FATA MORGANA Quadrimestrale di cinema e visioni Pellegrini Editore Direttore Roberto De Gaetano Comitato scientifico Dudley Andrew, Raymond Bellour, Sandro Bernardi, Francesco Casetti, Antonio Costa, Georges Didi-Huberman, Ruggero Eugeni, Annette Kuhn, Jacques Rancière, David N. Rodowick, Giorgio Tinazzi Comitato direttivo Marcello W. Bruno, Alessia Cervini, Daniele Dottorini, Bruno Roberti, Antonio Somaini, Salvatore Tedesco, Luca Venzi Caporedattore Alessandro Canadè Redazione Daniela Angelucci, Francesco Ceraolo, Massimiliano Coviello, Paolo Godani, Michele Guerra, Andrea Inzerillo, Carmelo Marabello, Emiliano Morreale, Antonella Moscati, Ivelise Perniola, Francesco Zucconi Coordinamento segreteria di redazione Loredana Ciliberto (resp.), Simona Busni Segreteria di redazione Raffaello Alberti, Andreina Campagna, Giovanni Festa, Greta Himmelspach, Caterina Martino, Clio Nicastro, Antonietta Petrelli, Annunziata Procida, Antonio Russo Progetto grafico Bruno La Vergata Webmaster Alessandra Fucilla Direttore Responsabile Walter Pellegrini Redazione DAMS, Università della Calabria Cubo 17/b, Campus di Arcavacata - 87036 Rende (Cosenza) E-mail fatamorgana.rivista@yahoo.it Sito internet http://fatamorgana.unical.it Amministrazione - Distribuzione GRUPPO PERIODICI PELLEGRINI Via Camposano, 41 (ex via De Rada) - 87100 Cosenza Tel. 0984 795065 - Fax 0984 792672 E-mail info@pellegrinieditore.it Sito internet www.pellegrinieditore.com ISSN 1970-5786 Abbonamento annuale ! 35,00; estero ! 47,00; un numero ! 15,00 (Gli abbonamenti s’intendono rinnovati automaticamente se non disdetti 30 gg. prima della scadenza) c.c.p. n. 11747870 intestato a Pellegrini Editore - Via G. De Rada, 67/c - 87100 Cosenza Per l’abbonamento on line consultare il sito www.pellegrinieditore.com 2 FATA MORGANA SOMMARIO INCIDENZE 7 L’inganno della realtà. Conversazione con Walter Siti a cura di Alessia Cervini e Daniele Dottorini FOCUS 21 Declinazioni del reale in ambito televisivo Enrico Menduni 29 Espropri di realtà Marco Bertozzi 39 L’immagine tra calco e calcolo Christian Uva 47 Strategie di realismo digitale Simone Arcagni 57 Il compimento dell’oggetto fotografico nel tempo Marco Grosoli 71 La visione del reale. John Berger e la costruzione dell’immagine Denis Brotto 81 Tratto da una storia vera Franco Marineo 89 Dai ready-made ai film in divenire Jerome P. Schaefer 99 Real Eye Say Shun: una sciarada Patrizia Fantozzi 109 Il mumblecore e il cinema indipendente americano Hamilton Santià 117 Where is your rupture? Il ritorno del reale sugli schermi della ripetitività Martina Panelli 129 Essere-nel-cinema Christine Reeh 141 Dal verismo al vetrismo Enrico Terrone 149 Lo statuto mimetico del colore nel cinema contemporaneo Federico Pierotti FATA MORGANA 3 157 La montagna dipinta Sofia Bonicalzi 165 Reale, flagranza, spettralità Alessandro Cappabianca 175 Iperreale. Cinema, fenomenologia e statue di cera Pietro Conte 183 Il realismo dello sguardo lacaniano Pietro Bianchi 193 Naufraghi privi di zattera: il reale nel cinema di Buñuel Rosamaria Salvatore 205 Fantomachie. Jacques Derrida e la spettralità del reale Fabrizio Palombi RIFRAZIONI 217 I corpi di Salò e il Reale del desiderio Claudio Bisoni 225 Kinoglaz: la realtà della rivoluzione Alessio Scarlato 231 Lui di Buñuel: il coup de cloche o la catastrofe del Reale Arianna Salatino 237 Il reale del film. S : tream : S : S : ection : S : ection : S : S : ectioned di Sharits Enrico Camporesi 243 Il reale indescrivibile del Pantheon in Il ventre dell’architetto Sun Jung Yeo 251 The Third Memory: stati della finzione nell’arte di Pierre Huyghe Luca Cinquemani 259 Le armonie di Werckmeister: la lotta della “meraviglia” contro il Reale Claudia Barolo 265 Due amici. Il cinema de-reale di Scimone e Sframeli Katia Trifirò 271 Andrzej Dragan: immagini di un nuovo scenario mediale Francesco Parisi 277 Il cinema e l’accesso al vero: Bella addormentata Marina Pellanda 283 Prima del reale: Io e te di Bertolucci Francesco Ceraolo 289 Abstract in inglese 4 FATA MORGANA CDUVTCEV"KP"KPINGUG The Fallacy of Reality. A Conversation with Walter Siti gfkvgf"d{"Cnguukc"Egtxkpk"cpf"Fcpkgng"Fqvvqtkpk Urgcmkpi" cdqwv" Ótgcnkv{Ô." qxgteqokpi" kvu" eqppqvcvkqp" qh" ocvgtkcn" cpf" uekgpvkÞecnn{" kpfkurwvcdng" hcev." fqgu" pqv" ogcp" hcnnkpi" kpvq" c" rqukvkqp" qh" naive relativism. It rather means to consider ‘reality’ as a cultural product: cu"vjg"qwveqog"qh"c"jkuvqtkecn"uvtcvkÞecvkqp"qh"kpvgtrtgvcvkqpu"cpf"tgcfkpiu" qh" tgcnkv{" kvugnh0" Kh" vjku" ku" vtwg." vjqug" eqfgu" qh" tgrtgugpvcvkqp" yjkej" qpn{" yqtm"qp"c"rwtg"tgàgevkqp"qh"tgcnkv{"ctg"pqv"ÓtgcnkuvkeÔ="tcvjgt"ecp"dg"ecnngf" uq" vjqug" cvvgorvu" qh" *Þtuvn{" ctvkuvke+" vtcpuÞiwtcvkqp" qh" tgcnkv{." yjkej" ctg" cdng"vq"ujqy"kv"kpukfg"qwv."kp"kvu"oquv"jkffgp0"Uggp"htqo"vjku"rgturgevkxg." tgcnkuo"ku"c"icog"dgvyggp"Þevkqp"cpf"tgcnkv{="cpf"itgcv"ctv"ku"vjcv"yjcv"ku" cdng"vq"hqqn"vjg"xkgygt."d{"kpxqnxkpi"jko1jgt"kp"c"icog"vjcv"qpn{"crrgctu" vq"dg"tgcn0"Uwej"vtcr."yjkej"qpn{"yqtmu"kh"ygnn"cuugodngf."ku"tgcnkuo<"vjku" is true for cinema, literature and any other art form. Meanings of the Real in the Television Realm Enrico Menduni Television has been a victim of the same aesthetic misunderstanding gzrgtkgpegf"d{"rjqvqitcrj{0"Oqtgqxgt."nkmg"rjqvqitcrj{."kv"jcu"uqogvkogu" vtkgf"vq"wug"uwej"okuwpfgtuvcpfkpi"vq"kortqxg"kvu"uqekcn"uvcvwu."dgkpi"cnyc{u" kp"eqorgvkvkqp"*ykvj"c"eqorngz"qh"kphgtkqtkv{+"ykvj"owej"oqtg"guvcdnkujgf" ctvu<"kp"vjg"Þtuv"ecug"rckpvkpi."kp"vjg"ugeqpf"ekpgoc0"Vjku"cguvjgvke"okueqpegrvkqp."kp"vwtp."ku"kpenwfgf"ykvjkp"c"jkuvqtkecnn{"ykfgt"okuwpfgtuvcpfkpi" that concerns the realism of cinema. Namely: ontological realism – for the uwrrqugf"gxkfgpeg"qh"kocigu"Ï"cpf"rgfciqikecn"tgcnkuo"Ï"yjkej"cnnqyu"ekpgoc"vq"ecnn"vq"c"tgpgygf"uqekcn"eqookvogpv"cpf"cyctgpguu"vjtqwij"kocigu0 Expropriations of Reality Marco Bertozzi Vjg"guuc{"gzrnqtgu"vjg"swguvkqp"qh"vjg"tgcn"kp"hqwpf"hqqvcig"Þnou."uvctvkpi" htqo" vjg" fkhhgtgpeg" dgvyggp" Ótgcnkv{Ô" cpf" ÓtgcnÔ" ceeqtfkpi" vq" Ncecp0" Kpetgcukpi"rtcevkegu"qh"tge{enkpi"Þnou"ctg"yc{u"hqt"pgy"ugocpvke"ogfkcvkqpu" FATA MORGANA 289 Abstract in inglese qh"vjg"kocig"vq"gogtig0"Vjg{"qrgp"vq"wpmpqyp"cpf"kppqxcvkxg"vjgqtgvkecn" swguvkqpu."yjkej"iq"dg{qpf"dqvj"vjg"quvgpukdng"eqjgtgpeg"qh"vjg"Ópcvwtcn"koage’ and the profusion of ‘reality’s effects’ granted by the cinematic device. The Image Between Cast and Calculus Christian Uva Once established that the terms digital and kpfgzkecn do not necessarkn{"jcxg"vq"dg"kp"qrrqukvkqp"*Vqo"Iwppkpi+."cpf"vjcv"pgy"kocigu."kp"vjgkt" various forms, do not cease to experience some form of referentiality to ÓocvgtkcnÔ"tgcnkv{."vjku"guuc{"kpxguvkicvgu"vjg"eqpÞiwtcvkqp"cuuwogf"d{"realism"kp"vjg"jqtk¦qp"qh"fkikvcnkv{."cpf"gurgekcnn{"yjcv"mkpf"qh"tgncvkqpujkr"kv" gpvgtvckpu"ykvj"fkhhgtgpv"v{rgu"qh"kocigu"tgcnk¦cdng"vqfc{"Ï"cu"ygnn"cu"kh"vjku" jcu"cp"ghhgev"qp"c"rquukdng"pgy"Ótgegrvkqp"citggogpvÔ0 Strategies of Digital Realism Simone Arcagni Etquuogfkcn"ygdfqe"ku"c"fqewogpvct{"hqt"vjg"Kpvgtpgv0"Kv"ku"dqtp"cpf" itqyu"wr"kp"c"ygdukvg"qt"kp"c"uqekcn"pgvyqtm"rcig0"Kv"ku"c"vgzv"fggrn{"nkpmgf" vq"vjg"ncpiwcig."oqqfu"cpf"rtcevkegu"qh"vjg"ygd"402"*ejctcevgtk¦gf"d{"uqekcn" pgvyqtmu"cpf"rgtxcukxg"cpf"wdkswkvqwu"eqorwvkpi+0"Kv"ku"cnuq"ejctcevgtk¦gf" d{<"rctvkekrcvkqp."kpvgtcevkxkv{"cpf"koogtukqp0"Vjg"ygdfqe"ku"c"vgzv"vjcv" j{dtkfu"igptgu."cpf"ujqyu"cp"cguvjgvke"swcnkv{"qh"fkikvcn"tgcnkuo"yjkej"yg" can call tgcnkv{. The Accomplishment of the Photographic Object in Time Marco Grosoli This essay aims to reconsider André Bazin’s Ontologie de l’image photographique by especially focusing on the ‘mummy complex’. The j{rqvjguku"qh"uwej"eqorngz"*rwv"hqtyctf"d{"Dc¦kp"cv"vjg"xgt{"dgikppkpi" of his essay) not only represents a crucial deviation from André Malraux’s Guswkuug"fÔwpg"ru{ejqnqikg"fw"ekpfioc (the Ontologie’s explicit ‘model’), dwv"cnuq"*cnqpi"ykvj"vjg"tcfkecn"cejkgxgogpv1qxgteqokpi"qh"vjg"encuukecn" notion of mimesis) suggests a truly modern conception of the cinematic gaze, surprisingly close to Jacques Lacan’s notion of the Real. 290 FATA MORGANA Abstract in inglese Vision of the Real. John Berger and the Construction of the Image Fgpku"Dtqvvq" Lqjp"Dgtigt"kfgpvkÞgu"vjg"tgcn"ykvj"Ójqog"kfgpvkv{Ô0"Jg"eqpukfgtu"vjg" tgcn"cu"c"u{pqp{o"hqt"vjg"dgnqpikpi0"Kp"jku"ncuv"dqqm"Bento’s Sketchbook, kpurktgf"d{"Urkpq¦c."Dgtigt"rwvu"hqtyctf"c"eqpegrv"qh"vjg"tgcn"cu"cp"gvjkecn" condition, by recalling his entire artistic career. As a poet, sculptor, painter, uetggpytkvgt."ctv"etkvke."Dgtigt"eqnncdqtcvgf"ykvj"Þno"fktgevqtu"uwej"cu"vjg" nkmgu"qh"Cnckp"Vcppgt."Ikcppk"Egncvk"cpf"Ucnn{"Rqvvgt0"Jg"jcu"cnyc{u"hqewugf" on different meanings of reality, and offered fundamental theories about vjg"etgcvkqp"qh"kocigu"kp"qwt"eqpvgorqtct{"yqtnf0"Incpeg."kpvgtrtgvcvkqp." gzrgtkgpeg<"vjgug"ctg"vjg"dcuke"vgtou"wrqp"yjkej"cpcn{¦kpi"vjg"tgncvkqpujkr" dgvyggp"Dgtigt"cpf"vjg"tgcn0 Based On A True Story Franco Marineo Vjg"ecrvkqp"ÓDcugf"qp"c"vtwg"uvqt{Ô."ykvj"yjkej"ocp{"Þnou"uvknn"dgikp." ikxgu"yc{"vq"qvjgt"hqtou"qh"ncdgnkpi."vq"qvjgt"ukipu"qh"vjg"Tgcn0"Cppqwpekpi"hqt"gzcorng"cv"vjg"dgikppkpi"qh"c"Þno"vjcv"kocigu"jcxg"dggp"hqwpf"cu" vjg{"ctg."qt"wukpi"c"hcmg"hqwpf"hqqvcig."gpvcknu"vjg"cfqrvkqp"qh"c"rctcfqzkcal strategy: the narrative premise that should provide a better adherence vq"tgcnkv{."dgeqogu"vjg"dcemftqr"cickpuv"yjkej"qwt"gzrgtkgpeg"qh"kocigu" hqtegu"vq"vjkpm"cdqwv"jqy"yg"ecp"wug"vqfc{Ôu"kpetgcukpin{"ygcm"ecvgiqtkgu" of ‘true’ and ‘false’. From Ready-Made Films to Films in the Making Jerome P. Schaefer D{"qrrqukpi"vq"oqfgtp"Þno"vjgqt{"cpf"vq"c"vtcfkvkqpcn"hqtocnkuv"okpf" set, this essay intends to analyze an alternative, more nuanced approach vq"vjg"rtqeguuwcn"fkogpukqp"qh"eqpvgorqtct{"ekpgoc"cpf"kvu"pgy"tgcnkuo." eqpukuvkpi"kp"c"eqodkpcvkqp"qh"vyq"fkhhgtgpv"vjgqtkgu<"vjg"Pgy"Hkno"Jkuvqt{"cpf"vjg"cevqt/pgvyqtm"vjgqt{."dqvj"dcugf"qp"c"ocvgtkcn/ugokqvke"hqto" qh"tgncvkqpcnkv{0"Vjg"ecug"kp"rqkpv"ku"vjcv"qh"vjg"tgcno"qh"vjg"jqttqt"Þno."cu" tgictfu"vjg"swguvkqp"qh"vjg"octikpcnk¦cvkqp"qh"ujcm{/eco"jqttqt"Þnou"cu" ÓoqemwogpvctkguÔ0"Vjg"ocvgtkcn/ugokqvke"okpf"ugv"fguetkdgf"kp"vjku"guuc{" fqgu"pqv"qpn{"gpcdng"c"Þtuv"eqpxkpekpi"eqpegrvwcnk¦cvkqp"qh"vjg"rtqeguuwcn" tgcnkuo" cpf" vjg" tgncvkqpcnkv{" qh" vjg" ujcm{/eco" jqttqt" Þno=" kv" ku" cnuq" vjg" FATA MORGANA 291 Abstract in inglese rtguwocdn{"oquv"rtcevkecdng"yc{"vq"iq"kh"oqfgtp"Þno"vjgqt{"kpvgpfu"vq"dg" cdng"vq"eqrg"cickp"ykvj"tgegpv"vtgpfu"kp"eqpvgorqtct{"ekpgoc0" Real Eye Say Shun: Charades Patrizia Fantozzi Hknoocmgt" Uvcp" Dtcmjcig" jcu" uvcemgf" qpg" qh" vjg" oquv" vqwejkpi" nqvu" of images in the history of cinema, according to Raymond Bellour, ‘by qrgtcvkpi"ykvjqwv"kpvgttwrvkqp"c"vtcpuowvcvkqp"dgvyggp"vjg"ejctig"qh"vjg" tgcn"qh"kocigu"cpf"vjgkt"gzrtguukxg"yqtvj."tgcejgf"vjtqwij"cnn"vjg"rquukdng" rtqeguugu" qh" urggf." hwukqp" cpf" fghqtocvkqpÔ0" D{" oqxkpi" dgvyggp" rtqqh" and volatilization of every ‘recognition agreement’, the essay aims to investigate the extraordinary ‘mythopoetic activity’ of the greatest ‘Ego’ that vjg"Cogtkecp"cxcpv/ictfg"jcu"gxgt"mpqyp0"Vyq"kpfgÞpkvgn{"gzvgpukdng"cpf" contractible poles, namely the maximum of sensuality (as immersion in the folds of the matter) and the maximum of poetics (as lyric abstraction), yknn" tgcej" c" ujqtv/ektewkv" cpf" c" hgtvkng" fkcnqiwg0" DtcmjcigÔu" ocipkÞegpv" cpf"rgtjcru"wpkswg"cdknkv{"ku"vq"ocmg"ekpgocvke"gxgpvu"qwv"qh"vjg"itgcvguv" mysteries of the Real: life and death. From Cpvkekrcvkqp"qh"vjg"Pkijv (1958) to Mothlight, passing through Sirius Remembered up to the threshold of Dog Star Man"*3;83/3;86+."qpg"ecp"kfgpvkh{"c"tgcn"Ójcpf/vq/jcpfÔ"Þijv"qh" physical and spiritual elements. Only by embracing, by feeding each other (until the exhaustion as the greatest act of love), a certain ‘grain of the real’ *Dqpkv¦gt+"cpf"vjg"Gzeguu"qh"c"Uwdlgev"ecp"oktcewnqwun{"ognv"kp"ekpgoc0" The Mumblecore and American Independent Cinema Hamilton Santià Vjg"guuc{"ckou"cv"tgcfkpi"vjg"ekpgocvke"ycxg"ecnngf"mumblecore as a symptom of the return of the real in the landscape of American indepenfgpv" ewnvwtg0" Uwej" mkpf" qh" ekpgoc" fqgu" pqv" cfqrv" cp" cocvgwt." Þnvgtnguu" cpf"fqewogpvctkuvke"ukijv"*c"uv{nkuvke"eqpÞiwtcvkqp"fwg"vq"vjg"wug"qh"jqog" made technologies in order to gain a certain ‘proximity’), but a narration that focuses on minimal tales of everyday lives of vygpv{/uqogvjkpi"younguvgtu0"Vjgug"uvtcvgikgu"ecp"dg"vjgp"tgncvgf"dcem"vq"vjg"gogtigpeg"qh"c"pgy" sensibility named pgy"ukpegtkv{0 292 FATA MORGANA Abstract in inglese Where is Your Rupture? The Return of the Real on the Screens of Repetition Martina Panelli In his famous essay Return of the Real, Hal Foster focuses on the serial tgrtqfwevkqp"vgejpkswgu"qh"uqog"Rqr"Ctv"yqtmu."kfgpvkh{kpi"vjg"ukipu"qh" c"Óokuugf"gpeqwpvgtÔ"ykvj"c"vtcwocvke"Tgcn0"Kp"qvjgt"yqtfu."ceeqtfkpi"vq" Foster, the automatism pre-existing the process of appropriation, reproducvkqp"cpf"gzjkdkvkqp"qh"qtkikpcn"kocigu"vcmgp"htqo"vjg"wpkxgtug"qh"ocic¦kpgu" cpf"ogfkc."jkfgu"vjg"u{orvqou"qh"c"Óvtcwocvk¦gf"uwdlgevkxkv{Ô"uvtwiinkpi" ykvj" vjg" kpcdknkv{" vq" ÓugcnÔ" vjg" Tgcn" wpfgt" vjg" crrgctcpeg" qh" uggokpin{" tgrgvkvkxg" cpf" c/uwdlgevkxg" tgrtgugpvcvkqpu0" Uggp" htqo" vjku" rgturgevkxg." kp"c"yqtm"nkmg"Codwncpeg"Fkucuvgt"*Yctjqn."3;85+."uqog"Órkevwtg"ngcmuÔ" *Óàqcvkpi" tgàgevkqpuÔ." Óuetggp" rtkpvkpiÔ." ÓunkrrkpiuÔ" cpf" ÓyjkvgpkpiuÔ." namely a hole in the centre of the second image that comes to cover the face qh"c"yqocp"n{kpi"dgvyggp"rncvgu+"yqwnf"eqpuvkvwvg"vjgougnxgu"cu"kpfgzgu" of a tuche"*Ncecp."Ugokpct"ZK"qp"vjg"tgrgvkvkqp+"vjcv."d{"dtgcmkpi"qp"vjg" uetggp"rtqfwegf"d{"vjg"ugtkcn"tgrtqfwevkqp."ecp"qpn{"tgpgy"vjg"rtqeguu"qh" repetition. Starting from this theoretical model, the essay focuses on the gzrtguukxg"uvtcvgikgu"qh"gzrgtkogpvcn"Þnoocmgtu"uwej"cu"Pcqok"Wocp." Rgii{"Cyjguj"cpf"Nqwkug"Dqwtswg0"Kvu"cko"ku"kpvgtrtgvkpi"vgejpkswgu"uwej" as ffieqnncig, Þno"nkhvkpi."tgoqxcn"qh"vjg"gownukqp"cpf"yjkvgpkpi."cu"ÓceekfgpvuÔ."cu"wughwn"Óu{orvqouÔ"vq"tg/vjkpm"vjg"uwdlgevkxg"kpxqnxgogpv"qh" the authors in the face of an apparently recursive and anonymous practice as that of found footage. Being-in-a-Film Christine Reeh Kp"jku"ugeqpf"xqnwog"qp"ekpgoc"Iknngu"Fgngw¦g"eqpukfgtu"vjg"yqtnf"cu" Þno0"Vjku"umgrvkecn"encko"tckugu"swguvkqpu"eqpegtpkpi"qwt"tgncvkqpujkr"ykvj" tgcnkv{"cpf"vjg"itcurkpi"qh"yjcv"ku"tgcn<"Ecp"yg"iq"cu"hct"cu"vq"uc{"vjcv"yg" nkxg"*kp+"c"ÞnoA"Fgngw¦gÔu"kfgc"ku"tg/cuuguugf"kp"vjku"guuc{"uvctvkpi"htqo" Martin Heidegger’s dgkpi/kp/vjg/yqtnf<"yjcv"kh"dgkpi/kp/vjg/yqtnf becomes for Dasein a dgkpi/kp/Þno? FATA MORGANA 293 Abstract in inglese From Verismo to Mirrorism Enrico Terrone By relying upon Walton’s account of photography, the essay focuses qp"vjg"rquukdknkv{"qh"gzrnckpkpi"ekpgocvke"tgcnkuo"d{"eqorctkpi"Þnou"vq" vtcpurctgpv"fgxkegu"nkmg"vgngueqrgu"cpf"okttqtu"/"yjkej"pqtocnn{"rtqxkfg" wu"ykvj"gzrgtkgpegu"qh"tgcn"hcevu0"Vjg"guuc{"ctiwgu"vjcv"Þnou"ecp"gowncvg" vtcpurctgpv"fgxkegu"kp"vyq"tgurgevu<"pcogn{."kpfgzkecnkv{"cpf"eqwpvgthcevwcn" fgrgpfgpeg0"Jqygxgt."vjg{"ecppqv"gowncvg"kv"ykvj"tgurgev"vq"nqecnk¦cvkqp0" The essay concludes hence that indexicality, counterfactual dependence and vjg"ncem"qh"nqecnk¦cvkqp"ctg"vjg"mg{/hgcvwtgu"qh"ekpgocvke"tgcnkuo0" The Mimetic Status of the Colour in Contemporary Cinema Federico Pierotti Eqnqwt" eqttgevkqp" jcu" kpvtqfwegf" c" pgy" kfgc" qh" eqnqwt" kocig" kp" vjg" eqpvgorqtct{"ogfkcuecrg0"Yjcv"mkpf"qh"tgncvkqp"ku"guvcdnkujgf."vjgtghqtg." dgvyggp"vjg"xkukdng"eqnqwt"cpf"vjg"qpg"tgrtqfwegf"d{"fkikvcn"kociguA"Kp" order to investigate the mimetic status of digital colours, this essay provides a preliminary survey on colour correction practices adopted by some recent Þnou0 The Painted Mountain UqÞc"Dqpkecn¦k" Vjg"urgekÞe"rtqrgtv{"qh"vjg"ctvkuvke"gzrgtkgpeg"uggou"vq"nkg"kp"vjg"rqusibility of going beyond realism, although at the same time maintaining a tgncvkqpujkr"ykvj"tgcnkv{0"Vjg"cfqrvkqp"qh"uwej"kpvgtrtgvcvkxg"mg{"kp"htqpv" qh"c"Þno"jcu"dggp"swguvkqpgf"d{"vjg"kfgc"vjcv"ekpgoc."dgkpi"c"vtcpurctgpv" medium, results in a mechanical reproduction of reality. This essay analyzes vjg"tgncvkqpujkr"dgvyggp"tgcnkv{."vtcpurctgpe{"cpf"cguvjgvke"xcnwg"*kp"tgncvkqp"vq"ekpgocvke"kocigu+"d{"ocmkpi"tghgtgpeg"vq"vjg"Dc¦kpkcp"vjguku"cpf" to elements emerged in the Anglo-Saxon debate on realism. Real, Flagrancy, Spectrality Alessandro Cappabianca Fycthu."fghqtogf."cdpqtocn."owvkncvgf"dqfkgu."htgcmu<"ku"kv"qpn{"vjtqwij" 294 FATA MORGANA Abstract in inglese these elements that the Real manages to emerge in cinema, contaminating kvu"xkuwcn"curgev"*cp"Kocikpct{"kpuvcpeg+."cu"ygnn"cu"vjg"kpjgtgpv"ftcocvke" narratives (a Symbolic instance)? Evidently not, or at least not only. If one cuuwogu"vjcv"vjg"Tgcn"jcu"uqog"mkpf"qh"tgncvkqpujkr"ykvj"vjg"Ófkuvwtdkpi" strangeness’ mentioned by Freud, one must admit that this generally resopcvgu"Ï"cndgkv"ykvj"oqtg"qt"nguu"gxkfgpeg"Ï"kp"vjg"xgt{"urgevtcn"pcvwtg"qh"Þnou0 Hyperreal. Cinema, Phenomenology and Wax Statues Pietro Conte D{"hqewukpi"qp"vjg"ngkvoqvkx"qh"vjg"ycz"rwrrgvu."cu"fgxgnqrgf"kp"Das Cabinet des Dr. Caligari (Wiene, 1920), Fcu"YcejuÞiwtgpmcdkpgvv (Leni, 1924) and O{uvgt{"qh"vjg"Ycz"Owugwo (Curtiz, 1933), this essay explores vjg"codkiwqwu"tgncvkqpujkr"dgvyggp"tgcnkv{"cpf"Þevkqp"kp"vgtou"qh"j{rgttgcnkuo0"Vjg"cpcn{uku"ku"rwv"hqtyctf"ykvjkp"vjg"htcogyqtm"qh"JwuugtnÔu"tgoctmu" qp"vjg"fkhÞewnv{"Ï"pqv"vq"uc{"korquukdknkv{"Ï"vq"octm"qwv"vjg"dqwpfct{"nkpg" dgvyggp"rgtegrvkqp"cpf"kocig"eqpuekqwupguu0 Realism of the Lacanian Gaze Pietro Bianchi Kp" vjku" guuc{." Lceswgu" NcecpÔu" tgàgevkqp" qp" vjg" fkulwpevkqp" dgvyggp" tgcnkv{"cpf"vjg"tgcn"rtqfwegf"d{"xkuwcn"rtqfwevu"ku"tgeqpekngf"ykvj"Swgpvkp" OgknncuuqwzÔu"eqpegrv"qh"ÓeqttgncvkqpkuoÔ."yjkej"fgpkgu"vjg"rquukdknkv{"qh" eqpukfgtkpi"vjg"tgcnou"qh"uwdlgevkxkv{"cpf"qdlgevkxkv{"cu"kpfgrgpfgpv"htqo" each other. Cinematic experience is analyzed in this perspective, as in Fgngw¦gÔu"ytkvkpiu."ykvj"c"urgekÞe"hqewu"qp"vjg"cev"qh"nqqmkpi"cv"c"rkevwtg." yjgtg"vjg"g{g"qh"vjg"kpfkxkfwcn"ecp"dg"tgrncegf"d{"vjcv"qh"c"vgejpkecn"fgxkeg" (the camera). Shipwrecks Without a Raft: the Real in Buñuel’s Cinema Rosamaria Salvatore Vjg"guuc{"hqewugu"qp"vjg"ru{ejqcpcn{vke"tgàgevkqp"qp"vjg"Tgcn."tgcfkpi" it through the different stages of Lacan’s elaboration of this concept. Aim qh"vjg"guuc{"ku"vq"wpfgtnkpg"jqy"vjg"tgikuvgt"qh"vjg"Tgcn"rgtogcvgu"owej"qh" Dw‚wgnÔu"ekpgocvke"etgcvkqpu0"Vjg"Tgcn"/"kpvgpfgf"cu"c"mgtpgn"tgukuvkpi"cp{" hqto"qh"u{odqnk¦cvkqp="cu"c"htciogpv."c"jctf."wpurgcmcdng"eqtg."uvtkevn{"eqpFATA MORGANA 295 Abstract in inglese pgevgf"vq"gplq{ogpv"Ï"ku"uvcigf"vjtqwij"Dw‚wgnguswg"rgtocpgpv"gzrtguukxg" features. Vjg"Gzvgtokpcvkpi"Cpign (1962), This Strange Passion (1953), The Discreet Charm of the Bourgeoisie *3;94+"ctg"qpn{"uqog"qh"vjg"Þnou"yjgtg" tgrgvkvkqp."pqp/ugpug."eqpegrvu"cu"ic¦g"cpf"fgcvj/ftkxg."uvtqpin{"gxqmg"vjg" tkug"qh"c"dgyknfgtgf"cpf"gpkiocvke"Tgcn0"Vjg"Tgcn"àqqtu"vjg"uwdlgev."qwuvkpi" kv"htqo"vjg"knnwukqp"qh"ocuvgtkpi"vjg"yqtnf="cv"vjg"ucog"vkog."kv"eqpfgopu" kv"vq"vjg"fkucrrqkpvkpi"gpeqwpvgt"ykvj"yjcv."cu"Ncecp"chÞtou."ÓfqgupÔv"uvqr" vq"dgkpi"ytkvvgpÔ0 Fantomachie. Jacques Derrida and the Spectrality of the Real Fabrizio Palombi Vjg"guuc{"cempqyngfigu"vjg"ncem"qh"cp"gzrnkekv"pqvkqp"qh"vjg"ÓtgcnÔ"kp" FgttkfcÔu"yqtm."dwv"vtcegu"cp"kornkekv"fgÞpkvkqp"dcem"vq"qpg"qh"vjg"oquv" qtkikpcn"qwveqogu"qh"FgttkfcÔu"rtqfwevkqp<"vjg"urgevtwo0"Hqnnqykpi."vjg" guuc{"rtgugpvu"cp"cpcn{uku"qh"vjg"ugocpvke"urjgtg"qh"vjg"yqtf."cpf"kvu"tglationship to psychoanalysis and phenomenology. Such analysis helps to fgnkpgcvg"vjg"vgorqtcn"uvtwevwtg"qh"vjg"urgevtwo."yjkej"ku"ejctcevgtk¦gf"d{" c"hqto"qh"ÓcpcejtqpkgÔ."kpàwgpegf"d{"vjg"Lgykuj"vtcfkvkqp0"Vjg"guuc{"ujqyu" vjgp"vjcv"c"umgvej"qh"urgevtcn"kpvgtrtgvcvkqp"qh"tgcnkv{"ecp"dg"vtcemgf"fqyp" kp"FgttkfcÔu"ncvgt"eqpvtkdwvkqpu"eqpegtpkpi"ekpgoc"cpf"vgngxkukqp0 Salò’s Bodies and the Real of the Desire Claudio Bisoni By starting from Yjcv"¥crtwfgt"Ucy"/"cp"guuc{"d{"Lqcp"Eqrlge"egpvtgf"qp" vjg"tgncvkqpujkr"dgvyggp"vjg"ucfkuvÔu"crcvjgvke"rquvwtg"cpf"RcuqnkpkÔu"eqpegrvkqp" qh"vjg"Nqpi"Vcmg"/"vjku"guuc{"cpcn{¦gu"vjg"eqornkekv{"guvcdnkujgf"d{"Rcuqnkpk" ykvj"vjg"hqwt"hcuekuv"nkdgtvkpgu"kp"vjg"Þno"Ucn”."qt"vjg"342"Fc{u"qh"Uqfqo"(1975). In particular, sexual perversions in Salò are described as the emergence of a vtcwocvke"Tgcn"Ï"ukipkÞecpvn{"fkhhgtgpv"htqo"vjg"Ncecpkcp"ÓTgcnÔ0 Kinoglaz: The Reality of Revolution Alessio Scarlato To a revolutionary such as Vertov, the essence of Reality lies in the diangevkecn"oqxgogpv"qh"vjg"Uwdlgev"vjtqwij"Jkuvqt{0"Ogp"ykvj"oqxkg"ecogtc" pqv"qpn{"ctg"rcuukxg"cpf"owffnkpi"xkgygtu."dwv"owuv"tgeqipkug"vjgougnxgu" 296 FATA MORGANA Abstract in inglese cu" ceeqwpvcdng" cwvjqtu" qh" vjg" dtkfig" vjcv" nkpmu" crrctgpvn{" wpeqppgevgf" events. In Mkpqg{g."Xgtvqx"nqqmu"hqt"uwej"real"Uwdlgev"coqpi"vjg"cevkxkv{" qh"[qwpiu"Rkqpggtu0"Jg"jcu"vq"hceg"vyq"qduvcengu"vjqwij<"jku"ecrcdknkv{" of becoming a collective Author, and the a-dialectical inscrutableness of madness. Buñuel’s This Strange Passion. The Coup de Cloche and the Disaster of the Real Arianna Salatino According to Jacques Lacan, the Real is not reality. The Real can be vjqwijv"qpn{"cu"c"Þevkqp0"C"rctcpqkce."hqt"gzcorng."kpvgtrtgvu"tgcnkv{"cu"vjg" Tgcn."d{"vwtpkpi"gxgt{"uwurkekqp"kpvq"cp"wpswguvkqpcdng"rtqqh0"Vjku"ku"yjcv" jcrrgpu"vq"vjg"rtqvciqpkuv"qh"Nwku"Dw‚wgn"This Strange Passion (1953), c"ocp"eqorngvgn{"ftkxgp"ocf"d{"vjg"lgcnqwu{"hqt"jku"ykhg0"Kp"ru{ejqvke" uwdlgevu."vjg"oqogpv"qh"fkuuqekcvkqp"htqo"tgcnkv{"vqnnu"nkmg"c"dgnn"/"yjkej"ku" cnuq"vjg"uvtqpi"Þiwtcvkxg"oqfgn"qh"vjg"Þno0 The Film’s Real. On S : tream : S : S : ection : S : ection : S : S : ectioned by Sharits Enrico Camporesi Vjg" Þnoke" yqtm" qh" Rcwn" Ujctkvu" *3;65/3;;5+" fgcnu" ykvj" vjg" vgpukqp" yjkej"qtkikpcvgu"dgvyggp"vjg"crrctcvwu"qh"ekpgocvke"representation and its qyp"real."ogcpkpi"kvu"oquv"ocvgtkcn"eqorqpgpv"*vjg"Þno"uvtkr+0"Vjtqwij" vjg"cpcn{uku"qh"qpg"qh"vjg"ctvkuvÔu"mg{"yqtmu."S : tream : S : S : ection : S : ection : S : S : ectioned (1968-1971), built upon the systematic introducvkqp"qh"uetcvejgu"qp"vjg"Þno"uvtkr."vjg"cko"qh"vjku"guuc{"ku"vq"rqkpv"qwv"vjg" etkvkecn"ghhgev"rtqfwegf"d{"vjg"ukownvcpgqwu"rtgugpeg"qh"Þnoke"tgcnkv{ and the representation"vjcv"vcmgu"rnceg"qp"vjg"uetggp0 The Indescribable Real of the Pantheon in Peter Greenaway’s The Belly of an Architect Uwp"Lwpi"[gq" Kp"Rgvgt"Itggpcyc{Ôu"Þno"Vjg"Dgnn{"qh"cp"Ctejkvgev (1987), images of ctejkvgevwtg"rqug"c"urgekÞe"rtqdngo"qh"tgpfgtkpi"vjg"rj{ukecn"cpf"eqpuvtwevkqpcn"tgcn0"Jqy"vq"Þno"ctejkvgevwtg."jqy"vq"fguetkdg"kv"qp"c"rncpg"uwthceg." FATA MORGANA 297 Abstract in inglese ykvjqwv"nqukpi"vjg"rgtegrvkqp"rgewnkct"vq"kvu"vjtgg"fkogpukqpcn"tgcnkv{A"Kp"vjg" tectonic editing of the Pantheon’s scene, the Roman dome system appears in a dialectic of convocation and revocation, an elaboration of constructional tgcnkv{"yjkej"ku"cv"vjg"ucog"vkog"rj{ukecn"cpf"fgeqpuvtwevkxg0"Kp"Itggpcyc{." the process of editing performs the function of tectonic ornament, not only d{"vjg"ctvkewncvkqp"qh"ujqvu."dwv"cnuq"d{"vjg"pqp/xkgy0 The Third Memory: Realms of Fiction in The Art of Pierre Huyghe Luca Cinquemani This essay focuses on Vjg"Vjktf"Ogoqt{, a re-enactment of Fqi"Fc{"Chternoon (Lumet, 1975) by French artist Pierre Huyghe. By starting from the theoretical perspective developed by Nicolas Bourriaud in Tgncvkqpcn"Cguvjgvkeu and Postproduction."vjg"guuc{"cvvgorvu"vq"ujqy"jqy"c"tgncvkqpcn"tgcfkpi"qh" Pierre Huyghe’s re-enactment may represent a valid investigative tool to anan{¦g"vjg"tgncvkqpujkr"dgvyggp"ekpgocvke"pcttcvkxg"uvtwevwtgu"cpf"gxgt{fc{"nkhg" pcttcvkxg"uvtwevwtgu."dgvyggp"Þevkqp"cpf"tgcnkv{."kp"vjg"yqtm"qh"vjg"Htgpej"ctvkuv0 Werckmeister Harmonies: The Fight of ‘Astonishment’ Against the Real Claudio Barolo Vjg"guuc{"rqkpvu"qwv"jqy"vjg"fkogpukqp"qh"vjg"ic¦g"tgncvgf"vq"vjg"ru{choanalytic concept of the Real emerges from the analysis of Werckmeister Harmonies’ cinematic structure. According to Lacan, even though the regkuvgt"qh"vjg"Tgcn"eqpegtpu"vjg"jwocp"dgkpi."kv"gnwfgu"cp{"rquukdng"ukipkÞcation. It translates the sudden rise of an emerging indistinct anguish; or cuts any familiar bond and ends up in a disruptive laceration. The analysis rwv"hqtyctf"kp"vjku"guuc{"wpfgtnkpgu"jqy"Werckmeister Harmonies (2000) ocuvgtu"vjg"eqpegrv"qh"vjg"Tgcn"vjtqwij"c"rgtxcukxg"wpugvvnkpi"enkocz"yjkej" gpfu"wr"kp"qxgtyjgnokpi"xkqngpeg0 Due amici. The A-Real Cinema by Scimone and Sframeli Mcvkc"VtkÞt”" The vacuum of the Real generates the impossibility of expressing the yqtnf0"Unkrrkpi"kpvq"crjcukc"qt."eqpvtctkn{."kpvq"pqpugpug."vjg"vyq"htkgpfu"qh" UekoqpgÔu"Þno"nkxg"cp"gzkuvgpvkcn"cpf"cnkgpcvgf"eqpfkvkqp."fqqogf"vq"octm" 298 FATA MORGANA Abstract in inglese pathologically the usual paradigms of representation of reality. The aim of this essay, through the analysis of Due amici."ku"vq"cuuguu"yc{u"kp"yjkej"vjg" rtqitguukxg"guecrg"htqo"tgcnkv{"d{"vjg"vyq"rtqvciqpkuvu"qeewtu."gurgekcnn{" by stressing their use of a a-real dialect as a code of belonging to the same realm of marginalization and failure. Andrzej Dragan: Images of a New Medial Scenary Francesco Parisi Vjg"yqtm"qh"vjg"ctvkuv"cpf"swcpvwo"rj{ukekuv"Cpft¦gl"Ftcicp"dgnqpiu" vq"vjg"uvtcpf"qh"rjqvqitcrjke"rqtvtckvwtg0"Jqygxgt."jku"rkevwtgu"uvtqpin{" differ from the visual contemporary scenario. Because of his sophisticated technique of visual processing, the resulting picture appears to be hyper-real. Uwej"j{rgt/tgcnkv{"fqgu"pqv"dtkpi"vq"c"tghgtgpvkcn"crrtqcej"vq"vjg"uwdlgev" tgrtgugpvgf."yjkng"tcvjgt"etgcvgu"fqwdvu"qh"uqrjkuvkecvkqp"kp"vjg"dgjqnfgt=" kv"fgvgtokpgu"vjg"ogfkcn"nkswkfkv{"qh"vjg"vgejpkecn"kocig."cnqpi"ykvj"vjg" stimulations deriving from the intermedial universe. Moreover, it pushes vqyctfu"c"etkvkecn"tg/gxcnwcvkqp"qh"vjg"eqpegrvwcn"crrctcvwu"qp"rjqvqitcrj{0 Cinema and the Access to the True: Dormant Beauty Marina Pellanda D{"wukpi"ekpgoc"cu"cp"cnoquv"uekgpvkÞe"kpuvtwogpv"vq"swguvkqp"vjg"eqpditions of an alienated, slothful, enigmatic country, in Bella addormentata (Fqtocpv"Dgcwv{, 2012) Marco Bellocchio completely exploits cinema’s rquukdknkvkgu"ykvj"vjg"cko"qh"Óocmkpi"tgcnkv{"oqtg"ukipkÞecpvÔ0 Before the Real: Bertolucci’s Me and You Francesco Ceraolo Oquv"qh"DgtvqnweekÔu"ekpgoc"yqtmu"qp"vjg"eqpuvtwevkqp"qh"cp"kfgqnqikecn" uwdlgevkxkv{"yjkej"rtg/gzkuvu"vjg"gtwrvkqp"qh"vjg"Tgcn0"Kp"rctvkewnct."vjku"guuc{" gzrnqtgu"jqy"vjg"kfgcn"qh"cwvjqtkcnkv{."nkpmgf"vq"vjg"qpg"qh"Ókfgqnqi{Ô."gogtigu" kp"qpg"qh"vjg"*crrctgpvn{+"nguu"kfgqnqikecn"Þnou"d{"Dgtvqnweek."Og"cpf"[qw" (2012). By moving from Pasolini’s reading of Before the Revolution (1964), the essay claims that a ‘self-conscious’ ideology is a fundamental aspect in a Þno/ocmgtÔu"eqpuvtwevkqp"qh"cwvjqtkcnkv{."cpf"cpcn{¦gu"jqy"Og"cpf"[qw is an korqtvcpv"gzcorng"qh"jqy"kfgqnqi{"yqtmu"kp"eqpvgorqtct{"ekpgoc0" FATA MORGANA 299 300 FATA MORGANA !"#$%&'"'()*+%"')&+),&$'-. !"##$%$&'()*++$&'$&,"-*)+"&.*&/$*+$%" 001&2213&/'$0.-&$)&+),&$'-.)')&)-'1&. 41&,05!67,83&2+)1'3%&$#)1'++')&--.4&$& ,1&.8&/08905:3&Vtc/Fwg0"NÓkoocikpc¦kqpg"ekpgocvqitcÝec"fgnnÓgxgpvq"fÓc5 -#"' 01&!050.73&$&;<)$&'(3&6#"783)9.3#+&$& 01& =0.6:>3& Fgn" Ecrgnnq" g" fgn" Hcpiq0" TkÞguukqpk" uwn" ekpgoc3& $& ;<)$& '(& .1& ."++")(%( 01&!8,26563&01&?!0,@09:3&@1&285A63&:7+'$1#"')')-&3'"&.)1'+),&$'-.():8++'& B(C+"()*DCE&1&);'.$5<8,)=#1."1 01&!0FF0=605!03&Vtcog"fgn"hcpvcuvkeq0"TkÞguuk"g"uqipk"pgn"ekpgoc ,1&.8&/08905:3&$&;<)$&'(3&9#+&%&,.)1'++')&--.4&$&():8);.,>8'3)?.$,&@"' ,1&.8&/08905:3&A.$$&)B#"'%%&()<#)3-.""&-'$%#)1'+)7"'3'$%' 01&!050.73&01&!8,26563&$&;<)$&'(3&6+&$%)C.3%D##1 01&!0FF0=605!03&6."-'+#)/'$'()2+),&$'-.)#+%"')3')3%'33# G1&26@@03&$&;<)$&'(3&E&%')&-7'"3#$.+&()F8%#"&%".%%&3%&,.)')-'1&.+&%G 41&,05!67,83&:,."%&()2+),&$'-.)%".)7#+&%&,.)')+'%%'".%8".3&$&;<)$&'(&01&6%H*)(##" 01&!8,26563&@1&285A63&$&;<)$&'(3&;'.$59&'""')')<8,)H."1'$$' FATA MORGANA 301 !.%.)B#"4.$. Swcftkoguvtcng"fk"ekpgoc"g"xkukqpk 51&I&/I#3 51&J&B#$1# 51&K&Ctejkxkq 51&L&J".37."'$K. 51&M&C37'"&'$K. 51&N&<&-&%' 51&O&A.%8". 51&P&H'3&1'"&# 51&Q&E&38.+' 51&R&H&3.,,#"1# 51&JI&:.,"# 302 51&JJ&J'""&%#"&# 51&JK&C-#K&#$' 51&JL&9#%'$K. 51&JM&F$&-.+&%G 51&JN&F8%#"&%".%%# 51&JO&*"&4&$' 51&JP&?&%# 51&JQ&6#-8$' 51&JR&6"'1&%# 51&KI&6&$'-. 51&KJ&?'.+' FATA MORGANA FATA MORGANA 303 304 FATA MORGANA