Post by account_disabled on Dec 8, 2023 22:34:57 GMT -8
As vice versa, in terms of the psychological development of a situation, the most realistic of representations, or rather the most literary , the most intimate (and therefore the least theatrical or cinematographic), is something very superficial compared to the written story from which is obtained. – All this means that we can proclaim the fundamental uniqueness of the arts as much as we want, but equally fundamental differences and incommunicability remain between the languages they speak. And what is art for one is not art for the other, or does not reach the mark; and reciprocally.
Diary of Guido Morselli, 19 October 1947 In this other passage, taken from the same day, Morselli talks to us about environmental descriptions, another limit between literature and cinema. What the writer describes even in three pages, a director would have to work hard to recreate that entire setting. There are therefore differences between the Phone Number Data languages, says Morselli, which make the two arts, literature and cinema, unique, each characterized by its own artistic elements, which differ from the other or even do not emerge. Here, then, thanks to these observations by Morselli, how we can finally consider each novel transposed onto film: as a new form of art that perhaps only the soul of the novel has been able to maintain, recreating its body, its matter, according to its rules.
Here, in this consideration by Morselli, is one of the great differences between literary works and – let's call them – scenic works, whether theatrical or cinematographic. If on the one hand it is true that cinema tends to synthesize the literary work, on the other it is also true that the transposition makes the work much more complex, precisely because it is visual. As readers we are satisfied, says Morselli, with the little that the writer offers us. A description of a few words is enough to convey the idea of anger, happiness, pain, emotions that cinema cannot allow itself to represent so quickly.
Diary of Guido Morselli, 19 October 1947 In this other passage, taken from the same day, Morselli talks to us about environmental descriptions, another limit between literature and cinema. What the writer describes even in three pages, a director would have to work hard to recreate that entire setting. There are therefore differences between the Phone Number Data languages, says Morselli, which make the two arts, literature and cinema, unique, each characterized by its own artistic elements, which differ from the other or even do not emerge. Here, then, thanks to these observations by Morselli, how we can finally consider each novel transposed onto film: as a new form of art that perhaps only the soul of the novel has been able to maintain, recreating its body, its matter, according to its rules.
Here, in this consideration by Morselli, is one of the great differences between literary works and – let's call them – scenic works, whether theatrical or cinematographic. If on the one hand it is true that cinema tends to synthesize the literary work, on the other it is also true that the transposition makes the work much more complex, precisely because it is visual. As readers we are satisfied, says Morselli, with the little that the writer offers us. A description of a few words is enough to convey the idea of anger, happiness, pain, emotions that cinema cannot allow itself to represent so quickly.