Only one set element is absolutely unfeasible for the stage: a mirror. If it is necessary for the play, it consists only in a pane which has an identifiable shape but has no function, as the reflection would annoy every spectator regardless its position in the audience. The cinema unified the point of view of everyone attending the show and has allowed, among other things, to use a mirror between the other set elements. Beyond a possible realism finally conquered, this has even made the mirror a protagonist, when necessary. With the reflection, that confirms or denies the double. Becoming a “door” that, if crossed, more or less magically opens to new, even tangible, perspectives, even when the passage is made through different materials such as water. Or in the case special effects make everything more magical and extraordinary. The mirror also refers to ancient forms of entertainment such as the amusement park pavilions that could either play on the deformation of bodies or on their infinite multiplication. It is noteworthy that the only typical superstition related to the mirror (the misfortune should result from their breaking) is not used among the plot devices of the cinema. So in the examples we will watch together there is a lot of action and very little existential immanence
Organised by: Associazione Culturale "Archivio Carlo Montanaro"