The paper offers an interpretation of Sorrentino’s last film in relation to some famous precedents by Fellini and Tornatore in which a similar story is told, that of the director’s youthful fascination with cinema and the choice to undertake that career leaving the hometown to move to Rome. After a brief history of this sub-thread, Sorrentino’s film will be analyzed through three specific directives: memory, the relationship with Naples, the role of cinema.

«La realtà è scadente». La memoria, Napoli e il cinema (in margine a È stata la mano di Dio di Paolo Sorrentino)

Brevetti G.
2021

Abstract

The paper offers an interpretation of Sorrentino’s last film in relation to some famous precedents by Fellini and Tornatore in which a similar story is told, that of the director’s youthful fascination with cinema and the choice to undertake that career leaving the hometown to move to Rome. After a brief history of this sub-thread, Sorrentino’s film will be analyzed through three specific directives: memory, the relationship with Naples, the role of cinema.
2021
Brevetti, G.
File in questo prodotto:
Non ci sono file associati a questo prodotto.

I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.

Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11591/473768
Citazioni
  • ???jsp.display-item.citation.pmc??? ND
  • Scopus ND
  • ???jsp.display-item.citation.isi??? ND
social impact