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  1. A cardboard Dante : hell's metropolis revisited
    Autor*in: Rooy, Ronald de
    Erschienen: 30.10.2019

    The subject of this paper is a recent comic movie version of Dante's "Comedy": a 2007 puppet and toy theatre adaptation of the "Inferno" directed by Sean Meredith. It is certainly not the first time that Dante and his theatre of hell appear in this... mehr

     

    The subject of this paper is a recent comic movie version of Dante's "Comedy": a 2007 puppet and toy theatre adaptation of the "Inferno" directed by Sean Meredith. It is certainly not the first time that Dante and his theatre of hell appear in this kind of environment. Mickey Mouse has followed Dante's footsteps and very recently a weird bunch of prehistoric animals went a similar path: in part three of the blockbuster "Ice Age" (2009), a new, lippy guide character named Buck uses several Dante quotes and the whole strange voyage can be described as a Dantesque descent into dinosaur hell. In the following pages Ronald de Rooy argues that Meredith's version of Dante's "Inferno" is not only funny and entertaining, but that it is also surprisingly innovative if we compare it to other literature and movies which project Dante's hell or parts of it onto the modern metropolis.

     
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    Quelle: CompaRe
    Sprache: Englisch
    Medientyp: Teil eines Buches (Kapitel); Teil eines Buches (Kapitel)
    Format: Online
    ISBN: 978-3-85132-617-8
    DDC Klassifikation: Öffentliche Darbietungen, Film, Rundfunk (791); Literatur und Rhetorik (800)
    Sammlung: ICI Berlin
    Schlagworte: Dante Alighieri; Inferno; Rezeption; Adaption <Literatur>; Animationsfilm; Parodie
    Lizenz:

    creativecommons.org/licenses/by-sa/3.0/de/deed.de

    ;

    info:eu-repo/semantics/openAccess
  2. Mediale Techniken des Unheimlichen und der Angst
    Autor*in: Wünsch, Michaela
    Erschienen: 10.12.2019

    Am Beispiel des Stalkerfilms diskutiert Michaela Wünsch filmästhetische Verfahren der Evokation des Unheimlichen und der Angst. Eine Technik, das Unheimliche aufzurufen, besteht darin, die Filmkadrierung durch Rahmungen im Filmbild selbst zu... mehr

     

    Am Beispiel des Stalkerfilms diskutiert Michaela Wünsch filmästhetische Verfahren der Evokation des Unheimlichen und der Angst. Eine Technik, das Unheimliche aufzurufen, besteht darin, die Filmkadrierung durch Rahmungen im Filmbild selbst zu verdoppeln. Wünsch macht deutlich, dass konkrete Techniken in den größeren Zusammenhang einer allgemeinen Unheimlichkeit des Medialen gestellt werden können. Anhand exemplarischer Filmszenen aus "Halloween" analysiert sie die Rahmungen genauer und entwickelt unter Bezugnahme auf Lacans "Seminar X" eine medientheoretische Unterscheidung zwischen dem Gefühl des Unheimlichen und der Angst.

     
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    Quelle: CompaRe
    Sprache: Deutsch
    Medientyp: Teil eines Buches (Kapitel); Teil eines Buches (Kapitel)
    Format: Online
    ISBN: 978-3-85132-634-5
    DDC Klassifikation: Öffentliche Darbietungen, Film, Rundfunk (791); Literatur und Rhetorik (800)
    Sammlung: ICI Berlin
    Schlagworte: Freud, Sigmund; Das Unheimliche; Psychoanalyse; Affekt; Angst; Stalking; Filmtechnik; Carpenter, John; Halloween (Film, 1978); Medientheorie; Lacan, Jacques
    Lizenz:

    creativecommons.org/licenses/by-sa/3.0/de/deed.de

    ;

    info:eu-repo/semantics/openAccess
  3. One divided by another : split and conversion in Pasolini's "San Paolo"
    Autor*in: Di Blasi, Luca
    Erschienen: 11.12.2019

    By focusing on Pasolini's uncompleted film project "San Paolo", Luca Di Blasi's article 'One Divided by Another: Split and Conversion in Pasolini's "San Paolo"' analyzes the notion of split (the split in the structure of time and, above all, the... mehr

     

    By focusing on Pasolini's uncompleted film project "San Paolo", Luca Di Blasi's article 'One Divided by Another: Split and Conversion in Pasolini's "San Paolo"' analyzes the notion of split (the split in the structure of time and, above all, the split of the figure of Paul) and concentrates especially on the very moment of Paul's Damascene conversion. Di Blasi refers to the "Kippbild" as a model that can be used to understand better certain ambivalences in Pasolini's Paul. Locating Pasolini's reading of the founder of the Church in a triangulation with two major contemporary philosophers, Alain Badiou and Giorgio Agamben, Di Blasi shows that two opposing possibilities of interpreting Paul - as militant subject of a universal event and its necessary consequences (Badiou) and as representative of softness, weakness, poverty, "homo sacer" (Agamben) - fit perfectly with the two aspects of Pasolini's Paul. Pasolini's profoundly split Paul thus represents a dichotomy which disunites two major figures of contemporary leftist thought.

     
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  4. Cinematographic aesthetics as subversion of moral reason in Pasolini's "Medea"
    Autor*in: Deuber-Mankowsky, Astrid
    Erschienen: 11.12.2019

    Astrid Deuber-Mankowsky's paper 'Cinematographic Aesthetics as Subversion of Moral Reason in Pasolini's Medea' explores the 1969 film "Medea". Pasolini's Medea, masterfully played by Maria Callas, betrays her homeland and her origin, stabs both her... mehr

     

    Astrid Deuber-Mankowsky's paper 'Cinematographic Aesthetics as Subversion of Moral Reason in Pasolini's Medea' explores the 1969 film "Medea". Pasolini's Medea, masterfully played by Maria Callas, betrays her homeland and her origin, stabs both her children, sets her house on fire, and dispossesses Jason of his sons' corpses. But Deuber-Mankowsky argues that it is ultimately not these acts that render the film particularly disturbing and disconcerting, but, rather, the fact that the spectator is left behind in suspension precisely because Medea cannot be easily condemned for her acts. Pasolini's film and its cinematographic aesthetics thereby not only subvert the projection of Medea into the prehistorical world of madness and perversion, but also undermine belief in the validity of the kind of moral rationality developed and constituted in an exemplary way by Immanuel Kant in his "Critique of Practical Reason". In particular, Pasolini seems to relate conceptually to Nietzsche's artistic-philosophical transfiguration of Dionysus and to accuse belief in a world of reasons of failing to grasp the groundlessness, irrationality, or even a-rationality of reason itself.

     
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  5. Pasolini as Jew : between Israel and Europe
    Autor*in: Gordon, Robert S. C.
    Erschienen: 16.12.2019

    Robert S. C. Gordon's article 'Pasolini as Jew, Between Israel and Europe' examines a remarkable trope in Pasolini's encounter with the cultures and geographies of Europe and its beyond: his imaginary identification with the figure of the Jew. Gordon... mehr

     

    Robert S. C. Gordon's article 'Pasolini as Jew, Between Israel and Europe' examines a remarkable trope in Pasolini's encounter with the cultures and geographies of Europe and its beyond: his imaginary identification with the figure of the Jew. Gordon examines in turn the site of Israel and its Jewish citizens; the 'Lager' and the Jews as victims of genocide; and finally the figure of Saint Paul and his earlier Jewish identity as Saul, both sacred and a figure of the Law, as a model for the twentieth-century Church and its ambiguous response to Nazism. In all three of these threads, Pasolini's Jew is a 'queer' and destabilizing trope for exploring the border of the European and the non-European, the self and the other.

     
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