By Carlo Testa
The motion picture reveal has been the discussion board for plenty of megastar pairings: Bogart and Bacall, Tracy and Hepburn, and Fellini and Kafka. whereas this latter blend may appear a little unforeseen or inconceivable before everything sight, Carlo Testa's Masters of 2 Arts demonstrates that pairings of famed administrators and writers are ordinary in smooth Italian cinema. unusually, the learn of the interrelation among Italian cinema and eu literature has been virtually thoroughly missed in movie scholarship. Testa addresses and makes an attempt to right this oversight with 9 in-depth analyses of the one-on-one rapport among an Italian filmmaker and a "classic" identify in glossy ecu literature. mixtures akin to Pasolini and Sade, Rossellini and Stendhal, and Visconti and Mann among others, Testa makes use of theoretical in addition to historic tools, exhibiting how the respective textual content undergoes now not 'adaptation' yet complete 're-creation' (as outlined through Èizenshtein) in a unique artwork shape and, much more importantly, in a brand new cultural context.
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Additional resources for Masters of Two Arts: Re-creation of European Literatures in Italian Cinema (Toronto Italian Studies)
He seems to act as though prohibition alone could endow human behaviour with the ultimate attribute in the exercise of freedom: transgressivity. In Fellini, the presence of guilt and sin, even when most keenly felt (I am thinking, to mention but one obvious episode, ofJuliet-the-child's ordeal on the grill in Juliet of the Spirits / Giulietta degli spiriti, 1965), is never a reason for paralysis. Quite the contrary, in Fellini's world non-compliant behaviour is a powerful instrument on the way to assertion of the ego; and thus, among other things, ultimately also a device allowing for a lively, exuberant narrativity.
Kafka's novelty consists in his injecting into the world of adolescent experiences that tragic sense of life, that suffocating perception of powerlessness in the face of an inscrutable universe, that is the characteristic hallmark of his poetic world. n' as synonym of 'Bildungsroman') that had originally inspired the genre. In the experience of Kafka's Karl, work, friendships, politics, sex are no longer subject to a dialectical process of error and apprenticeship, but 42 Part One: Epigraphic Re-creations have instead become dehumanized spaces for other people's practice of unsubtle and at times outright brutal strategies of power.
Why not, in fine, an arrangement by the literary prototypes' nation? This, too, would have stressed particular cultural linkages. In sum, no one sequence is ideal, because no one sequence can univocally hierarchize all characteristics of each text, literary or cinematic. That hierarchy will always vary as a function of what it is one wishes to foreground in different contexts. To conclude on the subject of contexts, I can never stress enough the paramount importance I attribute to the cultural context in which each of our films coalesced.