|
|
The economic and cultural strategies behind futuristic literary, theatrical and cinematographic production
Molinaro, Davide ; Flemrová, Alice (advisor) ; Sieglová, Tereza (referee)
The primary aim of the following master's thesis is analyzing the relationship between the Italian cultural and economic early 1900's context and the futurism movement. In the initial chapters we presented to the reader an introduction to the context, first though an analysis of the Manifesto medium and later through the European cultural and economic context itself. Subsequently, we shifted our focus to the heart of the matter, namely the relationship between the early 1900's Italian context and futurism, by examining its behavior in 3 narrative media (literature, theatre and cinema). The analysis showed clearly how the Italian cultural and economic context did not present itself as fertile ground for the birth and rise of an avant-garde. The following step consists of offering to the reader two benchmarks, namely the behavior of contemporary Italian mainstream art and the context, in which the French avant-gardes were born a decade later, shedding light on how avant-gardes, commonly tied to a certain notion of independence from the contemporary context, are in reality heavily dependent upon it. The conclusion we reached is how a lack of a set of determined contextual factors can have considerable detrimental effect on the development of an avant-gardes, as happened to the futurism in the Italian...
|
|
|
Thais and the avant-garde of futurism in the context of italian cinema
Molinaro, Davide ; Flemrová, Alice (advisor) ; Ruggiero, Mauro (referee)
My aim with this thesis was to analyze the connection between the film by Anton Giulio Bragaglia Thais (1917) and futurism. In the first chapters, we dedicated to the analysis of futurism's cultural context (and of two of its manifestos). Afterwards we shifted our focus to the film itself, whose analysis is based on the neoformalism method of subdivision of a work of art into stylistic categories. Through this analysis we have found Bragaglia's picture is characterized by mainstream style components. The next step was to search the reason behind this stylistic choice, which was found in the context of Italian film industry in 1917. To prove the correlation between context and the style of the work of art, we then compared it with two film industries, in which two of the most famous film avant-gardes were born: the French and the Russian ones. In the last chapter of the thesis we showed how the different context allowed René Clair in Entr'acte and Dziga Vertov in Man with a movie camera to choose a different style, a style far more in accordance with avant-garde's theoretical requirements. Key words: Thais, Anton Giulio Bragaglia, futurism, avant-garde film, Italian cinema
|
guest ::
