Lo sguardo infantile nel cinema italiano e francese: Ridefinizioni del punto di vista.
Item
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Title
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Lo sguardo infantile nel cinema italiano e francese: Ridefinizioni del punto di vista.
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Identifier
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AAI3063824
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identifier
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3063824
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Creator
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De Luca, Giovanna.
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Contributor
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Advisers: Robert Dombroski | Eugenia Paulicelli
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Date
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2002
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Language
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Italian
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Publisher
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City University of New York.
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Subject
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Literature, Comparative | Cinema
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Abstract
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Cinema has always offered a variety of viewpoints on children, as film (the moving image) is ideal for capturing the sudden and unexpected nuances of childhood. This study considers how images of children in film provide us with unique interpretations of reality.;Walter Benjamin insists that the adult, after the Great War, is incapable of truly experiencing life, that is, of transforming what one senses into sensation. But witness the child, who perceives the world uninfluenced by adult prejudice and conceptualized language; observe the child observing his environment, capture this on film and present it in a sequence of images, and see how this provokes an emotional response in the adult, rewakening his capacity to feel for and connect to other human beings, to reestablish his historical and social place in an reality from which he had been separated, and to once again interpret the world around him.;This dissertation focuses on how certain Italian and French filmakers demonstrated how the child's gaze could provoke a reawakening of our senses. By interpreting for the first time the signs of the surrounding world, the child becomes a narrator of history and of the human story. By visualizing childhood, and thus returning to it, we contribute again to the history of human discourse.;The work is divided into three parts. The first part focuses on the representation of childhood. It shows how, from an almost an non-existent representation (from the Classical age to the eighteenth century), child iconography reached its peak in modern times, and especially in cinematic expression.;The second part provides an historical and geographical mapping of the Italian and French cinema as well as a comparative look at the child's role. Beginning with Neorealism, a number of directors are discussed, directors who have dedicated more than two films to childhood.;The third part presents six textual analyses of exemplary films, showing how movie directors have used different strategies for conveying the child's point of view, and emphasizing the importance of auterism in the rendition of childhood. The common thread that runs through these six films is that of rediscovered humanity.
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Type
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dissertation
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Source
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PQT Legacy CUNY.xlsx
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degree
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Ph.D.
