Lynch

This paper would like to analyse two films, The Elephant Man (David Lynch, 1981) and Blow up (Michelangelo Antonioni, 1966) and one classic myth, Mary Shelley’s Frankenstein, through the very poignant figure of the voyeur. We will investigate this observer of the unnamable focusing on two characters, two eyewitnesses: the scientist who discovers John Merrick and the photographer who becomes obsessed with finding a corpse in an amplified picture. Both these voyeurs seem to be in search of the bewitching and sublime darkness that lies within, a search that in a way is inaugurated by the Promethean doctor at the break of Modernity. The corporeal distance between monster and voyeur creates the unbearable morbidity that devours our gaze. And at that exact point, the figures are reversed and the voyeur becomes the actual monster. Soon enough, we discover that their perspective as voyeurs becomes ours, because through the cinematic experience the spectator becomes witness of the crime, par...

Croatian “Rashomon” : The Yugoslav Press about Massacre in Kerestinec Castle on April 16th, 1936

The article is a study of a lynch that occurred in the vicinity of Zagreb on April 16th, 1936. In the following days, the reports on the massacre in the opposition and pro-government press were quite dissimilar. The Croatian Peasant Party succeeded in the endeavor that the case had been treated in the court as a political, not a legal issue. This led to a suspension of the law and derogation of the state institutions. Five years before the war broke out, Yugoslavia showed signs of disintegration, while its central government was in a defensive to the centrifugal forces.

Caissa Editore, Bologna 2019.
L'autore dialoga con lo scrittore e musicista Giulio Pantalei sulle giornate passate insieme a David Lynch e sulla pratica della meditazione trascendentale, che negli anni, grazie all'incontro col regista americano, è divenuta il suo punto di riferimento artistico, psicologico, fisico e creativo.
("Più Libri Più Liberi 2019", Roma Convention Center La Nuvola)   

"Twinology" di Marco Zoppas è un viaggio attraverso le tante suggestioni offerte dai testi letterari e brani musicali che hanno influenzato o sono stati influenzati da Twin Peaks. Perché se il mondo di Twin Peaks non ha mai smesso di affascinare seguaci e appassionati che dagli anni '90 si interrogano su singoli passaggi, personaggi o scelte registiche, la terza stagione uscita a distanza di 25 anni ha rispalancato porte dell'immaginario mai chiuse e ogni sorta di tentativo interpretativo su misteri che sconfinano ben oltre il leggendario "Chi ha ucciso Laura Palmer?". Intorno alla galassia creata dal genio di David Lynch e Mark Frost orbitano riferimenti e omaggi ad artisti altrettanto amati e prolifici, muovendosi fra curiosi collegamenti esoterici, simbolici e aneddotici.

This paper would like to analyse two films, The Elephant Man (David Lynch, 1981) and Blow up (Michelangelo Antonioni, 1966) and one classic myth, Mary Shelley's Frankenstein, through the very poignant figure of the voyeur. We will investigate this observer of the unnamable focusing on two characters, two eyewitnesses: the scientist who discovers John Merrick and the photographer who becomes obsessed with finding a corpse in an amplified picture. Both these voyeurs seem to be in search of the bewitching and sublime darkness that lies within, a search that in a way is inaugurated by the Promethean doctor at the break of Modernity. The corporeal distance between monster and voyeur creates the unbearable morbidity that devours our gaze. And at that exact point, the figures are reversed and the voyeur becomes the actual monster. Soon enough, we discover that their perspective as voyeurs becomes ours, because through the cinematic experience the spectator becomes witness of the crime, part of the freak show, morbid viewer of the abject. Lynch and Antonioni, together with Shelley's creature and creator, put the question of the body through a microscope and dare us spectators to look inside, to find the morbidity of truth and the limits of art.

City image and self identity are two interrelated notions. Self identity, also referred to as urban related identity, is not solely derived from the physical characteristics of an urban space, but, consists of the social construction founded in the perception of individuals and groups (Lalli & Ploger, 1991). The relationship of the individual with a place is essential as place and space shape human experiences (Chen, 2012). With the trend of gated residential areas emerging in large cities such as Cairo and Alexandria in the late 90s creating a spatial discontinuity and urban fragmentation, this research is examining how open and gated urban residential areas shape place image of New Cairo’s Third Settlement residents.

U članku se analizira slučaj koji se dogodio u Dubrovniku 1284., kada je svećenik Barbije Longo odsjekao nos benediktinke Mire. Autorica pokazuje da se uobičajena kontroverza oko nadležnosti nad klericima u ovom slučaju nije dogodila, odnosno da je suradnja između ckrvenih i svjetovnih vlasti bila uzorna. Umjesto toga, napetosti koje su se pojavile oko slučaja razvile su se u dva pravca. Premda crkvene vlasti nisu oklijevale odlučno reagirati na zločin, rekluze su iskazale posve nezavisan stav prema događaju i pomogle su počinitelju u bijegu. Drugu je napetost generirala lokalna zajednica na čelu s obitelji žrtve, koja se pokušala osvetiti i koja je svjetovni sud pozivala na izricanje stroge kazne.

Dramaturgy is an old tradition to tell a story / a movie / a comic the way people feel entertained and touched. Dramaturgy is more the a recepy how to build a structure - it is about structure, theme and meaning and much more. It give the basis for creativity.

Dramaturgie ist ein Wort, das alle im Munde führen. Bezogen wird es nicht nur auf Filme, sondern auch auf Ausstellungen, Konzerte und ähnliches. In diesem Handbuch widmen sich die Autorinnen der auf den fiktionalen Kino- oder Fernsehfilm bezogenen Dramaturgie. Um mit und in den Medien auf einem qualitativ überzeugenden Niveau zu operieren und zu diskutieren, bedarf es mehr als des Ziels eines Helden und der Suche nach zwei Wendepunkten und einem Happy End. Dramaturgische Strukturen bieten die Möglichkeit, auf gewonnener Erfahrung Kreativität zu entfalten. Sie ermöglichen auch, die sich mit Hilfe des bewussten oder unbewussten Einsatzes dieser Strukturen entfaltende Kunst analysieren zu können.

Aus dem Inhalt: Dramaturgie-Basis - Drei-Akt-Struktur - Fünf-Akt-Struktur - Intrige und Gegenintrige, Protagonist und Antagonist - Epischer Film, episodischer Film, multiperspektivisches Erzählen, postmoderner Film - Komödie und Tragödie - Heldenreise, offene Form, analytische Form - Road-Movie - Biographischer Film - Fernsehspiel, Fernsehserie, Soap, Telenovela - Glossar dramaturgischer Begriffe.

the topics: what means dramaturgy? explicit and implict dramaturgy, Intrique and counterintrique; protagonist / antagonist, dramatic and aesthetic conflicts, tragedy and comedy; "aristotelian" dramaturgy / non- and post-aristotelian narration / dramaturgy, European traditions, well made play and analytic drama, epic narrations, conflict free narration, poetic films, raod movies, multiperspective narration, dramaturgy of postmodern cinema; dramaturgy of serials and telenovelas, glossar

Die zweite erweiterte und überarbeitete Auflage erscheint im Frühjahr / Frühsommer 2011
the new extended edition will be avaiable in July 2011, for an English version please ask the publishers to (let) translate the book