And, also from this point of view, Italy has excellences that look towards the future with leadership and talent. But food is not just nourishment: food is culture, integration, dialogue and innovation. Italy is the greatest food and wine superpower of the planet: it's hard to find somebody who disagrees with this statement. By representing him as a deviate individual, both strange and a stranger, fiction thus legitimates the desire to make him disappear. How did cinema appropriate the paparazzo, and how much did fiction determine his main characteristics? Questioning the paparazzo “within the prism of gender relations” allows us to understand the hierarchy established in the community of the story’s characters studying the different forms assumed by the paparazzo in fiction reveals a strong sense of scorn toward this figure, as much on a narrative as on a visual level, that goes as far as questioning the photographer’s humanity. Seducer, savior, hunter, thief? An analysis of the character allows us to understand how the paparazzo has entered our imagination. By gaining access to an increasingly more important position in the story, the paparazzo multiplies his “character” traits and gains in subtlety. The particularities of this hybrid photographic practice allow for the construction of a character that is both typical and complex: on the one hand, fiction builds a stereotype of the photographer by decking him out with recurring characteristics on the other hand, it enriches him. At the same time, these parameters create a narrative tension and raise major visual issues for cinematographic and televised fiction. Subversive conditions of production-theft-a means of distribution that reaches the masses-the press- and a fascinating subject-celebrities-are the elements that define the paparazzo on screen. While the war reporter is celebrated by the history of photography, fiction finds in the paparazzo a figure to make the story exciting. The recurring figure of the paparazzo in fiction films, in particular from the end of the 1990s, is less the sign of a craze for the profession than of the construction of a “contemporary myth.” If paparazzi photography is the poor relative of the history of photography, it is a precious source of inspiration for film and television fiction.
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