Publication:
Los escenarios de la guerra de los siglos XVI y XVII en el cine: Il mestiere delle armi (2001) y Alatriste (2006)

Loading...
Thumbnail Image
Identifiers
ISBN: 978-84-617-7948-2
Publication date
2017
Defense date
Advisors
Tutors
Journal Title
Journal ISSN
Volume Title
Publisher
Impact
Google Scholar
Export
Research Projects
Organizational Units
Journal Issue
Abstract
Il mestiere delle armi by Ermanno Olmi (2001) and Alatriste by Agustín Díaz Yánez (2006) are two canonic examples of movies based on historical facts, and therefore deeply based on images taken from the History of Art. In 'Il mestiere delle arrni' the visual sources are late Renaissance and Early Mannerism paintings for the portraits, but for the winter landscapes of the Po river in which Giovanni de Medici's deadly military campaign of 1526 did take place there was no iconography available. The scenography of the movie is dominated by brown and grey tonalities; the soldiers wear faded cloths; the armors are dark and burnished; the war is a dirty exercise that contaminates everythlng; the battle scenes are not very spectacular, but realistic and hard. Olmi's movie has a moral and religious aim, exposed in the narration of Giovanni de Medici's agony. The visual sources are used to provoke the spectator's reflection on a very peculiar period in Italy's history, in which the splendid achievements in the arts clash with never ending wars. Alatriste depicts the adventures of a fictional character, the Captain Diego Alatriste, whose story takes place in the downward but spectacular trend of the XVIIth Century Spanish Empire, with all tbe violence, the horrors, and also tbe grandness of those times. Tbe common ground between Il mestiere delle armi and Alatriste is given by an intensive use of works of art; it is a method called intertextual in semiology; it is exemplified by presence behind Count of Guadalmendina's desk of the Mars by Velázquez and the Bachanal of the Andrii by Titian; these works appeal to spectator's ability in spotting out them and their authors. This strategy is also clear in Barry Lyndon by Stanley Kubrick (1975). In the scene in which Lyndon (Ryan O' Neal) is with the agonizing Captain Grogan (Godfrey Quigley), we see a clever use of such paintings by Francesco Giuseppe Casanova as the Battle in Paris, Louvre. This method woks also for otber genders, besides tbe specific quality of each movie.
Description
Actas del V Congreso Internacional de Historia y Cine celebrado en la Universidad Carlos III de Madrid del 5 al 7 de Septiembre de 2016.
Keywords
Cine, Cine histórico, Diego Alatriste, Francesco Giuseppe Casanova, Giovanni De Medici, Agustín Díaz Yánez, Aniello Falcone, Intertextualidad, Hristo Ivcov, Stanley Kubrick, Luigi Marchione, Viggo Mortensen, , Rían O'Neal, Errnanno Olmi, Arturo Pérez-Reverte, Godfrey Quigley, Rafael Sanzio, Diego Velázquez, Tiziano Vecellio, Philip Wouwermans
Bibliographic citation
V Congreso Internacional de Historia y Cine: Escenarios del cine histórico (V, 2016, Getafe). Gloria Camarero Gómez, Francesc Sánchez Barba (eds.). Getafe: Universidad Carlos III de Madrid, Instituto de Cultura y Tecnología, 2017, pp. 99-113