UEA?La vera aspekto de la retejo ne povas por esti korekte rigardata per via retumilo.
Esperanto had its “golden moment” in film theory when Vachel Lindsay named “moving picture Esperanto” the intertextual relations of silent films in the very first American book on film theory (1915). However, the relationships between Esperanto and film theory continued even after the end of silent cinema, sometimes more negatively, sometimes more positively, but always fostering discussions that, in turn, found echoes in the production of film. My presentation aims to reconstruct the rhetorical situation of those discussions, as well the connections between Esperanto and the people who took part in them in the two decades after the 1950s, in order to show to esperantist artists an unknown past well worth engaging with.
Alessandra Madella, from Italy, studied Japanese Language and Literature at the Ca’ Foscari University of Venice (Italy) and at the University of Tokyo, Japan. She received her Ph.D. in Communication Studies (Rhetoric) from the University of Iowa (US) with the dissertation The woman condition: love and technology in Hiroshima mon amour on the film by Alain Resnais and Marguerite Duras. She has written about the metaphor of “the Esperanto of movies” and its developments in film history and theory, most recently in the essay “ Ulrike Ottinger's Dorian Gray in the Mirror of the Yellow Press (1984) as a Reflection on Cinematic Esperanto.”