‘All the world’s a screen’: the fractal image as an instrument of control over the world in Steven Spielberg’s cinema
DOI:
https://doi.org/10.6093/sigma.v0i7.10532Keywords:
Spielberg, Fabelmans, fractal image, classicism, post-modernismAbstract
This paper analyses how the fractioning of the frame and its partition into sub-images are used by Steven Spielberg, not only as an expedient of narrative enunciation but also as a founding feature to build a discourse on the cinematic image and its capacity to be an instrument of understanding and knowledge of the ‘real’. An analysis through Spielberg’s filmography shows how his autobiographical work The Fabelmans is both an explication and a point of arrival of a path of rethinking on the relationship between Subject/Image/World that unfolds throughout his career. The notion of ‘fractal image’ is thus used to enucleate a central aspect of Spielberg’s mise-en-scène as it manifests the director’s theoretical elaboration; this category also allows to position him as an intermediate figure between classicism and post-modernism.
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