The Work of Art in the Age of 4K resolution

Abstract

Since ’50, thanks to programmes as Le avventure dell’arte (1954) and Musei d’Italia (1953-1959), Italian television, in line with the pedagogical and informative original purpose, has played a central role in order to divulge art history and to develop cultural consciousness in critical viewers. However, recently, the scenario has radically changed, following the commercial requirements as well as technological innovations. In the present essay, I will focus on Sky’s Art films The Vatican Museums 3D (2013), Florence and the Uffizi Gallery 3D (2015), St. Peter’s and the Papal Basilicas of Rome 3D (2016), Raphael – the Lord of the Arts (2017), which have been screened in cinemas in 60 countries worldwide and then they have been broadcasted on television. By employing advanced “dimensionalization” and “modeling” techniques, 3D cameras, ultra-high definition, historical re-enactment, evocative aerial shoots and musical soundtrack, these productions reflect upon the re-codification process concerning broadcasting art history and criticizing artworks. Referring to theoretical and aesthetic concepts suggested by Carlo Ludovico Ragghianti, Giulio Carlo Argan, Aldo Grasso, Vincenzo Trione, regarding how to narrate art through the medium, my aim is to highlight how the films I am going to take into account provoke a visual and perceptual re-conceptualization concerning the phenomenological experience of artwork.

Keywords

• tecnologie digitali
• esperienza fenomenologica
• critofilm
• spettacolarizzazione
• divulgare l’arte