QUADRIMESTRALE DI CINEMA E VISIONI ANNO VII Nº 19 GENNAIO APRILE 2O13
2 FATA MORGANA
FATA MORGANAQuadrimestrale di cinema e visioni
Pellegrini Editore
Direttore Roberto De Gaetano
Comitato scientifico Dudley Andrew, Raymond Bellour,Sandro Bernardi, Francesco Casetti, Antonio Costa,Georges Didi-Huberman, Ruggero Eugeni, Annette Kuhn,Jacques Rancière, David N. Rodowick, Giorgio Tinazzi
Comitato direttivo Marcello W. Bruno, Alessia Cervini,Daniele Dottorini, Bruno Roberti, Antonio Somaini, Salvatore Tedesco, Luca Venzi
Caporedattore Alessandro Canadè
Redazione Daniela Angelucci, Francesco Ceraolo, Paolo Godani,Andrea Inzerillo, Carmelo Marabello,Emiliano Morreale, Antonella Moscati, Ivelise Perniola
Responsabile segreteria di redazione Loredana Ciliberto
Segreteria di redazione Raffaello Alberti, Simona Busni, Andreina Campagna, Giovanni Festa, Greta Himmelspach, Caterina Martino, Clio Nicastro, Antonietta Petrelli,Annunziata Procida, Antonio Russo
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Direttore Responsabile Walter Pellegrini
Redazione DAMS, Università della CalabriaCubo 17/b, Campus di Arcavacata - 87036 Rende (Cosenza)E-mail [email protected] internet http://fatamorgana.unical.it
Amministrazione - DistribuzioneGRUPPO PERIODICI PELLEGRINIVia Camposano, 41 (ex via De Rada) - 87100 CosenzaTel. 0984 795065 - Fax 0984 792672E-mail [email protected] internet www.pellegrinieditore.com
ISSN 1970-5786
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FATA MORGANA 3
SOMMARIO
INCIDENZE
7 Dare credito allo sguardo. Conversazione con Marie-José Mondzain a cura di Daniele Dottorini
FOCUS
21 Il credito monetario e la percezione cinematografica Morgan Adamson 31 Cinema e isteria: lo sguardo incredulo Arianna Salatino 45 Profanare l’ostia. Jean Louis Schefer, Perceval (e il cinema) Enrico Camporesi 57 “Chi dite che io sia?”. Il Gesù di Dreyer Alessio Scarlato 71 Il credito dell’immagine Francesco Ceraolo 85 L’etica del mondo visto: cinema, linguaggio e credenza Simona Busni 95 L’occhio vivo è migliore dell’occhio dipinto Giovanni Festa115 La credibilità delle immagini surrealiste Stefania Schibeci125 Aporie dell’autorialità Veronica Gaia di Orio137 Cinema d’azzardo Adriano D’Aloia149 Il casinò come metafora Marco Grosoli159 Sulla crisi della ragione cartografica del cinema Giorgio Avezzù169 John Grierson: libertà del cinema, prigionia del reale Matteo Pollone181 Estetica e politica della vita povera Nicola Perugini e Francesco Zucconi
4 FATA MORGANA
191 Il credito della verità Daniele Dottorini
RIFRAZIONI
205 Viaggio in Italia. La credenza oltre l’illusione Roberto De Gaetano213 “Film-lampo” e strategie di autenticazione in L’amore in città Federico Vitella219 “Accostarsi alla verità”. Finis terrae di Epstein Chiara Tognolotti225 L’origine decentrata del senso Alessandra Merlo231 La necessità del credito. The War Game di Peter Watkins Elisa Mandelli237 Carmelo Bene: dis-credito del cinema Massimo Canepa245 Nella traccia di Immemory di Marker Anna Caterina Dalmasso255 Still Life: natura morta con banconota Marco Dalla Gassa261 Person of Interest e l’elogio del dubbio Miriam Visalli269 Le immagini che ci riguardano. Cave of Forgotten Dreams Massimiliano Coviello
275 Abstract in inglese
FATA MORGANA 275
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Giving Credit to the Gaze. A Conversation with Marie-José Mondzain<;@K<;�9P��8E@<C<��FKKFI@E@
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Credit Money and Cinematic Perception&FI>8E��;8DJFE
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276 FATA MORGANA
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Cinema and Hysteria: the Incredulous Gaze�I@8EE8�,8C8K@EF
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To Profane the Host. Jean Louis Schefer, Perceval (and Cinema)�EI@:F��8DGFI<J@
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‘Who Do You Say I Am?’. C.T. Dreyer’s Jesus�C<JJ@F�,:8IC8KF
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Abstract in inglese
FATA MORGANA 277
The Image and Its Credit�I8E:<J:F��<I8FCF
-?@J�<JJ8P�8;;I<JJ<J�&8I:LJ<sJ�EFK@FE�F=�8IK�8E;�K?<�N8P�@K�8==<:KJ�:FE-K<DGFI8IP�:@E<D8K@:�8<JK?<K@:J��<JG<:@8CCP�@E�K?<�:FEK<OK�F=�E<N�&8IO@JKJ�8E;�GFJKDF;<IE�KI<E;J��9FK?�@E�"K8CP�8E;�NFIC;N@;<�(E�K?<�FE<�?8E;�@E�=8:K��C<=K@JK�K?FL>?K�?8J�?@JKFI@:8CCP�CFFB<;�8K�"K8C@8E�r:@E<D8�;@�@DG<>EFs�<@K?<I�K?IFL>?� I8DJ:@8E�?@JKFI@:@JD�FI��DFI<�I<:<EKCP�� K?IFL>?�GFJKDF;<IE@JK�K8B<J�N?@:?�;<EP� K?<�GFJJ@9@C@KP� =FI�:@E<D8K@:�E8II8K@M<J� KF� I<;<tE<� K?<�JF:@F:LCKLI8C�JKIL:KLI<J�F=�I<8C@KP�(E�K?<�FK?<I��K?<�GI<J<E:<�F=�&8I:LJ<sJ�8<JK?<K@:J�?8J�9<<E�:IL:@8C�@E�K?FJ<�;@8C<:K@:8C�8GGIF8:?<J�KF�:@E<D8��JL:?�8J�#8D<JFEsJ��N?@:?�GLK�=FIN8I;�8�I<;<tE@K@FE�F=�K?<�EFK@FE�F=�r:I<;@Ks�N@K?@E�K?<�I<C8K@FEJ?@G�9<KN<<E�K?<�@D8><�8E;�JF:@8C�I<8C@KP�@KJ<C=��
The Ethics of the World Viewed: Cinema, Language and Credence,@DFE8��LJE@
&FI<�K?8E�K?@IKP�P<8IJ�8=K<I�K?<�GL9C@:8K@FE�F= The World Viewed�� ������K?@J�<JJ8P�8@DJ�8K�8E8CPQ@E>�JFD<�=LE;8D<EK8C�G8JJ8><J�=IFD�,K8EC<P��8-M<CCsJ�NFIB��@E�FI;<I�KF�M<I@=P�K?<�8:KL8C�C@M@E>�J@>E@t:8E:<�F=�?@J�I<u<:K@FEJ�8J�N<CC�8J�KF�=I8D<�K?<D�N@K?@E�K?<�K?<FI<K@:8C�D8KK<I�F=�K?<�:I<;@K��?<I<�D<8E@E>�r:I<;<E:<s��IFD�)C8KF�KF��8Q@E��>F@E>�K?IFL>?�$8EK�8E;�0@KK><E-JK<@E��The World Viewed�D8B<J�8E�8D8Q@E>�K?<FI<K@:8C�GF@EK�@E�8KK<DGK@E>�KF�FLKC@E<�?PGFK?<J@J�=FI�8E�<K?@:J�F=�:@E<D8K@:�@D8><J������
The Living Eye is Better Than the One Portrayed @FM8EE@��<JK8
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Abstract in inglese
278 FATA MORGANA
The Credibility of Surrealist Images,K<=8E@8�,:?@9<:@
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Author’s Aporias/<IFE@:8� 8@8�;@�(I@F�
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Gambling Cinema�;I@8EF��s�CF@8
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Abstract in inglese
FATA MORGANA 279
The Casino as a Metaphor&8I:F� IFJFC@
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F=�,KF:B��O:?8E><�n�N?@:?�8CCFNJ�8�J@>E@t:8EK�:FE=IFEK8K@FE�N@K?�&8IK@E�,:FIJ<J<sJ�Casino��8EFK?<I�tCD�:<EKI<;�FE�K?<�;<<G�DLK8K@FE�F=��D<I@:8sJ�=8:@E>�K?<�tE8E:@8C�KLIE�F=�:8G@K8C@JD
Upon the Crisis of the Cartographic Reason of Cinema @FI>@F��M<QQe
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Abstract in inglese
280 FATA MORGANA
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Aesthetics and Politics of Poor Life'@:FC8�)<IL>@E@�8E;��I8E:<J:F�3L::FE@
"=� G?FKF>I8G?<IJ� 8E;�M@;<FD8B<IJ�N?F�NFIB� @E� K?<� JF:8CC<;� rQFE<J�F=�<D<I><E:Ps�:8E�<OG<I@<E:<�8�rtestimony debts��@K�@J�8J�N<CC�LE;<E@89C<�K?8K�D8K<I@8CJ�K?<P�GIF;L:<�GC8P�8�:IL:@8C�IFC<�@E�K?<�JPJK<D�F=�DFI8C�8E;�economic credit�:?8I8:K<I@Q@E>�K?<�:FEK<DGFI8IP�?LD8E@K8I@8E�:@I:L@KJ��P�8IK@:LC8K@E>�K?<�:8K<>FIP�F=�:I<;@K�;<9K�@E�I<C8K@FE�KF�K?<�I<GI<J<EK8K@FE�F=�JL==<I@E>��8E;�9P�tE;@E>�@E�+<EQF�&8IK<EJs�;F:LD<EK8IP��A=BL�&BI8EGL �������8E�<O<DGC8IP�GC8:<�F=�<C89FI8K@FE�F=�JL:?�GIF9C<D8K@:��FLI�<JJ8P�;<M<CFGJ� 8� :I@K@:8C� 8GGIF8:?� KF� ?LD8E@K8I@8E� :FDDLE@:8K@FEJ� 8E;� K?<@I�GFC@K@:8C�8E;�<:FEFD@:�?FI@QFEJ
The Credit of Truth�8E@<C<��FKKFI@E@
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Journey to Italy. The Belief Beyond Illusion+F9<IKF��<� 8<K8EF
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Abstract in inglese
FATA MORGANA 281
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������������������� �� ��������� ������������Love in the City�<;<I@:F�/@K<CC8
Love in the City �&��EKFE@FE@�����<CC@E@����%8KKL8;8����%@QQ8E@����&8J<CC@����+@J@�� ����� @J� F=� :FEK@EL@E>� @DGFIK8E:<� 8E;� @EK<I<JK� KF;8P��<JG<:@8CCP�=FI�@KJ�9<@E>�8�JFIK�F=�rE<FI<8C@JK�C89FI8KFIPs�n�8�J8=<�GC8:<�=FI�K?<�<OG<I@D<EK8K@FE�F=�K?<�DFJK�8;M8E:<;�K?<FI@<J�9P��<J8I<�38M8KK@E@�-?@J�G8G<I�8@DJ�KF�JKL;P�K?<�tCD�@E�K?<�C@>?K�F=�K?<�CFE>�@EKIF;L:KFIP�GIFCF>L<��N?@:?�@EM@K<J�K?<�M@<N<I�KF�8GGCP�8�r;F:LD<EK8IP�I<8;@E>s�KF�K?<�8D9@>LFLJ�D8K<I@8CJ�N?@:?�@K�GI<J<EKJ��FE�K?<�98J@J�F=�K?<�8CC<><;�J@D@C8I@K@<J�9<KN<<E�:@E<D8��E<FI<8C@JD��8E;�G?FKFAFLIE8C@JD
‘Nearing Truth’. Epstein’s Finis Terrae�?@8I8�-F>EFCFKK@
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The Decentred Origin of the Sense �C<JJ8E;I8�&<ICF
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Abstract in inglese
282 FATA MORGANA
8�mise-en-scene�F=�I<8C@KP�-?<�C8KK<I�@J�@E;<<;�EFK�8�JK8K@:�<EK@KP��CP@E>�FLKJ@;<�8�N@;<FG<E�N@E;FN�FEKF�K?<�NFIC;��9LK�I8K?<I�N?8K�@J�J@>E@t<;�N@K?@E�@KJ�FLK<I�9FI;<I�,L:?�8E�image-act�n�@=�K?@J�@J�?FN�N<�:FLC;�I<=<I�KF�K?<�8:K�F=�D8B@E>�J<EJ<�F=�I<8C@KP�n�@J�GFJJ@9C<��@E�K?@J�:8J<��K?8EBJ�KF�8E�LEJLJG<:K<;��8E;�J<<D@E>CP�FLK�F=�GC8:<��:@E<D8K@:�<C<D<EK�K?8K�F::LG@<J�@KJ�:<EKI<
The Necessity of the Credit: Peter Watkins’ The War Game�C@J8�&8E;<CC@
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Carmelo Bene: The Dis-credit of Cinema&8JJ@DF��8E<G8
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In the Trace of Marker’s Immemory�EE8��8K<I@E8��8CD8JJF
�LII<EK�;<98K<J�F=K<E�8;;I<JJ�K?<�;@==<I<E:<�9<KN<<E�K?<�8E8CF>@:�8E;�;@->@K8C�I<>@D<�8J�8E�8CK<IE8K@M<�9<KN<<E�8�G8I8;@>D�F=�C@B<E<JJ�8E;�8LK?<EK@:@KP�N?@:?�@J�FGGFJ<;�KF�K?<�ELD<I@:�LE@E;<O@:8C�JG?<I<��N@K?@E�N?@:?�JFD<K?@E>�F=�K?<�@D8><�n�@KJ�aura��n�J<<DJ�KF�9<�CFJK��CI<8;P�@E� �����N@K?�Sunless���?I@J�&8IB<I�?8;�9<<E�FE<�F=�K?<�tIJK�;@I<:KFIJ�KF�?8M<�LJ<;�<C<:KIFE@:�8E;�;@>@K8C�
Abstract in inglese
FATA MORGANA 283
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Still Life: Death Nature with Banknote&8I:F��8CC8� 8JJ8
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Abstract in inglese
284 FATA MORGANA
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Abstract in inglese
FATA MORGANA 285
Frontiere.)Oltre)il)cinemaCollana&diretta&da&Roberto&De&Gaetano
AA.&VV.,&Benjamin)il)cinema)e)i)media
J.&RANCIÈRE,&Il)destino)delle)immagini
R.& DE& GAETANO,& ��������� ���������������� ���������� �� ������������d’amore
A.&CANADÈ,&a&cura&di,&Corpus)Pasolini
A.&BADIOU,&������������ �� ���� ��������!�������� ���� �����,& a& cura& di&D.&Dottorini
A.&CERVINI,&A.&SCARLATO,&L.&VENZI,&Splendore)e)miseria)del)cinema.)Sulle&Histoire(s)&di)Jean<Luc)Godard
A.&CAPPABIANCA,&������������������ ����!����������������� �����
R.&DE&GAETANO,&a&cura&di,&Politica)delle)immagini.)Su)Jacques)Rancière
R.&DE&GAETANO,&Nanni)Moretti.)Lo)smarrimento)del)presente
A.&CANADÈ,&A.&CERVINI,&a&cura&di,&Clint)Eastwood
A.&CAPPABIANCA,&Carmelo)Bene.)Il)cinema)oltre)se)stesso
F.&VILLA,&a&cura&di,&Vite)impersonali.)Autoritrattistica)e)medialità
J.&RANCIÈRE,&Scarti.)Il)cinema)tra)politica)e)letteratura
A.&CERVINI,&L.&VENZI,&a&cura&di,&Jean<Pierre)e)Luc)Dardenne
286 FATA MORGANA
Fata)Morgana����������������� ���������������
N.&0&BíosN.&1&MondoN.&2&�� �����N.&3&TrasparenzaN.&4&EsperienzaN.&5&LimiteN.&6&NaturaN.&7&DesiderioN.&8&VisualeN.&9&Disaccordo
N.&10&SacroN.&11&TerritorioN.&12&EmozioneN.&13&PotenzaN.&14&AnimalitàN.&15&AutoritrattoN.&16&OrigineN.&17&RitoN.&18&ComuneN.&19&Credito