Silvia Angeli
Biographic Data
| ID | 1093016 |
|---|---|
| NAME | Silvia Angeli |
| GIVEN NAMES | Silvia |
| FAMILY NAME | Angeli |
| SIGNATURE | ANGELI S |
| AFFILIATIONS | University of Westminster |
| ORCID | 0000-0002-3009-0102 |
| VERIFIED | Yes |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 5 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2018 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 0 |
Here to stay
Moving away from traditional – and reductive and self-serving – interpretations, Jacques Derrida proposes a compelling model of mourning that has at its core a deep, unadulterated respect for the deceased, their uniqueness and their irreplaceability. This highly ethical configuration is the theoretical lens through which Denis Côté’s Répertoire des villes disparues (Ghost Town Anthology, 2019) is analysed. I first examine the characters’ grief an…
The Ultimate Freedom? Suicide as ‘Exit Strategy’ in Marco Bellocchio’s Il regista di matrimoni (2006) and Sorelle Mai (2010)
This article examines the portrayal of suicide in two films by Marco Bellocchio, Il regista di matrimoni (2006) and Sorelle Mai (2010). I first suggest that voluntary death represents in Bellocchio's work an ‘exit strategy' that allows his characters to overcome an existential and ideological deadlock. I then turn to the implications of such a radical gesture, situating it within the millennia-old debates surrounding the topic of suicide. Finally…
A Miraculous Materialism
This article considers Nanni Moretti's We Have a Pope ( Habemus Papam, 2011) and Alice Rohrwacher's Corpo Celeste (2011) via the notion of lines of flight as developed by Gilles Deleuze and Félix Guattari. We argue that, in spite of stylistic and thematic differences, the two films present clear similarities since they highlight and address conflicts and tensions existing within the contemporary Catholic religious order. Both films present cracks…
Olmi and Pasolini
This article focuses on the collaboration between Ermanno Olmi and Pier Paolo Pasolini. Two key figures of the Italian cinematic tradition, Olmi and Pasolini have joined efforts on two occasions, as the Bergamasque director asked Pasolini to provide a commentary for his short films Manon finestra 2 (1956) and Grigio (1957). Two very different products, the two shorts offer a very compelling take on the process of industrialisation taking place in…
Caught in between
This article assesses the coexistence of the practices of profanation and re-sacralization in one of Marco Bellocchio's most understudied films: Nel nome del padre (In the Name of the Father, 1971). Indeed, such practices rarely situate themselves at opposite ends of the spectrum but rather are integrated within other works by the same director, and even within the same film. By providing a content and stylistic analysis of episodes of profanatio…
No prominent works on this page.
Caught in between
This article assesses the coexistence of the practices of profanation and re-sacralization in one of Marco Bellocchio's most understudied films: Nel nome del padre (In the Name of the Father, 1971). Indeed, such practices rarely situate themselves at opposite ends of the spectrum but rather are integrated within other works by the same director, and even within the same film. By providing a content and stylistic analysis of episodes of profanatio…
A Miraculous Materialism
This article considers Nanni Moretti's We Have a Pope ( Habemus Papam, 2011) and Alice Rohrwacher's Corpo Celeste (2011) via the notion of lines of flight as developed by Gilles Deleuze and Félix Guattari. We argue that, in spite of stylistic and thematic differences, the two films present clear similarities since they highlight and address conflicts and tensions existing within the contemporary Catholic religious order. Both films present cracks…
Olmi and Pasolini
This article focuses on the collaboration between Ermanno Olmi and Pier Paolo Pasolini. Two key figures of the Italian cinematic tradition, Olmi and Pasolini have joined efforts on two occasions, as the Bergamasque director asked Pasolini to provide a commentary for his short films Manon finestra 2 (1956) and Grigio (1957). Two very different products, the two shorts offer a very compelling take on the process of industrialisation taking place in…
The Ultimate Freedom? Suicide as ‘Exit Strategy’ in Marco Bellocchio’s Il regista di matrimoni (2006) and Sorelle Mai (2010)
This article examines the portrayal of suicide in two films by Marco Bellocchio, Il regista di matrimoni (2006) and Sorelle Mai (2010). I first suggest that voluntary death represents in Bellocchio's work an ‘exit strategy' that allows his characters to overcome an existential and ideological deadlock. I then turn to the implications of such a radical gesture, situating it within the millennia-old debates surrounding the topic of suicide. Finally…
Here to stay
Moving away from traditional – and reductive and self-serving – interpretations, Jacques Derrida proposes a compelling model of mourning that has at its core a deep, unadulterated respect for the deceased, their uniqueness and their irreplaceability. This highly ethical configuration is the theoretical lens through which Denis Côté’s Répertoire des villes disparues (Ghost Town Anthology, 2019) is analysed. I first examine the characters’ grief an…
Art (4 works) · Art history (4 works) · History (4 works) · Philosophy (4 works) · Sociology (4 works) · Humanities (3 works) · Italian Fascism and Post-war Society (3 works) · Aesthetics (2 works) · Archaeology (2 works) · Epistemology (2 works)