I primi otto canti (che non ho visto) sono stati girati a cura di Peter Greenway, i successivi sei canti, girati da Raul Ruiz, li ho visti.
sono ambientati a Santiago del Cile, Dante e Virgilio vagano nei gironi dell’inferno del Cile (il canto XII inizia con una canzone di Rita Pavone).
provate a guardarlo, una cosa così non l'avete mai vista - Ismaele
A series of TV shorts covering a translation of Dante's Inferno. The first
eight were covered by Greenaway in his typical multimedia style with
superimposed images, sound and information. The next six, in a much more
obscure release alternatively titled "Diablo Chile", were converted
into an experimental political pseudo-joke. Ruiz juxtaposes a reading of the
Inferno with largely irrelevant footage of Chile's Santiago and random
'hellish' imagery as an experimental, one-joke statement on Chile being hell.
Chileans chase Dante and Virgil with crosses, people, clothing and objects
burst into flame, some Chilean citizens are hung upside down from a ceiling, a
handful of gory bits are thrown in with dismembered limbs, flags pinned into
brains, facial mutations, nasty cooking recipes, etc. It never goes beyond this
joke however and it all feels rather lost and weak.
In his section of A TV Dante (Cantos 9-14), Ruiz moves back and forth between four types of audio-visual syntax:
1. Classical Hollywood syntax, epitomised by shot/reverse shot exchanges
with strong eyeline looks. Canto 9 begins with a long-held establishing shot
that shows the relative positions and eyelines of a group of characters. When
Virgil enters this space, he engages Dante’s gaze in the conventional manner.
In the Ruizian system, such normality is a ruse, or more exactly a structure
upon which all subsequent subversions will proceed.
2. Russian montage in the Eisenstein-Vertov tradition, especially the kind
of purely graphic or pictorial matching between successive images that has long
become part of the language of ads and rock video. The second major set of
shots in Canto 9 make an impossible labyrinth of the space of the waiting room
by foregrounding, each time, the head of a mock-classical statue…
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