DOI: 10.17265/2159-5836/2016.04.008
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Alessio Tommasoli

Abstract: Hannah Arendt, the new film by the German director Margarethe Von Trotta, does not seem just like another trying to represent philosophy through the classic cinematic storytelling. It builds instead a perfect dialogue between these two practices that never encroach each other: There is not any doctrine that prevents cinema's freedom to create images and any philosophy claim that forces cinema to find in images an alternative way of expression. Von Trotta leaves any biopic form and stages a harmonic building …

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