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DC Field	Value
dc.identifier	ECF_chapter_163
dc.contributor.author	Dalla Gassa Marco
dc.title	Certified Copy. The Thin Line between Original and Original
dc.type	Chapter
dc.language.iso	en
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	Eurasian Studies
dc.publisher	Edizioni Ca’ Foscari - Digital Publishing
dc.issued	2016-08-03
dc.identifier.uri	http://edizionicafoscari.it/en/edizioni4/libri/978-88-6969-101-0/certified-copy/
dc.identifier.doi	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 Attribution 4.0 International Public License
dc.rights.uri	http://creativecommons.org/licenses/by/4.0/
item.fulltext	with fulltext
item.grantfulltext	open
dc.peer-review	yes
dc.subject	Abbas Kiarostami
dc.subject	Abbas Kiarostami
dc.subject	Iranian Cinema
dc.subject	Iranian Cinema
dc.subject	Mirrors in Movies
dc.subject	Mirrors in Movies
dc.subject	Philosophy and Film
dc.subject	Philosophy and Film

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Certified Copy

The Thin Line between Original and Original

Marco Dalla Gassa Università Ca’ Foscari Venezia, Italia

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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.

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ISBN (PRINT)

978-88-6969-101-0

ISBN (EBOOK)

978-88-6969-100-3

Keywords: Abbas Kiarostami • Mirrors in Movies • Philosophy and Film • Iranian Cinema

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

Copyright: © 2016 Marco Dalla Gassa. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.

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