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By Pier Marco De Santi

During this booklet is an research of the connection among cinema and the visible arts. ordinarily we will be able to say that the movie, on the grounds that its inception, has additionally produced a few of his maximum pictorial iconography of the total background of paintings, however the box of research is intensely vast.

Sommario:

IL CINEMA MUTO
Cinema d artista e artisti di cinema
Film storico e kolossal storico-religioso
Il "tableau vivant" nel cinema italiano
IL CINEMA SONORO
Europa: l'estetica del "divertimento"
Russia: ~jzenstejn e eleven tesoro della cultura popolare
Giappone: una rigorosa tradizione nazionale
Italia: il senso della pittura
Stati Uniti: il tabù dell'arte (Giorgio Vitale)
La cultura planetaria degli apolidi: Kubrick
CONCLUSIONI
FlLMOGRAFTA ESSENZIALE
Bibliografia

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From the dirt jacket:
In his seek for the universal hyperlink among
literature and the visible arts. Professor Praz
draws upon the plentiful proof of lengthy
mutual realizing and correspondence be­
tween the sister alts even supposing parallels of
theme and concept are ample, be is now not
primarily involved with those. quite, he
examines the shut courting or air de fanulle
between the expression of the arts m any given
epoch.
Each epoch has “ its strange handwriting
or handwritings, which, if one may interpret
them, may display a personality, even a physi­
cal visual appeal. ” even if handwriting is
taught and a few of its features hence
belong to the common type of the interval, the
personality of the author does now not fail to pierce
through. anything of the related kind, the au­
thor proposes, happens in artwork. The kinship of
literature and portray rests on this circum­
stance: a paintings of paintings, even if visible or liter­
ary, needs to use the particular “ handwriting” of
its specific age, even as its originality pierces
through this handwriting.
The likeness among the arts inside of numerous
periods o f background can finally be traced,
then, to structural similarities— similarities
that come up out of the attribute method in
which the humans of a sure epoch see and
memorize evidence aesthetically. Mnemosyne, at
once the goddess of reminiscence and the mom
of the muses, for this reason presides over this view
of ihe arts. In illustrating her iniluence. Pro­
fessor Praz levels broadly via Western
sources, either literary and pictorial. There are
1 2 1 illustrations accompanying the text.
M A R IO P R A Z is Professor of English Lan­
guage and Literature at the collage of
Rome. His past books contain The Roman­
tic discomfort, stories in Seventeenth-Century
imagery, and The Flaming Heart.
ackct layout through P J. Conkwright

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