The essay presents an iconological analysis of two sequences from Roma (Cuarón, 2018). The film establishes a fertile dialectic between the original functions of the big screen and three fictional regimes experienced throughout the history of cinema. The analysis focuses on the vast semantic field of the word screen and then on the three metaphors used by film theory to define its characteristics. Finally, the essay makes reflections on the refunctionalization of the screen in the media environments of the XXI Century.
Scarti veritativi tra schermo e display. Su due sequenze di Roma di Cuarón / Masciullo, Pietro. - In: FATA MORGANA. - ISSN 1970-5786. - 44:(2021), pp. 167-173.
Scarti veritativi tra schermo e display. Su due sequenze di Roma di Cuarón
pietro masciullo
2021
Abstract
The essay presents an iconological analysis of two sequences from Roma (Cuarón, 2018). The film establishes a fertile dialectic between the original functions of the big screen and three fictional regimes experienced throughout the history of cinema. The analysis focuses on the vast semantic field of the word screen and then on the three metaphors used by film theory to define its characteristics. Finally, the essay makes reflections on the refunctionalization of the screen in the media environments of the XXI Century.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
