If the songs of Bob Dylan were read as a long epic novel like the Iliad, there is a translation worthy of the name, and in fact in Italy there is, divided the study of Alessandro Carrera in three volumes: ’69 – ‘ 82, ’61 -’68, ’83 -2012, described to Dylan’s career: Here all the others: https://amzn.to/2PjAPcM But it is Dylan himself, who received the 2016 Nobel Prize, to have mentioned the Odyssey, Moby Dick and Shakepseare in his training books. With the Homeric poems he shares the fact of being written to be sung in itinerant form in several nearby cities (in ancient Greece)Leggi altro →

Cursed poets like Dino Campana we mentioned, Bukowski overseas-naturalized in the United States, the French from Baudelaire to Rimbault. Now we have to extend to the writers and to the cursed ones in general or, as Colin Wilson would say, the Outsiders (here you can see the book on Amazon). For Colin Wilson, in fact, literature is studded with outsiders and is reduced to a personal matter of individual writers. Then Dostoevsky epileptic for the Brothers Karamazov. Dino Campina schizophrenic for the Orphic Songs (Umberto Saba was right about this, he said: “Dino Campana is not a poet, he is just a fool”). Gadda depressedLeggi altro →

On the web I see the forums with many people talking about the difference between fantasy and science fiction. And apart from horror. They launch into Star Wars plot analysis to show that if something is not credible, or if the special effects “betray” themselves because of the era it would be fantasy. Credibility has nothing to do: the pact with the viewer is that we must believe. The difference is actually very clear: fantasy and fantasy are an invention separated from the world; science fiction is an invention that has links with our way. The difference is all here. In fantasy we could haveLeggi altro →

He tried a long time before imagining a trip to the moon before Kubrick and any spatial plan of the U.S.A., in 1902 the French George Melies with Trip to the Moon. Cinema was born in France. The first director to understand that after the scene of the train of the Lumière brothers the cinema had to go in the direction of the unusual because it was a new technique that created a parallel reality. Melies worked as an actor and illusionist and had the idea of ​​reproducing his illusions in virgin cinema, a new means of communication. He imagined crashing a rocket into theLeggi altro →

“Now, when we talk about a synthetic autobiography, which based on its not-being, on abandonment, on lack, cannot but let itself be drawn by the imaginary of this same reality, it means that Otranto was visited by a story that, including the massacre of the Turks, was and continues to be the cult (culture) of all the other stories that that historical event ousted “. Thus begins Carmelo Bene has narrate his life. Perhaps the only Italian anti-structuralist that I happened to meet. A literary encounter like his with Camus (“the first decisive encounter in my life. Albert Camus. Venice. La Fenice Theater. Exterior-day. ALeggi altro →

The ‘maleddettismo’ (the cursed poets) founded by Edgar Allan Poe and his Revealing Heart will end up in the twentieth century in genre literature, both horror and fantasy. Poe is just an unusual narrator (outside of genre literature) and poet in his The Raven, and contemporary of the poet Rimbaud, a damn violent and always drunk, inserted by Harold Bloom in the western canon. The vein in Italy finds its expression only in Dino Campana, composer of the Orphic songs, symbolic but perhaps overrated Italian curser. The fantastic from Dino Buzzati in the tales and in the Desert of the Tartars and from Italo CalvinoLeggi altro →

The love for William Shakespeare and Dostoevsky (from whose subjects he films the Idiot and Bassifondi) make him a cultured director, a lover of theatrical dramaturgy in cinema and the reinterpretation of the classics (in these like Carmelo Bene in Italy), descendant of a family of samurai he devoted himself to cinema and films to samurai themes, such as: Ran (late film inspired by Shakespeare’s King Lear), Rashmon (winner of the Golden Lion) and The Seven Samurai, all set in the feudal period of the Japanese Empire. His way of filming is very traditional, but by loving the samurai, his films are inherently epic (soLeggi altro →

Orson Welles, known for Citizien Kane and War of the Worlds, was the first director to use depth of field as a style. We have already said that the depth of field in cinema corresponds to the psychological excavation of novelists, referring to the essay by Gille Deleuze Image-time. Welles, by profession dramatist in New York and illusionist like George Melies, arrives in the nascent Hollywood with Citizien Kane, whose protagonist is the rise of a journalist, told by several witnesses-points of view as in As I lay dying by Faulkner. This brings to the agenda the debate on the rising power of the pressLeggi altro →