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The postcard Grand Tour of Rome: creating an urban pattern out of monuments
Manage episode 337200736 series 3379936
Вміст надано The British School at Rome. Весь вміст подкастів, включаючи епізоди, графіку та описи подкастів, завантажується та надається безпосередньо компанією The British School at Rome або його партнером по платформі подкастів. Якщо ви вважаєте, що хтось використовує ваш захищений авторським правом твір без вашого дозволу, ви можете виконати процедуру, описану тут https://uk.player.fm/legal.
A lecture by Renée Tobe (BSR; East London).
British filmmaker Peter Greenaway came to Rome on a visit, suffered from indigestion and devised his plot for Belly of an Architect (1987) in which an American (in the style of Henry James) visits Rome in order to prepare an exhibition of the works of neoclassical architect Étienne-Louis Boullée (1728-1799) in the Monument Vittorio Emanuele II. Rome in film manifests itself according to the specific filmmaker’s perspective and there are different kinds of Roman films. While Italian neorealist films strove to cultivate the opposite of the monumentality of Rome, the ‘English abroad’ celebrates the place and position of temples, monuments and civic buildings. The monuments in the film are deliberately framed like postcards. Central to a discussion of imperialist politics lies a nostalgia for Rome’s glorious past.
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British filmmaker Peter Greenaway came to Rome on a visit, suffered from indigestion and devised his plot for Belly of an Architect (1987) in which an American (in the style of Henry James) visits Rome in order to prepare an exhibition of the works of neoclassical architect Étienne-Louis Boullée (1728-1799) in the Monument Vittorio Emanuele II. Rome in film manifests itself according to the specific filmmaker’s perspective and there are different kinds of Roman films. While Italian neorealist films strove to cultivate the opposite of the monumentality of Rome, the ‘English abroad’ celebrates the place and position of temples, monuments and civic buildings. The monuments in the film are deliberately framed like postcards. Central to a discussion of imperialist politics lies a nostalgia for Rome’s glorious past.
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