Modernità Nelle Americhe

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Modernità Nelle Americhe Americana - Studi MODERNITÀ NELLE AMERICHE a cura di VERONICA PRAVADELLI 2016 Università degli Studi Roma Tre Centro di Ricerca Interdipartimentale di Studi Americani (CRISA) Americana - Studi 1 Modernità nelle Americhe a cura di Veronica PRAVADELLI 2016 Americana è una collana di studi promossa dal CRISA. Comitato scientifico: Luca Aversano (Roma Tre), Roberto Blancarte (El Colegio de México), Francesca Cantù (Roma Tre), Francesco Casetti (Yale), Mario Cerasoli (Roma Tre), Roberto Cipriani (Roma Tre), Marco Cremaschi (SciencesPo), Antonello Frongia (Roma Tre), Fred L. Gardaphé (Queens College - CUNY), Veronica Pravadelli (Roma Tre, coordinamento), Daniela Rossini (Roma Tre), Maria Anita Stefanelli (Roma Tre), Vito Zagarrio (Roma Tre) Coordinamento editoriale: Gruppo di Lavoro Edizioni: © Roma, gennaio 2016 ISBN: 978-88-97524-53-3 http://romatrepress.uniroma3.it Quest’opera è assoggettata alla disciplina Creative Commons attribution 4.0 International Licence (CC BY-NC-ND 4.0) che impone l’attribuzione della paternità dell’opera, proibisce di alterarla, trasformarla o usarla per produrre un’altra opera, e ne esclude l’uso per ricavarne un profitto commerciale. Immagine di copertina: composizione di fotogrammi estratti da Manhatta (Charles Sheeler e Paul Strand, 1921) e Medianeras (Gustavo Taretto, 2011) Sommario VERONICA PRAVADELLI, Nota introduttiva 5 MODERNITÀ, METROPOLI, MEDIA THOMAS ELSAESSER, La modernità, un tropo problematico 11 ROBERT BEAUREGARD, L’urbanistica sarà sempre moderna 33 GIORGIO PICCINATO, Il senso del moderno nella città americana 47 MARCO CREMASCHI, La griglia, le baracche, le torri neoliberali: la ‘modernità informale’ di Buenos Aires 59 VERONICA PRAVADELLI, Benjamin, donne moderne e cinema hollywoodiano 77 DANIELA ROSSINI, La donna nuova americana nell’illustrazione: reazioni italiane tra Belle Époque e fascismo 95 STILI ED ESTETICHE DEL MODERNO NEL CINEMA E NELLA LETTERATURA EttORE FINAZZI-AGRÒ, Economia (e politica) del moderno. Una proposta di revisione dei rapporti tra Futurismo italiano e Modernismo brasiliano 117 GIORGIO DE VINCENTI, Pratiche dello ‘stile moderno’ nel cinema delle Americhe 129 ANITA TRIVELLI, Modernità e attualità della pratica diaristica di Jonas Mekas 141 VITO ZAGARRIO, Un’altra giovinezza. New Hollywood e New-New Hollywood tra moderno e postmoderno 169 MODERNITÀ, POSTMODERNITÀ E GLOBALIZZAZIONE TRA SOCIOLOGIA E FILOSOFIA MICHEL MAFFESOLI, Modernità, postmodernità, postmedievalità 195 ROSA MARIA CALCATERRA, La storia e il caso. Il tichismo postmoderno di Richard Rorty 207 VIttORIO COTESTA, Europa, America e Asia nell’interpretazione weberiana del capitalismo moderno: nuove critiche e prospettive analitiche 219 Biografie degli autori e delle autrici 251 Nota introduttiva La modernità è un topos fondamentale della cultura occidentale. Con il tempo l’uso del termine e la declinazione del concetto si sono estesi a tutte le forme del pensiero, della produzione artistica e della letteratura. Ma la modernità – e per estensione concetti affini quali moderno, moder- nismo e modernizzazione – appare anche una categoria fondamentale per analizzare la storia e la vita culturale delle Americhe. O meglio, è una categoria fondativa dello statuto stesso del continente americano e del suo rapporto con l’Europa. Per queste ragioni il CRISA, il Centro di Ricerca Interdipartimentale di Studi Americani dell’Università degli Studi Roma Tre, nato alla fine del 2010, ha deciso di iniziare le proprie attività con un convegno internazionale dedicato a questo tema e svoltosi il 24-25 maggio 2012. Questo volume – che apre la neonata collana Americana – riunisce una buona parte degli interventi del convegno, tutti ampiamente rielaborati per la pubblicazione. Nessuno studio che affronti un tema come questo può ambire a essere esaustivo e coerente, poiché il concetto di modernità attraversa le discipli- ne e i discorsi in modo problematico e contraddittorio. Ma alcune costanti permangono. La nozione di modernità è per definizione evocata in rela- zione al suo opposto, la tradizione o l’antico. La prima manifestazione di questo dibattito è del VI secolo, quando appare il neologismo modernus (Le Goff), mentre la «querelle des Anciens et des Modernes» di fine ’600 è l’episodio centrale di questa diatriba (Calinescu)1. Dopo più di tre secoli l’opposizione tra tradizione e modernità rimane fondamentale all’interno del più ampio dibattito sulla modernità poiché esprime l’idea originaria di ‘rottura col passato’. Dalla seconda metà dell’Ottocento, però, la nozione di modernità diventa intrinsecamente legata alla seconda industrializzazione e alle trasformazioni urbane delle grandi metropoli incluse le innovazioni nel campo del tempo libero, dell’intrattenimento e degli stili di vita più 5 in generale. La prima parte del volume – Modernità, metropoli, media – è dedicata a questa ultima fase, ovvero al nesso tra modernità e metropoli a partire da fine Ottocento. Questa sezione contiene interventi di urbani- sti che discutono il nesso modernità-metropoli in relazione al contesto Nord-americano e latino-americano (Beauregard, Piccinato, Cremaschi) e contributi sul cinema e la cultura visuale (Elsaesser, Pravadelli, Rossini). Il saggio di apertura di Thomas Elsaesser funge anche da intervento intro- duttivo poiché ripercorre il dibattito concettuale e terminologico sull’in- treccio tra modernismo, modernizzazione e modernità in relazione alla cultura materiale a visuale nel contesto USA. In questi primi interventi, specialmente quelli su cinema e cultura visuale, non sono ovviamente assenti l’analisi stilistica ed estetica. Tuttavia questo tipo di riflessione viene affrontata in particolare nella seconda parte del volume – Stili ed estetiche del moderno nel cinema e nella letteratura. Dopo un primo intervento sul modernismo letterario brasiliano (Finazzi- Agrò), seguono tre contributi sul moderno cinematografico americano (De Vincenti, Trivelli, Zagarrio). Mentre il rapporto tradizione-modernità ha oramai una storia secolare, in epoca recente – gli anni ’80 e ’90 del Novecento – l’idea di modernità è stata discussa in relazione al postmoderno e alla postmodernità. Questo dibattito ha costituito un nodo del tutto centrale nella riflessione intellet- tuale degli ultimi decenni ed è stato ridimensionato solo quando è diven- tato dominante il discorso sulla globalizzazione che ne ha effettivamente preso il posto. Il dibattito moderno-postmoderno ha anch’esso investito una miriade di campi e discorsi, dalla filosofia alle arti tutte, a partire dall’architettura2. Pur senza affrontare questa questione in modo articolato, numerosi saggi del volume fanno riferimento al dibattito moderno-post- moderno. L’argomento è invece trattato esplicitamente nella terza e ultima parte del volume – Modernità, postmodernità e globalizzazione tra sociologia e filosofia – in tre diversi contributi (Maffesoli, Calcaterra, Cotesta). Se la categoria del postmoderno non attira più l’interesse di un tempo – per motivi che andrebbero comunque studiati meglio di quanto non si sia fatto – la questione della modernità continua a essere centrale nelle riflessioni filosofiche, culturali e artistiche. Anzi, con l’uscita di scena del postmoderno è tornata a rivestire il ruolo centrale che le compete. L’ambizione di questo volume è di dare un contributo alla riformulazione e riattualizzazione odierne di questa vecchia questione. Veronica Pravadelli 6 INTRODUZIONE 1 Su queste complesse questioni rinvio a J. LE GOFF, Histoire et mémoire, Gallimard, Paris 1988; M. CALINESCU, Five Faces of Modernity. Modernism, Avant-Garde, Decadence, Kitsch, Posmodernism, Duke University Press, Durham 1987, trad. it. parziale L’idea di modernità, UTET, Torino 2007, e al saggio introduttivo del volume di Thomas Elsaesser. 2 Sul postmoderno si veda F. JAMESON, Postmodernism, or, The Cultural Logic of Late Capitalism, Duke University Press, Durham 1991, trad. it. Postmodernismo. Ovvero la logica culturale del tardo capitalismo, Fazi, Roma 2007, e P. CARRAVEttA, Del postmoderno. Critica e cultura in America all’alba del Duemila, Bompiani, Milano 2009. Sul rapporto postmoderno-globale in relazione al cinema si veda il mio Dal postmoderno al globale: le forme del cinema contemporaneo in Ricreazioni, a cura di A. Bonito Oliva, Derive Approdi, Roma 2016 (in corso di pubblicazione). 7 MODERNITÀ, METROPOLI, MEDIA Thomas Elsaesser La modernità, un tropo problematico 1. Modernismo-Modernizzazione-Modernità Una delle difficoltà nell’intervenire oggi all’interno del dibattito sul modernismo sta nel fatto che questo termine ha ormai perso praticamente tutta la sua specificità, a causa delle innumerevoli revisioni positive e nega- tive che esso ha dovuto affrontare. Non ultima tra queste revisioni quella che ha visto il modernismo rimpiazzato dal ‘postmodernismo’, termine che ne ha costituito contemporaneamente la prosecuzione ed il rovescia- mento carnevalesco. Ora che il postmodernismo stesso è stato svalutato, dovrebbe essere possibile concentrarsi ancora una volta sul modernismo in quanto termine storico preciso. La direzione da me scelta è però leggermente diversa: essa ambisce a ripercorrere il dibattito sull’intreccio tra modernismo, modernizzazione e modernità1, per come esso ha definito i discorsi sulla «cultura materiale e i media visuali»2, a loro volta cruciali nel determinare la specificità del modernismo americano. In primo piano all’interno di questa «modernità materiale» ci sono la cultura del consumo e della merce, l’intrattenimento di massa, come il cinema, ed in generale
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