Wearing the Body over the Dress

Giorcelli, Cristina

doi:10.5749/minnesota/9780816675784.003.0005

Cited by 2 publications

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“…L’Atelier simultané di Sonia Delaunay, 1923–1934 by Annette Malochet (1984) depicts an Parisian avant-garde artist who has grown up in St Petersburg. Sonia Delaunay (1885–1979) was a famous painter and fashion designer of geometrically patterned textiles ‘as ways of articulating bodies in space’ (Giorcelli, 2011: 38). The appearance of the book about Delaunay’s art and the incarnation of its images in Io sono l’amore remind us of several important aspects of Delauney’s artistic activities, which seem to be important.…”

Section: The Mirrored Face Of Milanmentioning

confidence: 99%

The archite(x/c)ture of cinematic Milan

Melnikova

2014

Journal of European Studies

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The paper focuses on the issue of cinematic representation of Milan. The approach is based on Henri Lefebvre’s well-known argument regarding the importance of the textual nature of the city per se applicable to the analysis of the cinematic city. The analysis considers the ways in which Italian filmmakers represent Milan. It attempts to outline the ‘classical map’ of textual Milan created in Italian cinema and examines its changes in Luca Guadagnino’s recent film Io sono l’amore ( I Am Love, 2009). The analysis of the configuration of the diegetic city-space together with the exploration of the narrative devices in the representation of the city in Guadagnino’s film help to delineate the significance of a new cityscape and evaluate the changes to the ‘classical map’ of cinematic Milan.

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Section: The Mirrored Face Of Milanmentioning

confidence: 99%

The archite(x/c)ture of cinematic Milan

Melnikova

2014

Journal of European Studies

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Nostalgia, Adaptation, and (Textual) Identity: Luca Guadagnino’s ‘Desire Trilogy’

Melnikova

2020

Adaptation

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This essay focuses on the ‘desire trilogy’ by Italian director Luca Guadagnino to reveal how it embodies nostalgic longing in its discursive structure. The essay examines how the films address matters of nostalgia and adaptation, how they trace an ‘absent presence’ and refer to one another, how they configure the hypertextual, intertextual, and architextual dialogue with other texts and media and use multimodal strategies that engage in ‘nostalgic desire’ for the cultural past. The analysis pays special attention to the mediation modes of intertextual references, reconfiguring the concepts of Gérard Genette within the framework of Lars Elleström’s concept of intermediality as intermodality, based on the semiotics of Charles Sanders Peirce. The study proposes an intermodal approach to the issue of intertextuality and intermediality, exposing the ways in which the engagement of modal strategies in a transtextual dialogue is (or can be) related to the construction of (archi)textual ‘self’.

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Wearing the Body over the Dress

Cited by 2 publications

References 0 publications

The archite(x/c)ture of cinematic Milan

The archite(x/c)ture of cinematic Milan

Nostalgia, Adaptation, and (Textual) Identity: Luca Guadagnino’s ‘Desire Trilogy’

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