Orson Welles (1915-1985) has long been considered a "missed promise": he made his film debut at 25 and soon entered into conflict with the Studio system, which did not tolerate the subversive charge of his work. Welles thus moved to Europe, where he created a rich and jagged multimedia work, between cinema, theatre and television. Often neglected, the projects of the last fifteen years of his life (1970-1985) appear anything but senile, and instead demonstrate a surprising creativity and expressive force. These are works such as The Other Side of the Wind, which have remained unfinished for a long time and have been reconstructed many years later; or even left on paper, such as The Big Brass Ring. Analysing these two works, "late" but very topical, we find, expressed with unusual frankness, his favorite themes: the relationship between power and male desire, the obsession for old age, the reflection on his own work and on the nature of cinema.
Orson Welles (1915-1985) è stato a lungo considerato una "promessa mancata": esordiente nel cinema a soli 25 anni, entra presto in conflitto con lo Studio system, che non tollera la carica eversiva dei suoi lavori. Welles si trasferisce così in Europa, ove dà vita a una ricca e frastagliata opera multimediale, fra cinema, teatro e televisione. Rimasti a lungo nascosti, i progetti dell'ultimo quindicennio della sua vita (1970-1985) appaiono tutt'altro che senili, e dimostrano invece una creatività e una forza espressiva sorprendenti. Si tratta di opere incompiute e ricostruite postume, come "The Other Side of the Wind"; o addirittura rimaste sulla carta, come "The Big Brass Ring". Analizzando queste due opere, "tarde" ma attualissime, ritroviamo, espressi con inconsueta franchezza, i temi favoriti di Welles: il rapporto fra potere e desiderio maschile, l'ossessione per la vecchiaia, la riflessione sul proprio lavoro e sulla natura del medium cinematografico.
(2018). Orson Welles o la tardività dell’enfant prodige. I casi di "The Other Side of the Wind" e "La posta in gioco" [journal article - articolo]. In ELEPHANT & CASTLE. Retrieved from http://hdl.handle.net/10446/135362
Orson Welles o la tardività dell’enfant prodige. I casi di "The Other Side of the Wind" e "La posta in gioco"
Gimmelli, Gabriele
2018-01-01
Abstract
Orson Welles (1915-1985) has long been considered a "missed promise": he made his film debut at 25 and soon entered into conflict with the Studio system, which did not tolerate the subversive charge of his work. Welles thus moved to Europe, where he created a rich and jagged multimedia work, between cinema, theatre and television. Often neglected, the projects of the last fifteen years of his life (1970-1985) appear anything but senile, and instead demonstrate a surprising creativity and expressive force. These are works such as The Other Side of the Wind, which have remained unfinished for a long time and have been reconstructed many years later; or even left on paper, such as The Big Brass Ring. Analysing these two works, "late" but very topical, we find, expressed with unusual frankness, his favorite themes: the relationship between power and male desire, the obsession for old age, the reflection on his own work and on the nature of cinema.File | Dimensione del file | Formato | |
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