Gianni Amelio’s global movies. The Overturning

Author/s Caterina Selvaggi
Publishing Year 2011 Issue 2010/3 Language Italian
Pages 28 P. 149-176 File size 368 KB
DOI 10.3280/PSOB2010-003011
DOI is like a bar code for intellectual property: to have more infomation click here

Below, you can see the article first page

If you want to buy this article in PDF format, you can do it, following the instructions to buy download credits

Article preview

FrancoAngeli is member of Publishers International Linking Association, Inc (PILA), a not-for-profit association which run the CrossRef service enabling links to and from online scholarly content.

In the main Amelio’s film, as "Così ridevano", "Il ladro di bambini", "Lamerica", "Le chiavi di casa", "La stella che non c’è", the Author finds an espressive style in which the communication analogical elements, such as gestures, positions, actions are more important and decisive than words. Consequently, in Amelio’s films, the stories are primarily constructed not with explaining words or expressed emotions, but with behaviours among the persons who are living the story. Therefore the character’s traditional role is modified, because in Amelio’s films it becomes an occasion for overturning the art conventions and the common sense of life. Characters are no more selfsufficient: it is more important the empathy which links each other (that sometimes it is difficult to create). Particularly the adolescent or child character reveals an extraordinary richness, expressing a great capacity and impulse of renewal, but not by words, rather by the essential and necessary relationship with the other. The innovative strength of Amelio’s cinema just consists in getting protagonist the changing relationship between persons and between adults and children.

Keywords: Analogical; Relationship; Adolescent; Child; Behaviour; Character; Animus; Anima

Caterina Selvaggi, Il cinema globale di Gianni Amelio. Il Ribaltamento in "PSICOBIETTIVO" 3/2010, pp 149-176, DOI: 10.3280/PSOB2010-003011