The cinematic image itself could serve as a medium that can represent a conceptualizationof time thanks to its formal elements, which temporalize space and spatialize time,rendering duration and the experience of passing time. Taking into account Frammartino’scinema “Il dono” (2003), “Le quattro volte” (2010) and “Alberi” (2013), this essay aimsto highlight how particular strategies to frame the passing of time, in line with thedurational tendency in structural experimental cinema and its acute manifestation in“slow” contemporary films, encourage a contemplative spectatorial practice. This invitesthe viewer to wander within the frame and to focus on details which would otherwiseremain veiled in a conventional form of narration
Ridisegnare paesaggi. Ridefinizione dello sguardo etnografico e aesthetic of slow nel cinema di Michelangelo Frammartino
samuel antichi
2018-01-01
Abstract
The cinematic image itself could serve as a medium that can represent a conceptualizationof time thanks to its formal elements, which temporalize space and spatialize time,rendering duration and the experience of passing time. Taking into account Frammartino’scinema “Il dono” (2003), “Le quattro volte” (2010) and “Alberi” (2013), this essay aimsto highlight how particular strategies to frame the passing of time, in line with thedurational tendency in structural experimental cinema and its acute manifestation in“slow” contemporary films, encourage a contemplative spectatorial practice. This invitesthe viewer to wander within the frame and to focus on details which would otherwiseremain veiled in a conventional form of narrationI documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
