Umwelt and the Paradoxes of Landscape in Lupu Pick’s Sylvester and Pier Paolo Pasolini’s Teorema (original) (raw)

THE LANDSCAPOE OF ``UMA ESTRANHA PASSAGEM EM VENEZA`` DISCUSSIONS ABOUT LANDSCAPE IN CINEMA (Atena Editora)

THE LANDSCAPOE OF ``UMA ESTRANHA PASSAGEM EM VENEZA`` DISCUSSIONS ABOUT LANDSCAPE IN CINEMA (Atena Editora), 2024

In Cinema, the landscape presents itself to the viewer in its complexity relative to the plot. The viewer, in turn, translates the images of this landscape through their own personal issues, which influence the way they perceive their spaces, because, in addition to the viewer's perceptive capacity, their knowledge, feelings and beliefs come into play, which in turn are shaped by historical, social and cultural aspects of the place. Thus, while the landscape is, in itself, a witness element of the story to be told and of its own history, the spectator (or observer) is also a witness to the processes that occur in the space presented to him, which redefine its meanings based on of the proposed diegesis. Thus, through analysis of the film: ``Uma Estranha Passagem em Veneza`` (The Comfort of Strangers), 1990, directed by Paul Schrader and based on the novel by writer Ian McEwan (``Ao Deus Dar``, 1981), we present discussions on interdisciplinary concepts, reflections and definitions, between cinema and studies relating to the philosophy of landscape, both as an element of observation and as a filmic element. To this end, we used reflections from authors such as Berque (2010), Simmel (2009), Lynch (2018), Aumont (1999), among others. The landscape in this case is the city of Venice (Italy), where the plot takes place. City destination for thousands of tourists who are attracted by its historic landscape. In this sense, Venice has its image transformed in the filmic conception, so that the destination landscape of (new) possible lives becomes configured as a landscape of death.

The Face of the Landscape in Béla Balázs’s Film Theory

In establishing the concept of cinematic image, Béla Balázs’s film theory relies on terms and concepts drawn from classical aesthetics. The everyday (and aesthetic) situation of viewing nature implies totalization and anthropomorphism of nature, distanciation. Balázs, in contrast, opts for the merging of distant contemplation and absorbed participation, which makes his aesthetic position slightly different from that of his early mentor, Georg Simmel. This is part of his conceptualisation of cinema as a new site of articulation, a negotiation between subject and object, body and spirit, flesh and soul, surface and depth, inside and outside. Accounting for the structure of looking as both the subject and the object are becoming images, Balázs adopts a surprisingly modernist position which anticipates the function of the landscape in Antonioni, Pasolini, and Godard.

Landscape Allegory in Cinema (Introduction)

Landscape Allegory in Cinema: From Wilderness to Wasteland, 2010

This interdisciplinary study offers an introduction to the relatively unexplored area of the form of cinematic space referred to as “the landscape of the mind.” Exploring the psychological use of natural setting in both avant-garde and mainstream cinema, this study seeks to understand how these settings serve as outward manifestations of characters’ inner subjective states. David Melbye traces cultural trajectories of landscape depiction as far back as the Middle Ages in painting and literature to nurture a greater awareness of visual allegory in the films of the silent era up through the present, focusing specifically on the prolific appearance of landscape allegory in films of the 1960s and ‘70s.

Landscape Allegory in Cinema Chapter Six (Italian Wasteland Allegory)

Landscape Allegory in Cinema: From Wilderness to Wasteland, 2010

Desert landscapes figure prominently in Italian cinema of the 1960s and ’70s. Accordingly, this culture effectively demonstrates how the wasteland is mythologized both in its specific and larger Western contexts. Several prominent Italian directors from this period such as Michelangelo Antonioni, Pier Paolo Pasolini, and Sergio Leone incorporate landscapes of desolation, shot on location, in order to reflect a larger spiritual crisis symptomatic of the increasingly urban, technologized climate of an expanding middle class.

The Earth Still Trembles: On Landscape Views in Contemporary Italian Cinema

The essay discusses contemporary Italian fi lmmakers’ sustained interest in the representation of national landscapes and physical environments as revelatory settings of defacement of the nation’s geo-cultural patrimony. Whether historical costume dramas, documentaries, or high-class melodramas, Martone’s Noi credevamo, Guzzanti’s Draquila, and even Guadagnino’s Io sono l’amore, among others, have exposed comparable forms of spatial and anthropological degrado. In so doing they resonate with articulations of environmental literacy and ethics emerged in the writings of Roberto Saviano and Salvatore Settis.