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Topic
chevron_rightLanguages and Cultures of the Middle and Far East

Language
it

ISBN (print)
978-88-6969-101-0

ISBN (ebook)
978-88-6969-100-3

ISSN
chevron_right2610-8879

e-ISSN
chevron_right2610-9433

Date of publication
03 Aug 2016

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Metadata

Eurasiatica

Certified Copy
The Thin Line between Original and Original

Marco Dalla Gassa
Università Ca’ Foscari Venezia, Italia
dallagas@unive.it

DOI 10.14277/978-88-6969-100-3/014

Abstract

The window and the mirror have often represented, in the history of cinema theories, two different ways to deal with the nature of vision: the first pledging to be the instrument to point to reality and the world, and the second appearing as a magnet, attracting, absorbing and redoubling individual subjectivities. In two short but meaningful sequences of Copie conforme (Certified Copy) Iranian director Abbas Kiarostami resolves this dicotomy, depriving both objects of their primary function: the window does not show and the mirror does not reflect. Dealing with the theorical and practical consequences of this choice, which is read through the critical lenses of scholars such as Metz, Deleuze, Eco and Merleau-Ponty, the boundary spaces which separate and unite on-screen and off-screen, filmic and non-filmic, diegetic and non-diegetic, screen and theatre, copy and original are explored, especially when the camera takes the place of the mirror.

Keywords
Abbas Kiarostami. Mirrors in Movies. Philosophy and Film. Iranian Cinema.


Creative Commons License This work is licensed under a Creative Commons Attribution 4.0 International License 

Table of contents
×
Campo DC Valore

dc.contributor.author

Dalla Gassa Marco

dc.title

Certified Copy

dc.type

Book Chapter

dc.language.iso

it

dc.description.abstract

The window and the mirror have often represented, in the history of cinema theories, two different ways to deal with the nature of vision: the first pledging to be the instrument to point to reality and the world, and the second appearing as a magnet, attracting, absorbing and redoubling individual subjectivities. In two short but meaningful sequences of Copie conforme (Certified Copy) Iranian director Abbas Kiarostami resolves this dicotomy, depriving both objects of their primary function: the window does not show and the mirror does not reflect. Dealing with the theorical and practical consequences of this choice, which is read through the critical lenses of scholars such as Metz, Deleuze, Eco and Merleau-Ponty, the boundary spaces which separate and unite on-screen and off-screen, filmic and non-filmic, diegetic and non-diegetic, screen and theatre, copy and original are explored, especially when the camera takes the place of the mirror.

dc.relation.ispartof

Eurasiatica

dc.publisher

Edizioni Ca’ Foscari - Digital Publishing

dc.date.issued

None

dc.dateAccepted

None

dc.dateSubmitted

None

dc.identifier.uri

http://doi.org/10.14277/978-88-6969-100-3/014

dc.identifier.issn

2610-8879

dc.identifier.eissn

2610-9433

dc.identifier.isbn

978-88-6969-101-0

dc.identifier.eisbn

978-88-6969-100-3

dc.rights

Creative Commons 4.0 Attribution alone

dc.rights.uri

http://creativecommons.org/licenses/by/4.0/

item.fulltext

with fulltext

item.grantfulltext

open

dc.subject

Abbas Kiarostami

dc.subject

Mirrors in Movies

dc.subject

Philosophy and Film

dc.subject

Iranian Cinema

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