Cinema Paradiso
The criticism of Cinema Paradiso has produced both praise and censure for its depth, originality and production. While critics' views varied, a common thread remained central. There was a sheer adoration for the film as a nostalgic tribute to the medium it represents. This paper will explore the critical analysis of Giuseppe Tornatore's work and how it is linked to the information gathered from Italian Cinema 103 Summer Term in Italy held by Drew University. This linkage is proved and supported by concentrating on the following areas: the failure of the original release, the autobiographical undertones, and the use of the flashback and visual imagery to create a nostalgic atmosphere. Furthermore, the role of the movie theater as a mode of escape and church substitute will be explored. Finally, the cinematic shortcomings and the necessary suspension of disbelief will be discussed. All of these elements will clarify the meaning of film. Most importantly, they will secure its place in film history by evaluating the cultural significance of the medium itself. Cinema Paradiso was originally released in Italy in 1988, with poor reviews. The negative reviews, along with a weak publicity campaign, afforded the film only a few da
As one has read these reviews, it is not difficult to arrive at certain assumptions. One may conclude that the entire film is symbolic of the film industry as a whole . Its importance as a focal point of entertainment seems to be a universal pastime. Thus, its place in film history may be seen as a tribute to an era of innocence and simplicity, prior to the age of current film technology. Cinema Paradiso historically signifies the glory days of the film industry, Tornatore represents film as a great part of culture and wonderful part of growing up. On a more personal level, it is young Toto's escape from his reality. After his father is killed in the war, Toto finds Alfredo, the projectionist, as a kind of surrogate father. He wants to emulate Alfredo and become a projectionist. Castigated for his interest in movies by his mother, Toto becomes all the more infatuated . Along the same lines, the theater is Alfredo's reality. He even warms his dinner by the heat of the ac lamp in the projection. (Archibald, 14A) He is bitter and reels cut off from his experience. The projection booth has been his prison. Ironically, it is this reality that burns and disfigures him as he attempts to use reflecting glass to project a movie in the town square. He is blinded by the accident, symbolic of his ability to see that life itself is more valuable than the movies. Alfredo is able to imagine the great world outside and persuades Toto, now a projectionist himself, to leave the theater, even Sicily, and discover the "real" world. As Toto sees it, Alfredo is noble and selfless. Alfredo cures Toto of his weakness of emotion, yielding the boy's companionship. Its success as sentimental nostalgia is due to the poignant use of an extended flashback (Johnson, 60). Salvatore (Toto), a successful Italian film maker, learns of the death of his childhood mentor, Alfredo. His memories take him back to the village in Sicily where he first fell in love with film. The imagery of the cinema creates a scene that may perfectly convey that movie going then was the same anywhere, thus reinforcing its historical significance. Much of "the action is seen through
Some common words found in the essay are:
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Approximate Word count = 1461
Approximate Pages = 6 (250 words per page double spaced)
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