دانلود رایگان مقاله هوش فضایی بصری در تبلیغ و گفتگوی روابط عمومی: موردی از روبرتو روسلینی در دوران آموزشی و مطالعات تاریخی

abstract

The aim of this paper is to analyze two of the least known periods of Italian director RobertoRossellini’s career – the fascist trilogy and his educational project for TV – as a paradigm of visual-spatialintelligence, and show their contribution to the construction of a theory of film discourse in publicrelations. Regarding the fascist period, what stands outis the unique, anti-propaganda staging, a far cryfrom the fascist cinema ofthe age, and more characteristic of documentary cinema. By contrast,thefilms thatform part of his educational project make them public relations techniques in the termsunderstood by filmmakers from the British documentary movement and PR practitioners like JohnGrierson. In those films, in order to achieve his purposes, Rossellini created a zoom lens device namedPancinor that can be considered a mechanism of visual-spatial intelligence as well as a public relationsaudiovisual technique.

7. Discussion and conclusions

According to Gallagher (1998), Rossellini and John Grierson were mutual admirers and had occasion to meet in Canada in 1960. This is not surprising, as, although they each developed a unique style, the two filmmakers had common influences (such as the Russian filmmaker Sergei M. Eisenstein, an influence recognized by Grierson and evident in the opening minutes of La nave bianca) and shared the same principles (Caminati, 2012).