theguardian.com
Rosi's ""Below the Clouds"": A Docu-Mosaic of Naples
Gianfranco Rosi's ""Below the Clouds"" uses a docu-mosaic style to depict Naples grappling with earthquakes, volcanic threats, crime, and the arrival of Ukrainian grain, creating a film with an end-of-days atmosphere.
- How does Rosi's filmmaking style contribute to the film's message, and what specific scenes highlight this?
- Rosi's fixed-camera, black-and-white approach creates a detached, observational style, emphasizing the city's alienation and unease. Scenes like the looted tunnels, the emergency calls, and the deserted cinema showing Rossellini's ""Journey to Italy"" highlight the juxtaposition of historical echoes and present-day crises.
- What are the key themes explored in Rosi's ""Below the Clouds"", and how do they connect to the broader context of Italy and the world?
- The film explores the interplay of natural disasters (earthquakes, volcanic threats), human-caused destruction (theft, arson), and global crises (war in Ukraine, migration). It connects Naples's experiences to larger issues of climate change, social unrest, and global interconnectedness, reflecting anxieties about the future.
- What are the potential implications or interpretations of Rosi's decision to frame Naples's reality as if viewed through the lens of a future archaeologist?
- By portraying Naples through a future archaeologist's perspective, Rosi suggests the city's current state could become a future ruin. This implies an imminent threat requiring urgent action, highlighting the potential for societal collapse and environmental destruction.
Cognitive Concepts
Framing Bias
The review presents a predominantly negative framing of Naples, emphasizing its darker aspects like crime, disaster, and decay. While acknowledging positive elements such as the arrival of grain, the overall tone leans towards portraying the city as a place of gloom and impending doom. The repeated references to Pompeii and the end of days contribute to this pessimistic perspective. The choice of monochrome cinematography is explicitly linked to this bleak interpretation. This framing, while arguably reflecting certain realities of Naples, might overshadow the city's vibrancy and resilience.
Language Bias
The language used is evocative and descriptive, but leans towards negativity. Terms like "grim expedition," "grotesque monument to greed," "disquieting," and "utterly distinctive" (in a negative context) create a somber tone. While accurate descriptions, they carry a stronger emotional weight than neutral alternatives. For example, instead of "grim expedition," a neutral option could be "investigation." The phrase "end-of-days quality" is a particularly charged expression.
Bias by Omission
The review focuses heavily on the negative aspects of Naples and omits counterbalancing perspectives. While acknowledging the arrival of grain, it doesn't explore the positive aspects of Neapolitan life, culture, or resilience. This omission creates an incomplete picture and potentially misrepresents the city. The review's length might constrain comprehensive coverage, but including even brief mentions of positive elements would improve balance.
False Dichotomy
The review presents a false dichotomy by contrasting a romanticized, sun-drenched image of Southern Italy with the grim reality portrayed in the film. This oversimplification ignores the complexities and multifaceted nature of Naples and the region. The film's monochrome cinematography is used to reinforce this contrast, further emphasizing the negative portrayal.
Sustainable Development Goals
The film depicts scenes of domestic violence, highlighting existing inequalities and societal issues that contribute to SDG 10 (Reduced Inequalities). The contrast between the arrival of Ukrainian grain and the plight of Syrian workers indirectly points to global economic inequalities and their impact on vulnerable populations. The looting of archeological sites speaks to the unequal distribution of resources and opportunities.