The Shakespeare movie has become recently an academic field of its own. In one of the latest studies on Shakespeare on Film (A.R.Guneratne, 2008), what is at stake is the possibility of writing a history of cinema based on adaptations of Shakespeare’s plays and of plunging it in that interdisciplinary, hybrid, multimedia context which makes adaptation coincide with the cultural process. My article experimentally associates Macbeth and Gomorrah. Gomorrah – Roberto Saviano’s novel and Matteo Garrone’s movie—is an exemplary case of an immediate translatiion of a story of words into a story of images and of the contemporary interaction between the literary and the visual forms of representation and knowledge. It i san occurrence of synchronic interdependence, but the relationship of literature, the art of the word, with cinema, the art of the moving image, ha salso a diachronic dimension. It is in time and changes and develops with it. Mine i san experimental attempt at treacing one of these developments. The article tries to establish a genetic link which might tie together a classic of dramatic literature, Macbeth, a historical docu-fiction turned into a film, Gomorrah, and the movie genre of the ‘western noir’ and present the three of them as one paradigm of the cultural process: the expression and the representation of radical evil
Recycling Macbeth
PIAZZA, Antonella
2009-01-01
Abstract
The Shakespeare movie has become recently an academic field of its own. In one of the latest studies on Shakespeare on Film (A.R.Guneratne, 2008), what is at stake is the possibility of writing a history of cinema based on adaptations of Shakespeare’s plays and of plunging it in that interdisciplinary, hybrid, multimedia context which makes adaptation coincide with the cultural process. My article experimentally associates Macbeth and Gomorrah. Gomorrah – Roberto Saviano’s novel and Matteo Garrone’s movie—is an exemplary case of an immediate translatiion of a story of words into a story of images and of the contemporary interaction between the literary and the visual forms of representation and knowledge. It i san occurrence of synchronic interdependence, but the relationship of literature, the art of the word, with cinema, the art of the moving image, ha salso a diachronic dimension. It is in time and changes and develops with it. Mine i san experimental attempt at treacing one of these developments. The article tries to establish a genetic link which might tie together a classic of dramatic literature, Macbeth, a historical docu-fiction turned into a film, Gomorrah, and the movie genre of the ‘western noir’ and present the three of them as one paradigm of the cultural process: the expression and the representation of radical evilI documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
