Starting from the analysis of Méliès’ The Conquest of the Pole (1912), the essay will address how the cinematic device updates the planimetric logic that underlies the cartographic nature, with which it shares not only the will of appropriation and inventorying of the space, but also the ability to show, in the least possible time, the places of the ecumene, turning the film theatre into a modern voyeur-voyageur’s theatre of journeys.
Giarrusso, F., Alla conquista dello spazio: Georges Méliès l’esploratore, <<Fata Morgana>>, 2015; (24): X-X [https://hdl.handle.net/10807/274768]
Alla conquista dello spazio: Georges Méliès l’esploratore
Giarrusso, Francesco
2015
Abstract
Starting from the analysis of Méliès’ The Conquest of the Pole (1912), the essay will address how the cinematic device updates the planimetric logic that underlies the cartographic nature, with which it shares not only the will of appropriation and inventorying of the space, but also the ability to show, in the least possible time, the places of the ecumene, turning the film theatre into a modern voyeur-voyageur’s theatre of journeys.
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