priorità del racconto”ABSTRACT: Like many of Wenders’ films, the book Una volta (Einmal. Bilder undGeschichten, 1994; Once: Pictures and Stories) is the result of a fruitful encounterbetween different arts. Wenders now takes on the role of photographer and narrator,while never completely abandoning the more usual role of director. The beginning ofevery short composition in Einmal, associated with one or more images, is the usualone of fairy tales. However, the word “once” that precedes as a title most of thecompositions is not just an intertextual reference to the genre of children’s literature.It is more a sort of declaration of poetics, the choice of a specific stylistic register, aswell as an attempt to adhere to a certain way of knowing and experiencing existence.It is the same way of knowing characteristic of children, says Wenders, connected—like the photographer’s shot—to the moment, without any care or regard for the pastor the future. The stories that follow one another do not, at least not always, serve ascaptions for the images, nor do they necessarily offer the reader clarificationsregarding the photographs placed next to them or the circumstances in which thethey were shot. In this book Wenders works “spontaneously,” choosing for each shotthe first story that “comes to his mind.” The point of connection between writing andimage, as well as the fulcrum of the aesthetics of Wenders’ phototext, is undoubtedlythe concept of Disposition (Einstellung), which is a privileged place of observationfrom which the photographer’s eye chooses to look, but also the narrative engine ofthe whole story, as well as, again, the centre from which the different threads of thestory radiate and then return to converge. The object of my contribution will beprecisely this idea of Einstellung, with the aim of highlighting its implications andpotential.
|Number of pages||14|
|Publication status||Published - 2018|