Though "American" was the title originally intended for his dazzling screen debut, Orson Welles has always been considered the most European of American filmmakers. Following the now-classic studies of Leslie Fiedler, and moving via Richard Chase and Leo Marx to Edward Said, this volume revisits Welles' variegated body of work in the light of the literary tradition of the United States, impregnated with the gothic and melodramatic moods of romance, threatened by the spectres of the irrational and haunted by a mythological loss of innocence. A tradition that Welles, a strongly political artist, does not hesitate to use against itself when necessary, denouncing its falsity.
Nonostante "American" fosse il titolo previsto inizialmente per il suo folgorante debutto sul grande schermo, Orson Welles è da sempre considerato il più europeo dei cineasti d’Oltreoceano. Sulla scorta degli studi ormai classici di Leslie Fiedler, e passando per Richard Chase e Leo Marx fino a Edward Said, il volume rivisita il variegato corpus wellesiano alla luce della tradizione letteraria degli Stati Uniti, impregnata degli umori goticheggianti e melodrammatici del romance, insidiata dagli spettri dell’irrazionale e ossessionata da una mitologica perdita dell’innocenza. Una tradizione che Welles, artista fortemente politico, all'occorrenza non esita a utilizzare contro se stessa, denunciandone la falsità.
(2024). American. Orson Welles, il mito, la letteratura . Retrieved from https://hdl.handle.net/10446/287729
American. Orson Welles, il mito, la letteratura
Gimmelli, Gabriele
2024-01-01
Abstract
Though "American" was the title originally intended for his dazzling screen debut, Orson Welles has always been considered the most European of American filmmakers. Following the now-classic studies of Leslie Fiedler, and moving via Richard Chase and Leo Marx to Edward Said, this volume revisits Welles' variegated body of work in the light of the literary tradition of the United States, impregnated with the gothic and melodramatic moods of romance, threatened by the spectres of the irrational and haunted by a mythological loss of innocence. A tradition that Welles, a strongly political artist, does not hesitate to use against itself when necessary, denouncing its falsity.File | Dimensione del file | Formato | |
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