Dated from 2010
In the fluctuating history of its definition, Mannerism has often been associated with modernity, and the continuation of Mannerist strategies has often been pointed out. The current study wishes to take up this approach, which has been profiled in art history and literary history, and to transfer it to cinema. In Mannerism, key concepts such as the renunciation of absolute proportionality in depictions of nature, the tendency towards exaggerated expression, manifested in complicated spatial arrangements, expressive use of colour, and unnatural lighting effects, are tried out by means of artistic experiment and explored theoretically. The aim is to develop the theme on the basis of the following questions: what is the connection between Mannerism and film? How does a form of Mannerism implemented with cinematic means manifest itself? To what extent can Mannerism be a new key to post-war Italian cinema? The aim is to consider the cinema of Antonioni, Bertolucci and Pasolini not just as a medium-specific modification of Mannerist motifs, but also as an update of modes of representation and techniques of Mannerist art. The dissertation aims to discuss to what extent cinematographic concepts become differentiated by means of related models and methods of Mannerist art, and differ medially from these.