The landscape is a window onto the world, a way of "framing" it to the point of making it legible. The gaze of cinema - which in this sense has picked up the legacy of painting - has exercised this function for over a century, teaching us to see something we had never seen before, or that we didn't know how to look at in the right way. But above all, the landscapes of cinema have combined the lexicon of perception with a grammar of feeling, an emotional point of view. It is through cinema that the landscape has definitively revealed itself as "an act of vision and an act of feeling", as the philosopher Georg Simmel defines it. To what extent has the technological evolution of cinema transformed this gaze today?
Leonardo Gandini is associate professor of Cinema Aesthetics at the University of Modena and Reggio Emilia. He has created numerous publications as an author or editor. Among these we remember the editing of the volume lI cinema americano attraverso i film, Carocci 2011 and Il film noir americano, Lindau 2008. From 2008 to 2011 he also edited the international conference "Mass media and memory" with the Trentino Historical Museum Foundation.