Martin Scorses’s Shutter Island (Paramount Pictures 2010) has been accused of distorting the facts and altering his historical sources and origins. The depictions we see of the Holocaust are false, but the viewer sees and believes in the images of the concentration camp of Dachau which are imaginings of another scene, where the past and the repressed return in the present. The viewer participates empathically in the mental images suffered by the hallucinated protagonist, and he is prompted to recall the pictures paraphrased from the archives of the imagery of cinema and of the photojournalism of war. Actually, for Scorsese, the images of the violence cannot be linked to an origin or past that have definitively been concluded. They are more than recorded pictures or concrete evidences: they are clues and symptoms, they are the open wounds of an original struggle between human and inhuman and of man. They come from a conflictual and endless descent of which cinema is the living and ambiguous memory.
Traumes, rêves, images. Scènes du crime (en histoire) et de l’origine (au cinéma)
FIMIANI, Filippo
2015
Abstract
Martin Scorses’s Shutter Island (Paramount Pictures 2010) has been accused of distorting the facts and altering his historical sources and origins. The depictions we see of the Holocaust are false, but the viewer sees and believes in the images of the concentration camp of Dachau which are imaginings of another scene, where the past and the repressed return in the present. The viewer participates empathically in the mental images suffered by the hallucinated protagonist, and he is prompted to recall the pictures paraphrased from the archives of the imagery of cinema and of the photojournalism of war. Actually, for Scorsese, the images of the violence cannot be linked to an origin or past that have definitively been concluded. They are more than recorded pictures or concrete evidences: they are clues and symptoms, they are the open wounds of an original struggle between human and inhuman and of man. They come from a conflictual and endless descent of which cinema is the living and ambiguous memory.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
