Based on the novel of the same name by author Elena Ferrante, La vita bugiarda degli adulti/The Lying Life of Adults (2023) is a more recent example of productions set in Naples, a city that has become ubiquitous in Italian media in the past decade. This chapter examines the visual representation of the Neapolitan urban space in the series, with a close-up on Episode 1. In it, the camera introduces the main character Giovanna by following her back-and-forth movement from the hilltop district of the Vomero—where she lives with her parents—to the Pascone, the industrial neighbourhood where her aunt resides. Episode 1 ties Giovanna’s coming-of-age story to her progressive discovery of the city below Vomero that had been concealed from her by her parents and analyses the visual mapping of the city and investigates how director Edoardo De Angelis deploys the peculiar topography of Naples to reflect Giovanna’s intellectual and bodily autonomy. Through the theoretical framework of the nexus cinema-city, that is, the connection between the moving image and the urban as theorised within the fields of film studies and urban studies, the chapter shows how Naples is not just a passive background; rather, it emerges as a site that alters the evolution of our main character.

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Coming of Age in Naples in The Lying Life of Adults

  • Demetrio Antolini

摘要

Based on the novel of the same name by author Elena Ferrante, La vita bugiarda degli adulti/The Lying Life of Adults (2023) is a more recent example of productions set in Naples, a city that has become ubiquitous in Italian media in the past decade. This chapter examines the visual representation of the Neapolitan urban space in the series, with a close-up on Episode 1. In it, the camera introduces the main character Giovanna by following her back-and-forth movement from the hilltop district of the Vomero—where she lives with her parents—to the Pascone, the industrial neighbourhood where her aunt resides. Episode 1 ties Giovanna’s coming-of-age story to her progressive discovery of the city below Vomero that had been concealed from her by her parents and analyses the visual mapping of the city and investigates how director Edoardo De Angelis deploys the peculiar topography of Naples to reflect Giovanna’s intellectual and bodily autonomy. Through the theoretical framework of the nexus cinema-city, that is, the connection between the moving image and the urban as theorised within the fields of film studies and urban studies, the chapter shows how Naples is not just a passive background; rather, it emerges as a site that alters the evolution of our main character.