This thesis has the ambitious goal of analyzing the cinematic journey of a director considered as the father of the documentary genre, namely R.J. Flaherty. In this regard, the discipline known to us as Visual Anthropology will be treated, which will be explored in the course of the thesis. We will then focus on the most significant elements that distinguished his style, his approach to nature and the people represented in his films, his way of thinking and the purpose of his field research, to which he dedicated a lifetime of work. To do this, we will analyze in particular two of the most important works of his filmography, namely "Nanuk l'esquimese" (1922) and "Man of Aran" (1934). We will also focus on the analysis and comparison with other great contemporary directors of Flaherty, underlining their common characteristics and differences. We will then delve into the essential elements that the director introduced, changed and added to the research method of this discipline, still immature and little known at the time; for this it will be essential to know the director's investigation and ethnographic research tool. Finally, as regards the evolution of documentary and ethnographic cinema, this thesis will focus on the time frame in which Flaherty himself worked, i.e. 1920-1940. This choice will be necessary in order not to disorient the reader and therefore to focus attention entirely on what is the objective of the thesis.
Questa tesi si pone l’ambizioso obiettivo di analizzare il percorso cinematografico di un regista considerato come il padre del genere documentario, ovvero R.J. Flaherty. A questo proposito verrà trattata la disciplina a noi nota come Antropologia Visuale, che verrà approfondita nel corso dell’elaborato. Successivamente ci focalizzeremo sugli elementi più significativi che contraddistinsero il suo stile, il suo approccio con la natura e con le persone rappresentate nelle sue pellicole, il suo modo di pensare e il fine della sua ricerca sul campo, a cui dedicò una vita di lavoro. Per far ciò analizzeremo in particolare due delle opere più importanti della sua filmografia, ovvero “Nanuk l’esquimese” (1922) e “Man of Aran” (1934). Inoltre ci soffermeremo sull’analisi e il confronto con altri grandi registi contemporanei di Flaherty, sottolineandone caratteristiche comuni e divergenze. Approfondiremo poi gli elementi essenziali che il regista ha introdotto, mutato e aggiunto al metodo di ricerca di questa disciplina, ancora acerba e poco conosciuta al tempo; per questo sarà fondamentale conoscere lo strumento di indagine e di ricerca etnografica del regista. Infine, per quanto riguarda l’evoluzione del cinema del genere documentaristico ed etnografico, questa tesi si focalizzerà sull’arco temporale in cui lavorò Flaherty stesso, ovvero 1920-1940. Questa scelta sarà necessaria per non spaesare il lettore e quindi concentrare l’attenzione interamente su quello che è l’obbiettivo della tesi.
L’esperienza personale come base per la ricostruzione del reale: Il cinema di Robert J. Flaherty
ZULIAN, MARCO
2022/2023
Abstract
This thesis has the ambitious goal of analyzing the cinematic journey of a director considered as the father of the documentary genre, namely R.J. Flaherty. In this regard, the discipline known to us as Visual Anthropology will be treated, which will be explored in the course of the thesis. We will then focus on the most significant elements that distinguished his style, his approach to nature and the people represented in his films, his way of thinking and the purpose of his field research, to which he dedicated a lifetime of work. To do this, we will analyze in particular two of the most important works of his filmography, namely "Nanuk l'esquimese" (1922) and "Man of Aran" (1934). We will also focus on the analysis and comparison with other great contemporary directors of Flaherty, underlining their common characteristics and differences. We will then delve into the essential elements that the director introduced, changed and added to the research method of this discipline, still immature and little known at the time; for this it will be essential to know the director's investigation and ethnographic research tool. Finally, as regards the evolution of documentary and ethnographic cinema, this thesis will focus on the time frame in which Flaherty himself worked, i.e. 1920-1940. This choice will be necessary in order not to disorient the reader and therefore to focus attention entirely on what is the objective of the thesis.File | Dimensione | Formato | |
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https://hdl.handle.net/20.500.12608/49428