The essay explores the screenwriting activity of Ettore Scola during the 1950s and 1960s (in particular for Antonio Pietrangeli), with the hypothesis that this experience could have molded or may reveal the formation of his narrative thought, artistic method, or poetic world. The study is based on original materials (subjects, screenplays, treatments, notes and correspon- dence) kept in the Antonio Pietrangeli Archive at the Centro Cinema Città in Cesena and on documents from Ettore Scola’s personal archive. The analysis takes into consideration the sketches that Scola compulsively drew not just on his scripts but on paper napkins, scraps of papers, or the edges of notebooks. Following a neuroscientific, neuroaesthetic, and empirical aesthetic approach, these sketches are interpreted as indicating and resulting from his mental and creative process. The structuring idea of this chapter is that screenwriting—which requires a series of specific skills that Ettore Scola himself singles out—calls into play exactly the same cognitive abilities that neuroscience and cognitive science have identified as the building blocks on which we base our understanding of the world and how we interact with it.
THINKING WITH HIS HANDS. NARRATIVE INTELLIGENCE IN ETTORE SCOLA, SCREENWRITER AND (COMPULSIVE) DRAWER
M. Comand
2020-01-01
Abstract
The essay explores the screenwriting activity of Ettore Scola during the 1950s and 1960s (in particular for Antonio Pietrangeli), with the hypothesis that this experience could have molded or may reveal the formation of his narrative thought, artistic method, or poetic world. The study is based on original materials (subjects, screenplays, treatments, notes and correspon- dence) kept in the Antonio Pietrangeli Archive at the Centro Cinema Città in Cesena and on documents from Ettore Scola’s personal archive. The analysis takes into consideration the sketches that Scola compulsively drew not just on his scripts but on paper napkins, scraps of papers, or the edges of notebooks. Following a neuroscientific, neuroaesthetic, and empirical aesthetic approach, these sketches are interpreted as indicating and resulting from his mental and creative process. The structuring idea of this chapter is that screenwriting—which requires a series of specific skills that Ettore Scola himself singles out—calls into play exactly the same cognitive abilities that neuroscience and cognitive science have identified as the building blocks on which we base our understanding of the world and how we interact with it.File | Dimensione | Formato | |
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