Fata Morgana 22 - Maschera

FATA MORGANA Quadrimestrale 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, Massimiliano Coviello, Paolo Godani, Michele Guerra, Andrea Inzerillo, Carmelo Marabello, Emiliano Morreale, Antonella Moscati, Christian Uva, Francesco Zucconi Coordinamento segreteria di redazione Loredana Ciliberto (resp.), Simona Busni Segreteria di redazione Raffaello Alberti, Andreina Campagna, Giovanni Festa, Greta Himmelspach, Caterina Martino, Clio Nicastro, Antonietta Petrelli, Annunziata Procida, Antonio Russo Progetto grafico Bruno La Vergata Webmaster Alessandra Fucilla Direttore Responsabile Walter Pellegrini Redazione DAMS, Università della Calabria Cubo 17/b, Campus di Arcavacata - 87036 Rende (Cosenza) E-mail [email protected] Sito internet http://fatamorgana.unical.it Amministrazione - Distribuzione GRUPPO PERIODICI PELLEGRINI Via Camposano, 41 (ex via De Rada) - 87100 Cosenza Tel. 0984 795065 - Fax 0984 792672 E-mail [email protected] Sito internet www.pellegrinieditore.com ISSN 1970-5786 Abbonamento annuale ¤ 35,00; estero ¤ 47,00; un numero ¤ 15,00 (Gli abbonamenti s’intendono rinnovati automaticamente se non disdetti 30 gg. prima della scadenza) c.c.p. n. 11747870 intestato a Pellegrini Editore - Via G. De Rada, 67/c - 87100 Cosenza Per l’abbonamento on line consultare il sito www.pellegrinieditore.com 2 FATA MORGANA SOMMARIO INCIDENZE 7 La maschera è il vuoto. Conversazione con Toni Servillo a cura di Bruno Roberti FOCUS 21 Maschere nude, maschere vestite, maschere nere Roberto De Gaetano 33 Su alcune cose che le maschere ci possono svelare Stefano De Matteis 41 Fantasmi e maschere Alessandro Cappabianca 49 Maschera, deformazione, parodia nel cinema italiano Laura Busetta 57 Lo sguardo senza invidia: il cinema e la maschera dell’Io ideale Daniela Angelucci 67 Il masque di Lon Chaney Sergio Arecco 75 Di una sopravvivenza del primitivo nel cinema neorealista Giuseppe Fidotta 83 La sapienza arcaica delle immagini Giuseppe Armogida 93 «A crepapelle». Vis comica nelle maschere di Tontolini e Cretinetti Rossella Catanese 101 Facework: lo spettacolo dell’identità nei media digitali Giulio Lughi 111 Maschere androgine e post-umane Carlo Fanelli 127 Soggetto e pulsione di morte in Bergman Fabio Pezzetti Tonion 135 Maschere del potere nel cinema contemporaneo Cristina Jandelli 147 Le donne-Fantômas: figure dell’ambiguità nel primo Novecento Monica Dall’Asta FATA MORGANA 3 RIFRAZIONI 163 «Essi non sono più che strani automi che recitano non si sa quale macabra commedia»: su Neuropatologia Maria Ida Bernabei 171 Essere o non essere. Sulla maschera in Lubitsch Antonio Iannotta 175 La maschera come presagio: La freccia nel fianco di Lattuada Marcello Seregni 181 L’audacia delle maschere: Il piacere di Ophüls Claudio Di Minno 187 Di baffi finti e un paio di occhiali: Prima di sera di Tellini Alberto Beltrame 193 Genesi della maschera melodrammatica in Senso Francesco Ceraolo 199 Travestimento, convenzione, impasse: Il ciarlatano di Jerry Lewis Matteo Pollone 205 Crisi di identità e gioco di ruolo in La terza generazione di Fassbinder Alessandra Chiarini 211 Forme amorose della maschera in Bright Star Glenda Franchin 217 Da Teorema a Borgman. La maschera dionisiaca nel Novecento Katia Trifirò 223 Il volto della solitudine: Il divo Diego Mondella 231 Mascheramento del visibile e logica dell’accumulo: La grande bellezza Gabriele Rigola 239 Abstract in inglese 4 FATA MORGANA ABSTRACT IN INGLESE The Mask is Emptiness. A Conversation with Toni Servillo edited by Bruno Roberti From the mask of Latin America to the Commedia dell’arte, in this conversation Servillo retraces the work of the actor as a professional of the ÑoqogpvÒ."cp"ÑwpecwijvcdngÒ"Þiwtg."eqpuvcpvn{"rtqlgevgf"vqyctfu"vjg"ukping" instant and far from any rhetorical dimension. In this sense, he highlights a substantial difference with respect to the possibilities offered by cinema to revive the mask (and the possibility for the actor to “see himself/herself” on the screen) from that of the theatre. The mask is a tool at the disposal of “dramaturgical devices”, a vehicle for intellectual and emotional content that are handed down from one era to another, which require a much-needed “humility” for the actor called to go through it. According to Servillo, the actor needs to maintain a sort of “pre-expressivity” towards existence (“a kind of surrender to other hypothesis of life”), as if the interest in things of life reactivated itself only when required: “live”. Naked, Dressed, Black Masks Roberto De Gaetano The centrality of the mask in the Italian aesthetic tradition and culture is something that points out an unbreakable bond of the forms of representation and expression with the power of life and death. A bond that avoids any formal mediation, and that puts at the centre of an identifying process (of an individual and of a society) the open question of a relationship with the forces of life that the mask is capable of expressing with its powerful ambivalence. From the Óeqogf{"qh"uqekcnkv{Ô"qh"vjg"Vjktvkgu"cpf"Hqtvkgu"vq"vjg"Óeqogf{"kp"uqekgv{Ô" (the Italian comedy of the Sixties), this essay shows how the pervasiveness of the mask is one of the engines of expression, not only within the forms of the Italian show business, but also of private and public life. On a Few Things That Masks Can Show Stefano De Matteis Contrarily to the conventional wisdom that leads us to believe that the FATA MORGANA 239 Abstract in inglese main function of the mask is to hide, conceal and cover, the mask actually has the function of revealing, uncovering, showing. But what does it precisely show? One could say that the mask builds and highlights the Self or that part of the Self that helps, encourages, supports the practices of selfexhibition and representation. Ghosts and Masks Alessandro Cappabianca This essay explores the relationships and intersections between masks and ghosts. From Eduardo De Filippo and Pulcinella, up to Wells and Lynch, the essays re-reads - from a not-reassuring viewpoint - some forms of theatre and cinema through Caillois and Lorrain’s theories. Between theatre and Þno"/"kpenwfkpi"ocumu"cpf"ijquvu"/"nkhg"cpf"fgcvj."hceg"cpf"ocum."hcevqtu" such as fear and horror, linked to the processes of phantasy and carnivalization, circulate. Mask, Deformation, Parody in Italian Cinema Laura Busetta The mask is able to transform and deform the face; it releases a carnivalesque vitality, operating a joyful destruction of identity and of the singularity of meaning. This essay explores the topic of the grotesque mask in Italian cinema since the Fifties, focusing in particular on the process of deformation in the cinema of Fellini, Petri, Germi, and Pasolini. The proegfwtg"qh"ocumkpi"ku"vjgp"eqpukfgtgf"kp"tgncvkqp"vq"vjcv"qh"rctqf{"/"fgÞpgf" cu"cp"gzeguukxgn{"eqoke"cpf"itqvguswg"hqto"yjkej"gpjcpegu"vjg"tgàgzkxg" and meta-linguistic elements in the texts. The Unenvious Glance: Cinema and the Mask of the Ideal Ego Daniela Angelucci This essay deals with the question of envy – the sad passion par excellence"Ï"cpf"eqppgevu"kv"vq"vjg"gzrgtkgpeg"qh"Þno"urgevcvqtujkr."ckokpi"vq" chÞto"vjg"korquukdknkv{"qh"cp"gpxkqwu"urgevcvqt"vq"gpfwtg0"Vjg"rquukdknkv{" for this connection to exist is put forward through a twofold assumption: Þtuvn{"vjg."pqv"qpn{"gv{oqnqikecn."gzkuvkpi"nkpm"dgvyggp"gpx{"cpf"xkukqp." yjkej"kp"Lceswgu"NcecpÔu"vjqwijv"pgeguuctkn{"ngcfu"vq"vjg"kfgc"qh"pctekuukuo=" 240 FATA MORGANA Abstract in inglese ugeqpfn{."vjg"kfgpvkÞecvkqp"dgvyggp"urgevcvqt"cpf"ejctcevgt."pcogn{"vjqug" who wear the mask of an “ideal ego”. Lon Chaney’s Masque Sergio Arecco This essay re-examines the phenomenology of the mask in Lon Chaney’s ekpgoc."uvctvkpi"htqo"vjtgg"qh"jku"oquv"tgngxcpv"Þnou"Ï"The Penalty, He Who Gets Slapped, The Unholy Three (1920-1925) – and from 17th century theory of the masque (i.e. a mass masquerade which is enhanced by sacred and secular moods). When Chaney re-reads the masque in its original auto sacramental form, outraging it with a burlesque and clownesque touch, he aims at retracing - in crucial years for silent cinema - the mistreated and vituperated vulgar tradition of Corpus Domini. On the Survival of the Primordial in Neorealist Cinema Giuseppe Fidotta This essay questions the representation of blackness in Neorealist cinema through the case of the black GI soldier (in particular how this represents a supposed disruption of and discontinuity with Fascist’s racial representations). Through the analysis of the soldier’s features in fact, one can acknowledge how it represents the survival of the anthropological concept qh"*tcekcn+"ÓrtkokvkxgÔ."rtgxkqwun{"gncdqtcvgf"kp"ockpn{"eqnqpkcn"eqpvgzv0"Kp" vjku"tgurgev."vjg"ÓrtkokvkxgÔ"yqtmu"cu"c"ocum"yjkej"ocmgu"tcekcn"fkhhgtgpegu" essential, disciplining the uncanny Otherness within a familiar, reassuring and submissive subject. The Archaic Wisdom of Images Giuseppe Armogida Uvctvkpi"htqo"cp"cpvjtqrqnqikecn"cpf"rjknquqrjkecn"tgàgevkqp"qp"vjg"ocum." vjku"guuc{"ckou"vq"kpxguvkicvg"vjg"qpvqnqikecn"uvcvwu"qh"vjg"Þnoke"kocig0"Kp" the same way the mask connects the masked with the Dionysian-drive of nkhg."cpf"tguvqtgu"vjg"rquukdknkv{"qh"vjg"rcuv"vq"gzkuv."vjg"Þnoke"kocig"ku"c" permanent concretion of what could have been. Therefore, in cinema, a carnivalesque dance of images, the twinkling of the masks, alludes to the kpÞpkvg"rquukdknkvkgu"qh"tg/etgcvkqp."yjkng"cv"vjg"ucog"vkog"cvvguvu"vjg"rtqFATA MORGANA 241 Abstract in inglese ximity of the unfolding of the fullness of time, which we cannot fathom. «Laghing Out Loud». Vis comica in Tontolini and Cretinetti’s Masks Rossella Catanese In early comic cinema, the mask and the gag contained the mechanism of roles, of the breaking processes of the rules, of the game and parody. Kp"rctvkewnct."vjg"etkvgtkc"qh"vjgug"ocumu"jcxg"jcf"urgekÞe"uqekq/ewnvwtcn" features in Italian cinema (such as the encounter between popular culture and bourgeois audience, as well as the presence of acrobatic and circus vtcfkvkqp+0"Etgvkpgvvk"cpf"VqpvqnkpkÔu"jwoqt"eqpÞiwtgu"vyq"tgrtgugpvcvkxg" forms of a carnival mask, through the stylistic features of cinematic mime that generates easy, but functional to the sheer force of the laughter, plots. Facework: the Spectacle of Identity in Digital Media Giulio Lughi Starting from the term /facework/ (used by Erwin Goffman in the past), this essay examines how the concept of mask is used within the particular context of digital media, focusing on two major aspects: the construction of kfgpvkv{"cu"c"rtqlgev"/"uqogvjkpi"ukoknct"vq"yjcv"vcmgu"rnceg"kp"Þevkqp="vjg" importance of negotiation, as a moment of interaction in the construction of identity. In particular, this essay examines the role played by cinema kp"fgÞpkpi"vjg"keqpke."pcttcvkxg."cpf"rgthqtocvkxg"hqtou"igpgtcvgf"d{"vjg" spectacularization of the Self in digital media. Androgynous and Post-human Masks Carlo Fanelli What can be revealed when the mask as a symbol, or a device of representation, is eliminated from the performative event? Does the face reappear after the denudation, or is it a human semblance with altered expressions that denounces the death of the man/woman? - or does it enhance humanity and takes his/her place? What one could metonymically reach is the revelation through the deprivation of the simulacrum, the covering and obscutkpi"ogodtcpg"vjcv"vtcpuÞiwtgu"vjg"jwocp"hceg0"Vjku"ku"vjg"qxgteqokpi" of mimesis, a post like another dimension that metamorphoses, but at the same time goes beyond, the anthropological and mystery value of the mask, 242 FATA MORGANA Abstract in inglese cpf."ykvj"kvu"rtgxcknkpi"ctvkÞekcnkv{."gzrtguugu"c"Ñwpkqp"dgvyggp"dqf{"cpf" art, between organic and inorganic”. In this way, the relationship between person-character and character-mask, on the way to the embodiment that tgeqpÞiwtgu"vjg"tgncvkqp"rgtuqp/cevqt/ejctcevgt."cnuq"nkswgÞgu0"Jgpeg"jgtmaphrodite and post-human masks become the offended and androgynous bodies of Teatro Valdoca and Socìetas Raffaello Sanzio. They invoke the death of the “glorious body” whose voice is embodied like the “soul of the world” into a catastrophe. Subject and Compulsion towards Death in Bergman Fabio Pezzetti Tonion If one of Ingmar Bergman’s thematic vectors is the opposition between cwvjgpvkekv{"cpf"ctvkÞeg."vjtqwij"jku"okug/gp/ueflpg"qh"vjg"jwocp"hceg"jg" explores cinema as a means to unveil the individual. As an emblem of the search for a subject’s individuality, or the exacerbated construction qh"c"Þevkvkqwu"rtqeguu"qh"etgcvkpi"kfgpvkv{."vjg"hceg"ecvcn{¦gu"vjg"uwdlgevÔu" destructive propensity. It reveals the compulsion towards death that the face-mask ambiguously dissimulates but of which it is, instead, a faithful gzrtguukqp0"Vjku"jcrrgpu"cu"vjqwij"vjg"kpfkxkfwcn"eqwnf"Þpf"jku1jgt"qyp" authentic nature only in the supreme moment when the mask is removed from his/her face, an instant before his/her inevitable annihilation. Masks of Power in Contemporary Cinema Etkuvkpc"Lcpfgnnk With the help of a few selected examples, this paper aims to analyze and fgÞpg"uqog"hqtou"vcmgp"d{"vjg"ocum"kp"eqpvgorqtct{"ekpgoc"qp"vjg"dcuku" of the execution mode chosen by the actor called to metaphorically wear it. The critical interpretation of the character, a style of acting from which an ideological dimension strongly emerges, is therefore examined. In this way, vjg"cevqt"fqgu"pqv"cum"hqt"kfgpvkÞecvkqp"htqo"vjg"xkgygt."dwv"eqpvtkdwvgu"vq" highlight the most disturbing and dark sides of the human being, and helps vq"tgàgev"qp"kvu"qwvyctf"ocpkhguvcvkqpu0"Vjg"ocumu"qh"rqygt"godqfkgf"d{" Lcxkgt"Dctfgo1Cpvqp"Ejkiwtj"*No Country for Old Men, Coen, 2007) Toni Servillo/Giulio Andreotti (Il divo, Sorrentino, 2008), Filippo Timi/Benito and Benito Albino Mussolini (Vincere, Bellocchio, 2009), Brad Pitt/Aldo Raine (Inglorious Basterds, Tarantino 2009) and Michel Piccoli/Melville Pope (Habemus Papam."Oqtgvvk."4233+."jgnr"vq"tgfgÞpg"vjg"fggr"xcnwg"qh" FATA MORGANA 243 Abstract in inglese vjg"Dtgejvkcp"cevkpi"Óguvtcpigogpv"ghhgevÔ"kp"vjg"eqpvgorqtct{"ekpgocvke" landscape. Women-Fantômas: Figures of Ambiguity in the Early 19th Century Monica Dall’Asta A reading of Fantômas from a gender perspective has not yet been attempted. However, this is an approach that deserves to be put to the test, taking into account how the game of disguise and masquerade, which made the glory of Fantômas, can favour the appearance of a whole series of interesting variations on the theme of sexual identity. What we call “womenFantômas” are not trivially “Fantômas’ women”, the eternal victims of his power, charm and cold cruelty. What interests here is rather to emphasize the traces of a process of feminization of Fantômas, i.e. the signs of his becoming a woman, which one can see very clearly at work in the many ejcpigu"vjcv"vjku"rgewnkct"Þiwtg/pqv/Þiwtg"wpfgtiqgu"qxgt"vkog"kp"nkvgtcvwtg." ekpgoc"cpf"vjg"eqokeu0"Vjg"cpcn{uku"qh"vjg"Þtuv"ocpkhguvcvkqpu"qh"vjku"rtqcess in the early Tens French cinema allows to read Fantômas as one of the most emblematic manifestations of what, with different nuances, Blanchot and Barthes called “the neutral”. «They Are Nothing But Strange Robots Playing an Unknown Grim Comedy»: on Neuropathology Maria Ida Bernabei Most of the histories of Italian cinema quote the famous fragment from La Neuropatologia (Negro and Omegna, 1906-1908) in which professor Negro stimulates an hysteric attack on a masked patient (and then puts it to an end). However, something seems not to work while viewing such episode, since the spectator feels the presence of a manipulating direction, which should not be there considering the documentaristic nature of the work. These doubts on Negro’s documentaristic claims are there to remain in the viewing of other fragments. 244 FATA MORGANA Abstract in inglese To Be or Not to Be. On Lubitsch’s Mask Antonio Iannotta Masks are a matter of life or death, because they embody the importance of the concept of representation more than any other signs. We should read To Be or Not to Be"*3;64+"nkmg"c"Þno/guuc{"cdqwv"Þevkqp"cu"vjg"ocum"qh"vjg" real. The real can be grasped only if it is properly refracted, only if we create a special mirror in which the refraction of our world can occur. Through this rgturgevkxg."NwdkvuejÔu"Þno"crrgctu"cu"c"fkueqwtug"cdqwv"rqygt"cpf"yjcv" we might call the seduction of the mask. The Mask as Prophesy: Lattuada’s Nc"htgeekc"pgn"Þcpeq Marcello Seregni Nc"htgeekc"pgn"Þcpeq"*3;65/3;67+"fktgevgf"d{"Ncvvwcfc."ku"vjg"Þtuv"rquv/ yct"Kvcnkcp"Þno0"Kv"ku"uvtwevwtgf"qp"cp"cegtdke"tgcnkuo"cpf"c"ftgco"yqtnf0" Cv"vjg"egpvtg"qh"vjg"Þno."kp"vjg"ockp"uegpg."vjg"Þiwtg"qh"c"ocum"ku"vjg"mg{" eqorqpgpv"kp"vjg"gxqnwvkqp"qh"vjg"ocvvgt"cpf"Þnoke"vtcpukvkqp"dgvyggp"c" (naive, sweet, sensitive) world and another (mature, decadent, desperate) qpg0"Vjku"oqvkqpnguu"hceg"swguvkqpu"kvugnh"cpf"wu"qp"Þevkqp"cpf"tgcnkv{."qp" life and death. The mask becomes the cancellation of the character and addresses the doubts and uncertainties of the viewer. The audacity of the mask: Ophüls’ The Pleasure Claudio Di Minno Ophüls’ work is a whirl of masks. The key moment of such work is the episode The Mask kpenwfgf"kp"vjg"Þno"The Pleasure, where the main character looks young again thanks to the mask he is wearing - in order to attempt to regain the identity he has lost. Such inability to recover time concerns cinema too, as shown by Ophüls through a vortex of camera movements and luscious ugveqpuvtwevkqp"ocfg"vq"Þnn"vjcv"gorvkpguu"kp"*Qrj¯nuÔ"dctqswg"uv{ng+0 On Fake Whiskers and a Pair of Glasses: Tellini’s Prima di sera Alberto Beltrame At the conclusion of his escape, the protagonist of Prima di sera (Tellini, 3;75+"fgekfgu"vq"dw{"hcmg"yjkumgtu"cpf"c"rckt"qh"incuugu0"Jg"Þpfu"tghwig" FATA MORGANA 245 Abstract in inglese kp"c"vjktf."vjqwij"gzrnkekv"hqt"vjg"Þtuv"vkog."ngxgn"qh"ocum0"Vjg"Þtuv"ngxgn"qh" the social mask is represented by his role in society as an humble insurance agent, as well as by the hypocrisy of his marriage. The second level by the wish to escape from them both: by the illusion of a different life, the utopia qh" vjg" wpocumkpi0"C" eqpàkevkpi"fkcngevkeu"dgvyggp"vjg"fguktg"vq"gzrtguu" his own personality and the fact of being part of a social system creates the accumulation of the levels of masking. On the Origin of the Melodramatic in Senso Francesco Ceraolo Luchino Visconti’s Senso represents a crucial moment in the history of Italian culture as it brings about a re-evaluation of the melodramatic mask within authorial cinematic forms. Starting from a reconsideration of Senso on the background of Gramscian and Post-Structural theory (Brooks), this essay investigates how and why the melodramatic form still plays a vital role in contemporary Italian cinema. Disguise, Norm, Impasse: Jerry Lewis’ The Big Mouth Matteo Pollone Kp"Lgtt{"NgykuÔ"Þnou"cu"c"fktgevqt"vjgtg"ku"c"oqogpv"yjgp"vjg"ocum" ku"rncegf"cv"vjg"vjgqtgvkecn"egpvtg"qh"vjg"yqtm0"Vjgug"ctg"vjg"Þnou"ocfg" chvgt"vjg"rgpvcnqi{."yjgtg"Ngyku"tgàgevu"qp"vjg"oquv"kpvkocvg"curgevu"qh" cinematic rhetoric. Having completed his structural survey, Lewis explores the relationship between mask and comedy, mask and language, mask and personal and social identity. An evolution that anticipates, ten years earlier, Metz’s passage from structuralism to psychoanalysis, and that will lead him vq"jku"oqtg"eqorngz"cpf"uvtcvkÞgf"yqtm."The Big Mouth (1967). Identity Crisis and Role-Playing in The Third Generation Alessandra Chiarini Directed by R.W. Fassbinder shortly after the tragic events of the German Autumn, The Third Generation (1972) enacts the identity and socio-political crisis of West Germany in the late Seventies through the actions of a group of young middle-class radicals with subversive ambitions. Protagonists of a fctm"rgthqtocpeg."vjg"vgttqtkuvu"qh"vjg"Óvjktf"igpgtcvkqpÔ"crrgct"cu"wpykvvkpi" 246 FATA MORGANA Abstract in inglese pawns in the game of capital, cynical and empty masks split between middleencuu"ugewtkv{"cpf"tgxqnwvkqpct{"tcxkpiu0"RtgÞiwtkpi"c"yqtnf"kpetgcukpin{" fqokpcvgf"d{"ukowncvkqp."vjgkt"fgurgtcvg"ugctej"hqt"c"tqng"ku"tgàgevgf"qpn{" kp"fkuiwkug"cpf"okutgrtgugpvcvkqp."kp"c"itqvguswg"o{uvkÞecvkqp"qh"tgcnkv{" vjcv" ewnokpcvgu" ykvj" vjg" mkfpcrrkpi" qh" vjg" kpfwuvtkcnkuv" R0L0" Nwt¦" fwtkpi" Carnival celebrations. Amorous Forms of the Mask in Bright Star Glenda Franchin Bright Star"*422;+"ku"c"Lcpg"EcorkqpÔu"Þno"cdqwv"vjg"nqxg"uvqt{"dgvyggp" vjg"Gpinkuj"rqgv"Lqjp"Mgcvu"cpf"jku"pgkijdqwt"Hcpp{"Dtcypg0"Kv"fkurnc{u"vjg" crucial dynamic of self representation built by the amorous discourse and the different masks that the Self can assume in it. Campion investigates a classic topic – the creative power given by love – and shows how an existential reversal of the mask itself is always possible (or inevitable, at last). Revealing the mask means opening a break between the represented world and the subjected real. The amorous discourse between Keats and Fanny stops being a “ghost”/ mask that holds the desire’s impulse to become a form of creative, dynamic and generative (yet deeply distressing) openness to the real. From Teorema to Borgman. The Twenthieth Century Dyonisian Mask Mcvkc"VtkÞt” The pervasiveness of the Dionysian mask in the artistic works of the twentieth century reveals the vitality of a narrative pattern characterized by some recurring themes, such as the exotic temptation exerted on the seduced one, the concealment of identity by the unknown visitor, the total overthrow and dissolution of hierarchies of power, and the irreversible transformation of the condition precedent to the encounter. This paper analyzes this model through some cases, from Pier Paolo Pasolini’s Teorema (1968) to Borgman (2013), written by Alex van Warmerdam. The Face of Loneliness: Il divo Diego Mondella This is a mask of Evil, so enigmatic and sombre. A mask of the Politician as the macabre image of intrigue. It is above all a mask of Power and social FATA MORGANA 247 Abstract in inglese identity which actually betrays a nebulous and self-centred past. Giulio Andreotti becomes at the same time the icon and the mould of Sorrentino’s cinema, where each character’s life shares a descending curve - climaxing ykvj" kvu" qyp" kuqncvkqp0" Vjg" itqvguswg" ukfg" qh" vjku" Þno" gzcurgtcvgu" vjg" “physiognomy of man’s failures” by adding up gloomy and dark shades to it. Looking at Elio Petri’s style of representation in Todo Modo (1976), Il divo (2008) is a “blend of vjg"uwdnkog"cpf"tkfkewnqwu."nqhv{"cpf"jqttkÞeÒ0 Masking of the Visible and Logics of Accumulation: The Great Beauty Gabriele Rigola Aim of this paper is to analyze the opening sequence of the party in Paolo Sorrentino’s The Great Beauty (2013), starting from the idea of disguise as a grotesque representation of social features, but above all, as a veil on vjg"xkukdng0"Hktuv"qh"cnn"vjg"uv{ng"qh"vjg"Þno"jcu"vq"dg"kpvgtrtgvgf"ceeqtfkpi" vq"vjg"Þiwtcvkxg"fkuiwkug."yjkej"rcuugu"vjtqwij"vjg"gzeguu"qh"vjg"xkukdng0" Vjg"uvtcvkÞgf"fkogpukqp"qh"vjg"gzjkdkvkqp"gzrtguugu"kvugnh"cnuq"vjtqwij"vjg" tgpgiqvkcvkqp" qh" keqpke" gzcorngu<" HgnnkpkÔu" keqpqitcrj{." Þno" igptgu." vjg" acting performance or the employment of actors who are part of the masses’ imagination. All these features are the sign of a work done in order to reshape the visible. 248 FATA MORGANA Frontiere. Oltre il cinema Collana diretta da Roberto De Gaetano AA. VV., Dgplcokp"kn"ekpgoc"g"k"ogfkc L0"TCPEKëTG, Il destino delle immagini R. DE GAETANO, Vtc/Fwg0"NÔkoocikpc¦kqpg"ekpgocvqitcÞec"fgnnÔgxgpvq"fÔcoqtg C0"ECPCFë, a cura di, Corpus Pasolini A. BADIOU, Fgn"Ecrgnnq"g"fgn"Hcpiq0"Tkàguukqpk"uwn"ekpgoc, 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, Vtcog"fgn"hcpvcuvkeq0"Tkàguuk"g"uqipk"pgn"ekpgoc R. DE GAETANO, a cura di, Politica delle immagini. Su Jacques Rancière R. DE GAETANO, Nanni Moretti. Lo smarrimento del presente C0"ECPCFë, 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 L0"TCPEKëTG, Scarti. Il cinema tra politica e letteratura A. CERVINI, L. VENZI, a cura di, Jean-Pierre e Luc Dardenne S. TEDESCO, Hqtoc"g"hqt¦c0"Ekpgoc."uqiigvvkxkv ."cpvtqrqnqikc FATA MORGANA 249 Fata Morgana Quadrimestrale di cinema e visioni N. 0 N. 1 N. 2 N. 3 N. 4 N. 5 N. 6 N. 7 N. 8 N. 9 N. 10 N. 11 250 Bíos Mondo Archivio Vtcurctgp¦c Gurgtkgp¦c Limite Natura Desiderio Visuale Disaccordo Sacro Territorio N. 12 N. 13 N. 14 N. 15 N. 16 N. 17 N. 18 N. 19 N. 20 N. 21 N. 22 Goq¦kqpg Rqvgp¦c Animalità Autoritratto Origine Rito Comune Credito Cinema Reale Maschera FATA MORGANA FATA MORGANA 251 Stampato da Pellegrini Editore - Cosenza 252 FATA MORGANA