{"title":"伊利亚·穆塔姆电影的三层","authors":"Linde Luijnenburg","doi":"10.1080/02614340.2022.2129526","DOIUrl":null,"url":null,"abstract":"ABSTRACT In this article, the author proposes three layers of film analysis and spectatorship in order to discuss film director Elia Moutamid's oeuvre. The first layer refers to the filmic texts (plots and aesthetics), the second situates the films in their socio-historical and cinematographic contexts, and the third layer relates the films to Plato's simile of the cave, establishing their philosophical quality. The author argues that the interrelation between these various layers attests to the refinement of Moutamid's cinematic production.","PeriodicalId":42720,"journal":{"name":"Italianist","volume":"42 1","pages":"220 - 228"},"PeriodicalIF":0.3000,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"The Three Layers of Elia Moutamid’s Cinema\",\"authors\":\"Linde Luijnenburg\",\"doi\":\"10.1080/02614340.2022.2129526\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"ABSTRACT In this article, the author proposes three layers of film analysis and spectatorship in order to discuss film director Elia Moutamid's oeuvre. The first layer refers to the filmic texts (plots and aesthetics), the second situates the films in their socio-historical and cinematographic contexts, and the third layer relates the films to Plato's simile of the cave, establishing their philosophical quality. The author argues that the interrelation between these various layers attests to the refinement of Moutamid's cinematic production.\",\"PeriodicalId\":42720,\"journal\":{\"name\":\"Italianist\",\"volume\":\"42 1\",\"pages\":\"220 - 228\"},\"PeriodicalIF\":0.3000,\"publicationDate\":\"2022-05-04\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Italianist\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/02614340.2022.2129526\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"HUMANITIES, MULTIDISCIPLINARY\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Italianist","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/02614340.2022.2129526","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
ABSTRACT In this article, the author proposes three layers of film analysis and spectatorship in order to discuss film director Elia Moutamid's oeuvre. The first layer refers to the filmic texts (plots and aesthetics), the second situates the films in their socio-historical and cinematographic contexts, and the third layer relates the films to Plato's simile of the cave, establishing their philosophical quality. The author argues that the interrelation between these various layers attests to the refinement of Moutamid's cinematic production.
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