Abstract Within early non-fiction film, the Italian travel or scenic films of the 1910s may be considered the most picturesque. They are remarkable for their presentation of landscapes and cityscapes, their co-existence of modernity and nostalgia, their accent on beauty – at times at the expense of geographic veracity and indexicality – and their focus on the transformed gaze through the use of special masks, split-screens, and other devices. The transmedial roots for this aestheticization can be found both in art (painting) and popular culture (postcards, magic lanterns, etc.). While the author was one of the firsts to write on this subject decades ago, today there is a need for radical revision and a deeper approach. This is due to the influx of recent literature first by Jennifer Peterson’s book Education in the School of Dreams (2013) and her scholarly articles. Secondly, Blom’s co-presentation on Italian early nonfiction at the 2018 workshop A Dive into the Collections of the Eye Filmmuseum: Italian Silent Cinema at the Intersection of the Arts led to the recognition that revision was needed. Finally, the films themselves call for new approaches while they are being preserved and disseminated by, foremost, the film archives of Bologna, Amsterdam, and Turin.

中文翻译：

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风景如画：现代审美视野中的意大利早期非小说电影

摘要 在早期的非小说电影中，1910 年代的意大利旅行或风景电影可能被认为是最美丽的。他们以对风景和城市景观的呈现、现代性和怀旧的共存、对美的强调——有时以牺牲地理真实性和索引性为代价——以及通过使用特殊面具对转变的凝视的关注而著称，分屏和其他设备。这种审美化的跨媒介根源可以在艺术（绘画）和流行文化（明信片、灯笼等）中找到。虽然作者是几十年前就这一主题撰写文章的第一人，但今天需要进行彻底的修改和更深入的方法。这是由于 Jennifer Peterson 的书《梦想学院的教育》（2013 年）和她的学术文章首先涌入的近期文献。其次，布洛姆在 2018 年研讨会上关于意大利早期非小说类作品的联合演讲《深入眼睛电影博物馆的收藏：艺术交汇处的意大利无声电影》使人们认识到需要进行修订。最后，电影本身需要新的方法，而它们最重要的是由博洛尼亚、阿姆斯特丹和都灵的电影档案馆保存和传播。