|Tipo di tesi||Tesi di laurea magistrale|
|Autore||VUONG, MEI QI|
|Titolo||Narrativa ed estetica. La violenza nel cinema di Tarantino|
|Titolo in inglese||Narration and aesthetics. Violence in the cinema of Tarantino|
|Struttura||Dipartimento di Studi Linguistici e Culturali|
|Corso di studi||LINGUE, CULTURE, COMUNICAZIONE (D.M. 270/04)|
|Data inizio appello||2020-04-21|
|Disponibilità||Accessibile via web (tutti i file della tesi sono accessibili)|
La rappresentazione stilistica della violenza è la cifra autoriale più riconoscibile del cinema di Tarantino. Il presente lavoro intende analizzare le griglie narrative ed estetiche che la contengono, osservandone il funzionamento all’interno di sequenze e scene particolarmente emblematiche. Dall’analisi emerge che proprio l’eccesso stilistico, in combinazione con un impianto narrativo specifico, rende percepibile la mediazione linguistica del film, e così confina l’ultraviolenza tarantiniana in una dimensione schiettamente cinematografica.
The stylistic representation of violence is one of the most conspicuous leitmotifs of Tarantino’s cinema. The purpose of this dissertation is to analyze the narrative and aesthetic grids that support it, and to examine how they function in the context of particularly emblematic sequences and scenes. The analysis shows that stylistic excess, combined with a particular narrative framework, makes the film linguistic mediation perceptible, and thus confines Tarantino’s use of extreme violence into an intelligibly cinematographic dimension. From the perspective of Casetti and DiChio’s analysis of representation, violence is a film motif and never a theme, as it is never the raison d’être of the narrative. The better part of the analysis thus explores the ways in which the motif of violence is incorporated into Tarantino’s narration: it is typically balanced by a counterpoint to be found in the configuration of the world represented in the movie. Such a world is analogous to the real one, but its claim of realism translates into a dominion of ordinariness, which is so pervasive that it applies to all contexts – especially to the most extreme situations. The result is grotesque but the distancing it causes is what makes the medium perceptible. It is noted then that Tarantino’s method of writing follows a deterministic principle; it can be compared to the mechanism of the French naturalistic novel, following the guidelines provided by Emile Zola in Le Roman Expérimental. However, problems arise when the tarantinian violence collides with sensitive subjects for our contemporary society: the analysis focuses on studying the case of Inglourious Basterds, a film dealing with the subject of the Holocaust. The last part of this dissertation examines two particular techniques of staging violence, which refer to the opposite strategies of suspense and surprise. They correspond to the director's interest in both the aesthetic potentialities and in the consequences of the deflagration of violence. On a final note, the main means of suspense deployed by Tarantino is the mise-en-scène of dialogue, which creates tension by postponing a prefigured deflagration. In terms of spectacularity, dialogue can measure up to the most stylistically rendered violence, as it opposes the show of rhetoric to the visual impact of the gore.