Since the beginning of the 20th century, the illustrated editions of Quo vadis multiply, starting with Treves’ from 1900 with drawings by Minardi, to the one of the same publisher from 1913, illustrated with film stills from the set of the movie directed by Guazzoni in the same year, up to the popular edition of “Gloriosa” publishers from 1921. A remarkable production of paratexts of the novel, and of the movies taken from it by Guazzoni (1913) and by Gabriellino d’Annunzio and Georg Jacoby (1924), such as the series of photo-sculptures by Mastroianni and the postcards taken from both movies, supports the numberless illustrated editions of the book. Even programmes, posters, advertisements and reviews of the two movies will be taken into consideration to complete the frame of the Italian success of Quo vadis. Aim of the paper is to highlight this phenomenon of visual media circularity through some case studies, comparing illustrations and paratexts both of the novel and of the movies, pointing out persistences and adaptations connected with different kinds of audience.

La fortuna di "quo vadis" in Italia nel primo quarto del novecento: edizioni illustrate e paratesti cinematografici / E. Gagetti, R. De Berti (CONFERENZE). - In: Quo vadis La prima opera transmediale / [a cura di] E. Gagetti, M.Wozniak. - [s.l] : Accademia Polacca Roma, 2017. - ISBN 9788363305413. - pp. 117-138 (( convegno Quo vadis La Prima oipera transmediale tenutosi a Roma nel 2016.

La fortuna di "quo vadis" in Italia nel primo quarto del novecento: edizioni illustrate e paratesti cinematografici

E. Gagetti;R. De Berti
2017

Abstract

Since the beginning of the 20th century, the illustrated editions of Quo vadis multiply, starting with Treves’ from 1900 with drawings by Minardi, to the one of the same publisher from 1913, illustrated with film stills from the set of the movie directed by Guazzoni in the same year, up to the popular edition of “Gloriosa” publishers from 1921. A remarkable production of paratexts of the novel, and of the movies taken from it by Guazzoni (1913) and by Gabriellino d’Annunzio and Georg Jacoby (1924), such as the series of photo-sculptures by Mastroianni and the postcards taken from both movies, supports the numberless illustrated editions of the book. Even programmes, posters, advertisements and reviews of the two movies will be taken into consideration to complete the frame of the Italian success of Quo vadis. Aim of the paper is to highlight this phenomenon of visual media circularity through some case studies, comparing illustrations and paratexts both of the novel and of the movies, pointing out persistences and adaptations connected with different kinds of audience.
Quo vadis e paratesti; cinema e letteratura; Paratesti cinematografici; transmedialità
Settore L-ART/06 - Cinema, Fotografia e Televisione
2017
Accademia Polacca delle Scienze
Book Part (author)
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/2434/566149
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