By Amilcare Iannucci
The Divine Comedy of Dante Alighieri (1265-1321) is likely one of the seminal works of western literature. Its influence on glossy tradition has been huge, immense, nourishing a plethora of 20th century authors from Joyce and Borges to Kenzaburo Oe. even supposing Dante's impact within the literary sphere is easily documented, little or no has been written on his both choosing position within the evolution of the visible media specific to our occasions, specifically, cinema and tv. Dante, Cinema, and tv corrects this oversight.
The essays, from a vast diversity of disciplines, hide the impression of the Divine Comedy from cinema's silent period on via to the period of sound and the appearance of tv, in addition to its effect on particular administrators, actors, and episodes, on national/regional cinema and tv, and on genres. additionally they think about the various modes of appropriation via cinema and tv. Dante, Cinema, and tv demonstrates the various refined ways that Dante's Divine Comedy has been given 'new life' by means of cinema and tv, and underscores the super volume of Dante's endurance within the smooth world.
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Additional resources for Dante, Cinema, and Television (Toronto Italian Studies)
Eco, Umberto. The Role of the Reader. Bloomington: Indiana University Press, 1979. S. Dante. London: Faber & Faber, 1929. Fiske, John. Television Culture. London: Methuen, 1987. Frye, Roland Mushat. God, Man and Satan: Patterns of Christian Thought in 'Paradise Lost,' 'Pilgrim's Progress,' and the Great Theologians. Princeton: Princeton University Press, 1960. Gardner, Helen Louise. In Defence of the Imagination. Cambridge: Harvard University Press, 1982. Hanford, James Holly. A Milton Handbook.
At the same time, the scene is also an evocation of Federico Fellini's Otto e mezzo. Like Fellini's Guido, Allen's Harry is involved in a journey of self-discovery, and, like Guido, Harry comes to realize that it is only art which makes ultimate sense of one's seemingly futile existence. ' But though filtered, the scene is also an evocation, although of a most satiric kind, of the Commedia's structure and theological import. For Harry descends to Hell in a freight elevator (perhaps a nod to Greenaway and Phillips' A TV Dante], the operator calling out floors in the manner of a department store employee ('floor five: subway muggers, aggressive panhandlers, and book critics'), and at the bottom encounters his father, whose fate in the afterlife is a comic send-up of the traditional Catholic belief that only Christians can enter Heaven, Hell being reserved for Jews, such as Harry's father.
Wagenknecht, Edward, and Anthony Slide. W. Griffith. New York: Crown Publishers, 1975. Yacowar, Maurice. Loser Take All: The Comic Art of Woody Allen. New York: Frederick Ungar, 1979. Early Cinema, Dante's Infernoof 1911, and the Origins of Italian Film Culture JOHN P. WELLE A national cinema is not a set of films which help to distinguish a nation from other nations, it is the chain of relations and exchanges which develop in connection with films, in a territory delineated by its economic and juridical policy.