Cristina Degli-Esposti
Biographic Data
| ID | 5415787 |
|---|---|
| NAME | Cristina Degli-Esposti |
| GIVEN NAMES | Cristina |
| FAMILY NAME | Degli-Esposti |
| SIGNATURE | DEGLI-ESPOSTI C |
| VERIFIED | No |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 2 |
| WORKS AS AUTHOR | 4 |
| WORKS AS EDITOR | 1 |
| FIRST PUBLICATION YEAR | 1994 |
| LATEST PUBLICATION YEAR | 1998 |
| H-INDEX | 1 |
Postmodernism in the Cinema
The Architecture of Vision. Writings and Interviews on the Cinema
Federico Fellini's Intervista or the Neo-Baroque Creativity of the Analysand on Screen
Sally Potter's "Orlando" and the Neo-Baroque Scopic Regime
Freely adapted from Virginia Woolf's novel Orlando: A Biography (1928),2 Sally Potter's Orlando (1992)3 offers a postmodern/neo-baroque rereading of a transhistorical story where freedom of imagination combines with the memory system of our history of ideas. With an abundance of figural representation, Potter's film falls into a particular kind of cinema of excess. It creates a space where postmodern manneristic representation becomes neo-baroque
"Voicing the Silence in Federico Fellini's "La voce della luna
What Richard Kearney considers the postmodern deconstruction of the human subject as origin of meaning1 appears in Fellini's films as a recurrent motif which develops metacinematically within each film especially the films of his later production.2 Fellini has stated many times that making films is the way of his life and the only possible way to look at himself in the mirror. True to himself he reiterates the same concepts with those inevitable …
Sally Potter's "Orlando" and the Neo-Baroque Scopic Regime
Freely adapted from Virginia Woolf's novel Orlando: A Biography (1928),2 Sally Potter's Orlando (1992)3 offers a postmodern/neo-baroque rereading of a transhistorical story where freedom of imagination combines with the memory system of our history of ideas. With an abundance of figural representation, Potter's film falls into a particular kind of cinema of excess. It creates a space where postmodern manneristic representation becomes neo-baroque
"Voicing the Silence in Federico Fellini's "La voce della luna
What Richard Kearney considers the postmodern deconstruction of the human subject as origin of meaning1 appears in Fellini's films as a recurrent motif which develops metacinematically within each film especially the films of his later production.2 Fellini has stated many times that making films is the way of his life and the only possible way to look at himself in the mirror. True to himself he reiterates the same concepts with those inevitable …
Federico Fellini's Intervista or the Neo-Baroque Creativity of the Analysand on Screen
Sally Potter's "Orlando" and the Neo-Baroque Scopic Regime
Freely adapted from Virginia Woolf's novel Orlando: A Biography (1928),2 Sally Potter's Orlando (1992)3 offers a postmodern/neo-baroque rereading of a transhistorical story where freedom of imagination combines with the memory system of our history of ideas. With an abundance of figural representation, Potter's film falls into a particular kind of cinema of excess. It creates a space where postmodern manneristic representation becomes neo-baroque
Postmodernism in the Cinema
The Architecture of Vision. Writings and Interviews on the Cinema
Art (5 works) · Aesthetics (3 works) · Art history (3 works) · Literature (3 works) · Movie theater (3 works) · Baroque (2 works) · Contemporary Literature and Criticism (2 works) · Italian Fascism and Post-war Society (2 works) · Italian Literature and Culture (2 works) · Postmodernism (2 works)