Collana |
Quaderni di Venezia Arti
Miscellanea | Taking and Denying
Capitolo | From Ancient to Digital
From Ancient to Digital
Situating Blackness in Salambo (Domenico Gaido, 1914)
- Jan De Lozier - University of California, Los Angeles, USA - email
Abstract
The Italian production company Pasquali e Compagnia adapts the French writer Gustave Flaubert’s 1862 novel Salammbô into a ‘$100,000 Spectacle’. Despite the grandiose production values, a leading character named Spendius is not identified in the film’s credits. The record of Spendius on film, literally ‘pellicola’ or ‘with a skin’, continues to dissolve as compressed portions of the film reappear as pixels on YouTube. This paper analyses Spendius’ transnational character by situating him in an absent, yet present spectrum of media.
Pubblicato 22 Dicembre 2020 | Lingua: en
Keywords YouTube • Postcolonial studies • Speculative cinema • Italian Studies • Videographic criticism • Film studies
Copyright © 2020 Jan De Lozier. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.
Permalink http://doi.org/10.30687/978-88-6969-462-2/015
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Situating Blackness in Salambo (Domenico Gaido, 1914)’. Ta...
| DC Field | Value |
|---|---|
|
dc.identifier |
ECF_chapter_5055 |
|
dc.contributor.author |
De Lozier Jan |
|
dc.title |
From Ancient to Digital. Situating Blackness in Salambo (Domenico Gaido, 1914) |
|
dc.type |
Capitolo |
|
dc.language.iso |
en |
|
dc.description.abstract |
The Italian production company Pasquali e Compagnia adapts the French writer Gustave Flaubert’s 1862 novel Salammbô into a ‘$100,000 Spectacle’. Despite the grandiose production values, a leading character named Spendius is not identified in the film’s credits. The record of Spendius on film, literally ‘pellicola’ or ‘with a skin’, continues to dissolve as compressed portions of the film reappear as pixels on YouTube. This paper analyses Spendius’ transnational character by situating him in an absent, yet present spectrum of media. |
|
dc.relation.ispartof |
Quaderni di Venezia Arti |
|
dc.publisher |
Edizioni Ca’ Foscari - Digital Publishing, Fondazione Università Ca’ Foscari |
|
dc.issued |
2020-12-22 |
|
dc.identifier.uri |
http://edizionicafoscari.it/it/edizioni4/libri/978-88-6969-463-9/from-ancient-to-digital/ |
|
dc.identifier.doi |
10.30687/978-88-6969-462-2/015 |
|
dc.identifier.eissn |
2784-8868 |
|
dc.identifier.isbn |
978-88-6969-463-9 |
|
dc.identifier.eisbn |
978-88-6969-462-2 |
|
dc.rights |
Creative Commons Attribution 4.0 International Public License |
|
dc.rights.uri |
http://creativecommons.org/licenses/by/4.0/ |
|
item.fulltext |
with fulltext |
|
item.grantfulltext |
open |
|
dc.peer-review |
no |
|
dc.subject |
Film studies |
|
dc.subject |
Film studies |
|
dc.subject |
Italian Studies |
|
dc.subject |
Italian Studies |
|
dc.subject |
Postcolonial studies |
|
dc.subject |
Postcolonial studies |
|
dc.subject |
Speculative cinema |
|
dc.subject |
Speculative cinema |
|
dc.subject |
Videographic criticism |
|
dc.subject |
Videographic criticism |
|
dc.subject |
YouTube |
|
dc.subject |
YouTube |
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