A Grammar of Cinepoiesis: Poetic Cameras of Italian Cinema by Silvia Carlorosi

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By Silvia Carlorosi

Cinepoiesis, or cinema of poetry, moves us as a wierd blend, a word we at the start learn as an oxymoron. Poetry is usually linked to the summary and the evocative, whereas cinema indicates the concrete and the seen. but, numerous visible media use powerful and sometimes contradictory photos, whose symbolic strength and visible effect stimulate the public’s awareness. summary and emblematic photographs encompass us, and the poetic nature of those photos lies within the means they communicate past their obvious limits and stimulate connections on a subjective point. A prosaic global just like the modern one, even though, now not turns out to carry a spot for poetry. we're inundated by means of the necessity to inform and to learn, the necessity to construct our lives via narratives. however it is exactly the following, during this modern panorama, that the cinema of poetry makes an attempt to set up an area for itself, replacing the efficient and business gear for the poetic stimulus of a sensory event. A Grammar of Cinepoiesis is a theoretical and functional consultant to the cinema of poetry, to its instruments and varieties. It examines how the language of a “cinema of poetry” works either in its theoretical foundations and in its modes of illustration, and the way it takes form within the exemplary perform of Italian authors similar to Pier Paolo Pasolini, Michelangelo Antonioni, Federico Fellini, and the more moderen Franco Piavoli and Matteo Garrone.

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