The topic of the relationship between frame and cinema, if restricted to a specific research field (the fantasy-horror universe) and treated according to certain filmic devices (the mirror and the painting supported by the highest common denominator of the face), gives different results: an idea of the film as a frame which, by containing other frames, reflects on its enunciative-spatial statutes, a theorizing of the frame as a heterotopia that generates a crasis between charm and anxiety, a definition of the genres intercepted as founded on the mise-en-scène of the frame itself.

Il valico violato e il volto orrorifico

Bruno Surace
2020

Abstract

The topic of the relationship between frame and cinema, if restricted to a specific research field (the fantasy-horror universe) and treated according to certain filmic devices (the mirror and the painting supported by the highest common denominator of the face), gives different results: an idea of the film as a frame which, by containing other frames, reflects on its enunciative-spatial statutes, a theorizing of the frame as a heterotopia that generates a crasis between charm and anxiety, a definition of the genres intercepted as founded on the mise-en-scène of the frame itself.
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cornice, semiotica, cinema horror, volto, schermi
Bruno Surace
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Utilizza questo identificativo per citare o creare un link a questo documento: http://hdl.handle.net/2318/1757945
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