The Rhetoric and Aesthetics of World Cinema: Film Studies as a Place for the "Persistence of Geography" in Contemporary Cinema

This article aims at considering the world cinema “perspective” in contemporary film studies as an approach that adopts a cartographical rhetoric and a worldist aesthetics. This reveals a nostalgia for the geographical discourse, which has many implications and can be even considered reactionary. I...

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Main Author: Giorgio Avezzù
Format: Article
Language:English
Published: Milano University Press 2013-03-01
Series:Cinéma & Cie
Online Access:https://riviste.unimi.it/index.php/cinemaetcie/article/view/16276
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author Giorgio Avezzù
author_facet Giorgio Avezzù
author_sort Giorgio Avezzù
collection DOAJ
description This article aims at considering the world cinema “perspective” in contemporary film studies as an approach that adopts a cartographical rhetoric and a worldist aesthetics. This reveals a nostalgia for the geographical discourse, which has many implications and can be even considered reactionary. Indeed, being the effect of a sort of osmosis between “cartographic cinema” and “cartography of cinema,” world cinema promotes a worldview that is allegorical of the old modernist cinematic mission of making the whole world visible. By reinserting geography in contemporary film studies and in the filmic texts today, it is compensative of new anxieties about film referentiality and the difficult mappability of informal film distribution. On a broader level, a symptomatic reading of world cinema shows how its geographical/ geopolitical gaze tries to overcome a crisis of authority and of representation, and the “crisis of the cartographic reason.”
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spelling doaj.art-d70cae2558004f8aa1f5966d1d01d4bb2024-02-15T15:28:54ZengMilano University PressCinéma & Cie2036-461X2013-03-011320The Rhetoric and Aesthetics of World Cinema: Film Studies as a Place for the "Persistence of Geography" in Contemporary CinemaGiorgio Avezzù0Università Cattolica del Sacro Cuore, Milano This article aims at considering the world cinema “perspective” in contemporary film studies as an approach that adopts a cartographical rhetoric and a worldist aesthetics. This reveals a nostalgia for the geographical discourse, which has many implications and can be even considered reactionary. Indeed, being the effect of a sort of osmosis between “cartographic cinema” and “cartography of cinema,” world cinema promotes a worldview that is allegorical of the old modernist cinematic mission of making the whole world visible. By reinserting geography in contemporary film studies and in the filmic texts today, it is compensative of new anxieties about film referentiality and the difficult mappability of informal film distribution. On a broader level, a symptomatic reading of world cinema shows how its geographical/ geopolitical gaze tries to overcome a crisis of authority and of representation, and the “crisis of the cartographic reason.” https://riviste.unimi.it/index.php/cinemaetcie/article/view/16276
spellingShingle Giorgio Avezzù
The Rhetoric and Aesthetics of World Cinema: Film Studies as a Place for the "Persistence of Geography" in Contemporary Cinema
Cinéma & Cie
title The Rhetoric and Aesthetics of World Cinema: Film Studies as a Place for the "Persistence of Geography" in Contemporary Cinema
title_full The Rhetoric and Aesthetics of World Cinema: Film Studies as a Place for the "Persistence of Geography" in Contemporary Cinema
title_fullStr The Rhetoric and Aesthetics of World Cinema: Film Studies as a Place for the "Persistence of Geography" in Contemporary Cinema
title_full_unstemmed The Rhetoric and Aesthetics of World Cinema: Film Studies as a Place for the "Persistence of Geography" in Contemporary Cinema
title_short The Rhetoric and Aesthetics of World Cinema: Film Studies as a Place for the "Persistence of Geography" in Contemporary Cinema
title_sort rhetoric and aesthetics of world cinema film studies as a place for the persistence of geography in contemporary cinema
url https://riviste.unimi.it/index.php/cinemaetcie/article/view/16276
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