A book that would probably leave a gash inside someone in every age. Albert Camus’ Stranger. I had already talked about the Plague in my previous blog and I will talk about Caligola, a theatrical work to which Camus freely gave the rights of a young man never seen Carmelo Bene, favoring his ascent, when in 1959 we had not suspended performances in Italy. A book that has fostered many reflections, many implicit in Camus’ well thought out story, other explicit, but expressed in no more than one line by Camus which in the Stranger is synthetic and goes straight to the point. By nowLeggi altro →

Orson Welles, conosciuto per Quarto Potere e La Guerra dei Mondi è stato il primo regista a usare la profondità di campo come uno stile. Abbiamo già detto che la profondità di campo nel cinema corrisponde allo scavo psicologico dei romanzieri, rifacendosi al saggio di Gille Deleuze Immagine-tempo. Welles, di mestiere drammaturgo a New York e illusionista come Melies approda nella nascente Hollywood con Quarto Potere (Citizien Kane), il cui protagonista è l’ascesa di un giornalista, raccontata da più testimoni-punti di vista come in Mentre morivo di Faulkner. Questo porta all’ordine del giorno il dibattito sulla nascente potenza della stampa (e quindi anche del cinema!)Leggi 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 →