Cycnos | Numéros | Volume 34.1 - Les représentations de la cinéphilie

Titre alternatif :

Cinéphilie ou téléphobie dans le cinéma d'auteur en Italie : Nanni Moretti et Matteo Garrone

Résumé :

International audience

How is cinephilia represented in ltalian art films? If Nanni Moretti is, with his career, probably the first leading figure in contemporary cinema that cornes to our mind as we mention cinephilia, it is also interesting to analyse the different representations of this love for the cinema within his work. The main characters in Caro diaro and Caimano (namely Nanni Moretti, Bruno Bonomo and Teresa) are indeed telling examples: film­lovers, though different, share this deep-rooted connection with the seventh art. After interpreting these three incarnations, we examined how the rejection of television and the annihilation of its language reveal another manifestation of cinephilia in Moretti' s works. By observing and considering his work, as well as Matteo Garrone's film Reality, it has been brought to light that these directors' cinephilia is represented through the manifestation, both physical and ideological, of TV-phobia and that it strongly contrasts with the last thirty years of telecracy in Italy.

Mots-clés : Cinephilia, Commercial TV, Film-lover's representation, ltalian art films, Matteo Garrone, Nanni Moretti, Pier Paolo Pasolini, Reality TV, TV-phobia

Date de publication : 2018-01