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Neorrealismo de lo periférico: el territorio marginal de Roma desde la mirada nativa de Rossellini
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Abstract(s)
Roma se presenta como una ciudad de carácter turístico e histórico,
escenificada cinematográficamente desde la representación del Imperio Romano o como
una suerte de ciudad-museo, un imaginario al que el cine de Hollywood ha contribuido
de forma determinante.
En esta investigación queremos mirar hacia el contraplano de esta perspectiva, nos
interesa adentrarnos en la representación fílmica de lo periférico en esta ciudad. Para ello
hemos elegido una corriente artística con pretensión de reflejo del mundo de su época: el
neorrealismo italiano, el cual se centra en las vivencias cotidianas. Nuestro objeto de
estudio es la mirada fílmica nativa de Rossellini, director romano, que se hace cargo de
retratar la realidad de los espacios y de las vidas periféricas de la Roma afectada por la
Segunda Guerra Mundial
Roma, città aperta (1945), Paisà (1946) o Europa 51 (1952) muestran cómo se habitaba
el territorio precario y se hace cargo de un espacio protagonizado por los sin voz y las
circunstancias de la ocupación fascista, pero, además, como explica Bazin, de forma
antiespectacular y antiteatral. La Roma de los desposeídos de Rossellini es el reflejo
cristalizado en la pantalla de un territorio y de un ser humano que ya no existe, en
consecuencia, vemos su obra como una antropología.
Rome is presented as a city of a tourist and historical nature, cinematographically staged from the representation of the Roman Empire or as a sort of city-museum, an imaginary to which Hollywood cinema has made a decisive contribution. In this research we want to look at the reverse shot of this perspective, we are interested in delving into the filmic representation of the peripheral in this city. So, we have chosen an artistic trend with the intention of reflecting the world of its time: Italian neorealism, whith a focus on everyday experiences. Our object of study is the native filmic gaze of Rossellini, roman director, who is in charge of portraying the reality of the spaces and peripheral lives of Rome affected by the Second World War. Roma, città aperta (1945), Paisà (1946) and Europa 51 (1952) show how precarious territory was inhabited and takes over a space starring the voiceless and the circumstances of the fascist occupation. Also, as Bazin explains, in an anti-spectacular and anti-theatrical way. Look at his work as an anthropology, Rossellini's Rome of the dispossessed is the crystallized reflection on the screen of a territory and a human being that no longer exists.
Rome is presented as a city of a tourist and historical nature, cinematographically staged from the representation of the Roman Empire or as a sort of city-museum, an imaginary to which Hollywood cinema has made a decisive contribution. In this research we want to look at the reverse shot of this perspective, we are interested in delving into the filmic representation of the peripheral in this city. So, we have chosen an artistic trend with the intention of reflecting the world of its time: Italian neorealism, whith a focus on everyday experiences. Our object of study is the native filmic gaze of Rossellini, roman director, who is in charge of portraying the reality of the spaces and peripheral lives of Rome affected by the Second World War. Roma, città aperta (1945), Paisà (1946) and Europa 51 (1952) show how precarious territory was inhabited and takes over a space starring the voiceless and the circumstances of the fascist occupation. Also, as Bazin explains, in an anti-spectacular and anti-theatrical way. Look at his work as an anthropology, Rossellini's Rome of the dispossessed is the crystallized reflection on the screen of a territory and a human being that no longer exists.
Description
Keywords
Territorio periférico Ântropología Cine Neorrealismo Rossellini Estética fílmica Peripheral territory Anthropology Cinema Neorealism Film aesthetics . Faculdade de Artes e Humanidades
Citation
Ramé, J. (2020). Neorrealismo de lo periférico: el territorio marginal de Roma desde la mirada nativa de Rossellini . Universidade da Madeira. https://doi.org/10.34640/52020CTJRNEO
Publisher
Universidade da Madeira