ABSTRACT

This paper aims at investigating the intertwining of the aesthetics of film noir and neorealism in the context of Italian cinema after the Second World War. In order to individuate the similarities between these two trends, the article will highlight how both neorealism and film noir partake in the wider discourse of melodrama, and how the melodramatic imagination is key to understanding the relationship of these texts within the issue of modernity. Through a reflection on Gilles Deleuze’s category of the ‘any-space-whatever’, the article will focus on the deployment of postwar spatiality in a series of noir films dealing with the 1950s process of reconstruction. The fragmentation of space these films register and enhance creates a productive tension with the affective intensity of the melodramatic body. The result is a form of spatial anxiety that encompasses both neorealism and film noir, thus highlighting the importance of a transnational frame to the interpretation of Italian cinema on the verge of the economic boom.

摘要

本文旨在研究第二次世界大战后意大利电影背景下的黑色电影美学与新现实主义的交织。为了区分这两种趋势之间的相似性，本文将重点介绍新现实主义和黑色电影如何参与情节剧的广泛论述，以及戏剧性的想象力如何成为理解这些文本在现代性问题中的关系的关键。通过对吉尔斯·德勒兹（Gilles Deleuze）的“任何空间-任何”类别的反思，本文将着重讨论战后空间在一系列处理1950年代重建过程的黑色电影中的运用。这些电影的空间碎片记录并增强了产生的张力与情节体的情感强度。