbols belonging to several artistic languages. By interpreting the references made by Moretti in La stanza del figlio to Raymond Carver’s poetry and to Brian Eno’s song ‘By this river’, and by adopting the concept of ‘cinema of poetry’ as conceived by Pier Paolo Pasolini, this study will introduce the image of the river and its elements of horizontality and linearity to the poetics of Moretti’s cinema. This will enable us to better evince the possibility of poetry and its healing effects within his cinematic language and, fundamentally, to assist in reading La stanza del figlio in an original way.

Salvato in:
Autori: Rossella Riccobono iD (University of St Andrews)
Pubblicato in: Spunti e ricerche, vol. 30, n. 1, pp. 23-40
Data di pubblicazione:03/02/2016
Tipo di documento:Articolo
Lingua:italiano
ISSN:0816-5432, 2200-8942
Accesso aperto: Nessuna copia ad accesso aperto nota: per le risorse in abbonamento usare Verifica disponibilità.
Soggetti:
Cinema History and Criticism (Social Sciences > Arts and Humanities > Visual Arts and Performing Arts)
Italian Literature and Culture (Social Sciences > Arts and Humanities > General Arts and Humanities)
Ethics, Aesthetics, and Art (Social Sciences > Arts and Humanities > Philosophy)
Nanni Moretti, Pier Paolo Pasolini, Raymond Carver, Brian Eno, river imagery, healing, intermediality, poetry and film, Italian cinema
Identificativi: OpenAlex W2520467953

Dati dell'indice centrale: OpenAlex (licenza CC0).

Riassunto:In this essay Nanni Moretti’s La stanza del figlio (2001) is studied through the deployment of symbols belonging to several artistic languages. By interpreting the references made by Moretti in La stanza del figlio to Raymond Carver’s poetry and to Brian Eno’s song ‘By this river’, and by adopting the concept of ‘cinema of poetry’ as conceived by Pier Paolo Pasolini, this study will introduce the image of the river and its elements of horizontality and linearity to the poetics of Moretti’s cinema. This will enable us to better evince the possibility of poetry and its healing effects within his cinematic language and, fundamentally, to assist in reading La stanza del figlio in an original way.
ISSN:0816-5432
2200-8942