In The Invisible Cities of Italo Calvino describes the fictional conversation between Marco Polo and Kublai Kan, where the Venetian describes invented cities to Mongol emperor. Throughout the report, He confesses that when he talks about cities, he introduces aspects of Venice. Cinema remakes cities in the same way, with aspects of reality added to the vision of the artists, creating a texture in film projection. The mise-en-scène brings up a catalogue of cities, which become filmic, being invisible outside the cinema.
This research comparatively analyses two cities, captured by the camera at the same height, using the Aesthetics of the Materials as a Method: The Rome of Caro diario (1993) by Nanni Moretti and the Lisbon of Lisbon Story (1994) by Wim Wenders.
The two views, that of the native (Nanni Moretti) and of the foreigner (Friedrich Munro), make the appearance of public space intimate and personal through a construction with audio (sound and music) and image (movie sets, settings and costumes). This vision shows an ontological appearance of the city within a relational texture, which can be translated as a Crystallization of the mise-en-scène in film projection. Bodies, sounds and objects are transformed by linking to the aspects evoked by the city: city and memory, city and desire, city and architecture…
Este trabalho encontra-se publicado com a Licença Internacional Creative Commons Atribuição 4.0.
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