Island Hopping, Liquid Materiality , and the Mediterranean Cinema of Emanuele Crialese
The history of the “mare nostrum” is a long history of the entanglement of human and more-than-human actors. Three films directed by the Italian Emanuele Crialese, Respiro: Grazia’s Island (2002), Golden Door (2006), and Terraferma (2011), recount stories of encounters and collisions on Mediterranea...
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| Tipo de recurso: | artículo |
| Fecha de publicación: | 2013 |
| País: | España |
| Institución: | Universidad de Alcalá (UAH) |
| Repositorio: | e_Buah Biblioteca Digital Universidad de Alcalá |
| Idioma: | inglés |
| OAI Identifier: | oai:ebuah.uah.es:10017/20307 |
| Acceso en línea: | http://hdl.handle.net/10017/20307 |
| Access Level: | acceso abierto |
| Palabra clave: | Emanuele Crialese Lampedusa e Linosa Respiro Nuevo Mundo Cine italiano Cine mediterráneo Ecocrítica material Nuovomondo Terraferma Italian cinema Mediterranean cinema Material ecocriticism Literatura Medio ambiente Literature Environmental science |
| Sumario: | The history of the “mare nostrum” is a long history of the entanglement of human and more-than-human actors. Three films directed by the Italian Emanuele Crialese, Respiro: Grazia’s Island (2002), Golden Door (2006), and Terraferma (2011), recount stories of encounters and collisions on Mediterranean islands, where the challenges of political, cultural, and ecological cohabitation are intensified. Drawing on theories of material ecocriticism, this article argues that in this trio of films, the Mediterranean sea is not simply a picturesque liquid border. It is instead a generative space that participates in the very process of constituting the narratives, even while the films add another layer to the rich geo-archaeological palimpsest of the region. |
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