Un "dj set" d'autore. Pratiche compilative nel cinema di Paolo Sorrentino

This essay analyses Paolo Sorrentino’s production from the perspective of the compilation soundtracks he assembles for his films. While “La grande bellezza” appears to synthesize many of the aspects of a patchwork of different songs, the overall compilation resulting from Sorrentino’s entire filmogr...

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Main Author: Paola Valentini
Format: Article
Language:Italian
Published: Università degli Studi di Milano 2020-06-01
Series:Schermi
Subjects:
Online Access:https://riviste.unimi.it/index.php/schermi/article/view/12984
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author Paola Valentini
author_facet Paola Valentini
author_sort Paola Valentini
collection DOAJ
description This essay analyses Paolo Sorrentino’s production from the perspective of the compilation soundtracks he assembles for his films. While “La grande bellezza” appears to synthesize many of the aspects of a patchwork of different songs, the overall compilation resulting from Sorrentino’s entire filmography is singularly interesting (from the song “I migliori anni della nostra vita” in “Il divo” and “Che domenica bestiale” in “Loro 1” through to “Senza un perché” in “The Young Pope”, to name but a few). This composition strategy – a playlist, in a sense – reveals a clear authorial stamp, a signature,displaying clear elements of continuity with a form of American cinema (from Quentin Tarantino to Paul Thomas Anderson), and, at the same time, a systematic approach that differs from the majority of Italian cinema (first and foremost the work of Nanni Moretti and Paolo Virzì), which requires more prudent scholarly attention.
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spelling doaj.art-58cd5b70e0444c5aa79027d344faf2eb2024-02-11T18:43:29ZitaUniversità degli Studi di MilanoSchermi2532-24862020-06-014710.13130/2532-2486/12984Un "dj set" d'autore. Pratiche compilative nel cinema di Paolo SorrentinoPaola Valentini0Università di FirenzeThis essay analyses Paolo Sorrentino’s production from the perspective of the compilation soundtracks he assembles for his films. While “La grande bellezza” appears to synthesize many of the aspects of a patchwork of different songs, the overall compilation resulting from Sorrentino’s entire filmography is singularly interesting (from the song “I migliori anni della nostra vita” in “Il divo” and “Che domenica bestiale” in “Loro 1” through to “Senza un perché” in “The Young Pope”, to name but a few). This composition strategy – a playlist, in a sense – reveals a clear authorial stamp, a signature,displaying clear elements of continuity with a form of American cinema (from Quentin Tarantino to Paul Thomas Anderson), and, at the same time, a systematic approach that differs from the majority of Italian cinema (first and foremost the work of Nanni Moretti and Paolo Virzì), which requires more prudent scholarly attention.https://riviste.unimi.it/index.php/schermi/article/view/12984soundtrack compilationItalian cinemasongsPaolo Sorrentino
spellingShingle Paola Valentini
Un "dj set" d'autore. Pratiche compilative nel cinema di Paolo Sorrentino
Schermi
soundtrack compilation
Italian cinema
songs
Paolo Sorrentino
title Un "dj set" d'autore. Pratiche compilative nel cinema di Paolo Sorrentino
title_full Un "dj set" d'autore. Pratiche compilative nel cinema di Paolo Sorrentino
title_fullStr Un "dj set" d'autore. Pratiche compilative nel cinema di Paolo Sorrentino
title_full_unstemmed Un "dj set" d'autore. Pratiche compilative nel cinema di Paolo Sorrentino
title_short Un "dj set" d'autore. Pratiche compilative nel cinema di Paolo Sorrentino
title_sort un dj set d autore pratiche compilative nel cinema di paolo sorrentino
topic soundtrack compilation
Italian cinema
songs
Paolo Sorrentino
url https://riviste.unimi.it/index.php/schermi/article/view/12984
work_keys_str_mv AT paolavalentini undjsetdautorepratichecompilativenelcinemadipaolosorrentino