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Paolo Benvenuti

Il pittore con la macchina da presa

dc.contributor.authorGiusiani, Francesco
dc.date.accessioned2025-11-24T11:10:49Z
dc.date.available2025-11-24T11:10:49Z
dc.date.issued2025
dc.date.submitted2025-08-01T15:36:21Z
dc.identifierONIX_20250801T172941_9791221506105_46
dc.identifier2704-5870
dc.identifierhttps://library.oapen.org/handle/20.500.12657/104537
dc.identifier.urihttps://doab-dev.siscern.org/handle/20.500.12854/204806
dc.description.abstractThe essay analyzes Paolo Benvenuti’s cinema, revealing his poetics suspended between history, painting, and epic theater. Through in-depth interviews, unpublished and archival materials, it reconstructs the originality of an author who conceives cinema as a pedagogical and maieutic act: a tool to inspire reflection and critical thought. Crucial is the rigor in choosing the point of view: every shot becomes an act of deliberate storytelling, where aesthetics and ethics merge into a profound synthesis. Benvenuti thus emerges as “the painter with the camera”, transforming cinema into a timeless space of visual, ethical, and historical reflection.
dc.languageItalian
dc.relation.ispartofseriesStrumenti per la didattica e la ricerca
dc.rightsopen access
dc.subject.classificationthema EDItEUR::A The Arts::AT Performing arts::ATD Theatre studies
dc.subject.otherPaolo Benvenuti
dc.subject.otherCinema
dc.subject.otherMaieutic
dc.subject.otherEthic
dc.subject.otherNarrative
dc.titlePaolo Benvenuti
dc.title.alternativeIl pittore con la macchina da presa
dc.typebook
oapen.identifier.doi10.36253/979-12-215-0610-5
oapen.relation.isPublishedBy2ec4474d-93b1-4cfa-b313-9c6019b51b1a
oapen.relation.isbn9791221506105
oapen.relation.isbn9791221506037
oapen.relation.isbn9791221506099
oapen.relation.isbn9791221506112
oapen.pages216
oapen.place.publicationFlorence
dc.seriesnumber227
dc.abstractotherlanguageThe essay analyzes Paolo Benvenuti’s cinema, revealing his poetics suspended between history, painting, and epic theater. Through in-depth interviews, unpublished and archival materials, it reconstructs the originality of an author who conceives cinema as a pedagogical and maieutic act: a tool to inspire reflection and critical thought. Crucial is the rigor in choosing the point of view: every shot becomes an act of deliberate storytelling, where aesthetics and ethics merge into a profound synthesis. Benvenuti thus emerges as “the painter with the camera”, transforming cinema into a timeless space of visual, ethical, and historical reflection.


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