Citazioni, modelli e tipologie nella produzione dell'opera d'arte, a cura di Claudia Caramanna, Novella Macola, Laura Nazzi, Padova, Cleup, 2012
La produzione cinematografica di Agnès Varda è notoriamente ricca di riferimenti alla pittura. Le... more La produzione cinematografica di Agnès Varda è notoriamente ricca di riferimenti alla pittura. Le citazioni appaiono, nei suoi film, in modalità diverse: citazioni “in cornice”, tableaux vivants, inquadrature rifatte “à la manière de” un determinato artista. Il saggio si sofferma su alcune citazioni particolarmente significative, che non si limitano a istituire legami con temi, significati o atmosfere del film, ma forniscono chiavi interpretative essenziali per l’intera composizione filmica. Tra i film analizzati: Le Bonheur (1964), Lions Love (1969), Jane B. par Agnès V. (1987).
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A cura di Antonio Costa, Giulia Lavarone, Farah Polato. Introduzione di Giorgio Tinazzi. Contributi di Giulia Lavarone, Attilio Motta, Luciano Morbiato, Denis Lotti, Alessandro Faccioli, Tania Rossetto, Mauro Varotto, Farah Polato, Alberto Scandola, Claudia Barolo, Rosamaria Salvatore, Antonio Costa, Denis Brotto, Guido Bartorelli, Marco Bellano, Barbara Corsi, Franceso di Cesare, Marco Segato, Manlio Piva.
In the first chapter, the phenomenon of film-induced tourism is introduced in its various forms, while briefly recapping the development of research in this field since the mid-1990s within an international context. The chapter includes the first, up-to-date extensive review of the numerous terms used internationally to describe the phenomenon in different disciplinary fields, while specifying the slightly different meanings of each term (e.g. ‘media pilgrimages’, ‘cinematic tourism’, etc.).
The second chapter contains an overview of the main Italian books and essays on film-induced tourism through different disciplinary fields.
The third chapter points out the issues in film tourism research which have been already discussed in the field of international film studies, and others which should be addressed or further developed. It deals with pivotal issues in film theory which are involved in the study of film-induced tourism, such as gaze, the spectator’s experience, the relocation of cinema in contemporary age, and the construction of film space. In the second part, a more practice-oriented approach is adopted: the author discusses the international debate on movie maps and presents the findings of her own survey of the existing Italian guidebooks, websites and apps for smartphones and tablets aimed at fostering film-induced tourism, while ascertaining that in most cases there is no analysis of how a location is portrayed through the specific cinematographic means used.
In the fourth chapter, the author focuses on two fundamental issues in the international discussion on film-induced tourism: the relationship with national heritage and the problematic notion of “authenticity”. In the final part of the book, she recalls film theory findings concerning spectators’ possible readings of landscape in film, and she relates them to the various profiles of film-induced tourists which have been identified in tourist studies. In so doing, she refers to the different understandings of the “authenticity” it is assumed tourists look for, and she calls for a deeper consideration of the diversity of film viewers and of film-induced tourists, both in basic research and in the operational framework (e.g. in the development of activities and materials designed for film tourists). ITALIAN
ITALIAN ABSTRACT
I fenomeni turistici connessi al cinema e ai media hanno sollevato negli ultimi anni l’interesse di diverse prospettive disciplinari, dall’economia alla geografia culturale.
Il volume si propone di fare il punto sullo stato dell’arte degli studi di cinema a livello nazionale e internazionale, e di affrontare questioni sensibili come la valorizzazione del patrimonio culturale e la presunta «autenticità» ricercata dal (cine-)turista a partire dall’immagine audiovisiva.
The goal of the project was to develop an information system that fosters film-induced tourism combining data about a geographical area and the movies produced in it. The system is designed as a platform to store and convey rich contents, able to address the needs of the tourist but also of stakeholders as DMOs and film commissions.
The system was planned as a model for the destinations which could take advantage of a significant cinematographic background, yet are unlikely to spontaneously produce considerable film-induced tourism phenomena. The province of Padova has been used as a case study.
A cura di Antonio Costa, Giulia Lavarone, Farah Polato. Introduzione di Giorgio Tinazzi. Contributi di Giulia Lavarone, Attilio Motta, Luciano Morbiato, Denis Lotti, Alessandro Faccioli, Tania Rossetto, Mauro Varotto, Farah Polato, Alberto Scandola, Claudia Barolo, Rosamaria Salvatore, Antonio Costa, Denis Brotto, Guido Bartorelli, Marco Bellano, Barbara Corsi, Franceso di Cesare, Marco Segato, Manlio Piva.
In the first chapter, the phenomenon of film-induced tourism is introduced in its various forms, while briefly recapping the development of research in this field since the mid-1990s within an international context. The chapter includes the first, up-to-date extensive review of the numerous terms used internationally to describe the phenomenon in different disciplinary fields, while specifying the slightly different meanings of each term (e.g. ‘media pilgrimages’, ‘cinematic tourism’, etc.).
The second chapter contains an overview of the main Italian books and essays on film-induced tourism through different disciplinary fields.
The third chapter points out the issues in film tourism research which have been already discussed in the field of international film studies, and others which should be addressed or further developed. It deals with pivotal issues in film theory which are involved in the study of film-induced tourism, such as gaze, the spectator’s experience, the relocation of cinema in contemporary age, and the construction of film space. In the second part, a more practice-oriented approach is adopted: the author discusses the international debate on movie maps and presents the findings of her own survey of the existing Italian guidebooks, websites and apps for smartphones and tablets aimed at fostering film-induced tourism, while ascertaining that in most cases there is no analysis of how a location is portrayed through the specific cinematographic means used.
In the fourth chapter, the author focuses on two fundamental issues in the international discussion on film-induced tourism: the relationship with national heritage and the problematic notion of “authenticity”. In the final part of the book, she recalls film theory findings concerning spectators’ possible readings of landscape in film, and she relates them to the various profiles of film-induced tourists which have been identified in tourist studies. In so doing, she refers to the different understandings of the “authenticity” it is assumed tourists look for, and she calls for a deeper consideration of the diversity of film viewers and of film-induced tourists, both in basic research and in the operational framework (e.g. in the development of activities and materials designed for film tourists). ITALIAN
ITALIAN ABSTRACT
I fenomeni turistici connessi al cinema e ai media hanno sollevato negli ultimi anni l’interesse di diverse prospettive disciplinari, dall’economia alla geografia culturale.
Il volume si propone di fare il punto sullo stato dell’arte degli studi di cinema a livello nazionale e internazionale, e di affrontare questioni sensibili come la valorizzazione del patrimonio culturale e la presunta «autenticità» ricercata dal (cine-)turista a partire dall’immagine audiovisiva.
The goal of the project was to develop an information system that fosters film-induced tourism combining data about a geographical area and the movies produced in it. The system is designed as a platform to store and convey rich contents, able to address the needs of the tourist but also of stakeholders as DMOs and film commissions.
The system was planned as a model for the destinations which could take advantage of a significant cinematographic background, yet are unlikely to spontaneously produce considerable film-induced tourism phenomena. The province of Padova has been used as a case study.