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Metamorfosi dei corpi mutanti

The first metamorphosis enacted by film is that of transforming bodies into volumeless spectres which can reappear even after death and are condemned to repeat the same actions endlessly. So we return to our question: what is film? Or, more modestly, what does it represent for us today? With the passing of the years since the invention of cinema (now over a hundred and counting), in my view its main function becomes increasingly evident. Film is a device for preserving the bodily traces of disappeared bodies, in other words, ghosts, which can be reawakened to order (with every screening) and are subject to a single limitation: eternal repetition. Every body filmed leaves a trace on the screen, which we can call shadow or image, icon, spectre or ghost, and which is linked to the original through the appropriate semiotically recognisable traits.

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Product ID: 2223

Alessandro Cappabianca

Born in Rome in 1937, Alessandro Cappabianca is an architect and an art and film critic. He has taught at the Faculty of Architecture at Florence University. In the 70s he was one of the editors of the series “Cinema e informazione visiva” published by Mazzotta in Milan. He was a co-founder of the magazine “Fiction, Cinema e pratiche dell’immaginario” (1977-80, with Ellis Donda, Michele Mancini, Giuseppe Perrella and Renato Tomasino), and has also contributed to “Filmcritica” (including editorship), “Casabella”, “La città di Riga. Rivista d’arte”, “Fata Morgana”, “La Corte”, “Spirali” and the online magazine “La furia umana”. He has written monographs on Billy Wilder, Erich von Stroheim, Roman Polanski, Antonin Artaud and Carmelo Bene. He has also contributed to conferences and collective publications on film scenography and the portrayal of the city in film, and worked with directors such as Dovženko, Antonioni, Ophüls, Scorsese, Eastwood, Lang, Edwards, Donen, Boorman and Ruiz.

Weight 0.5 kg