ABSTRACT

Focusing on two teenagers grappling with the difficult reality of Naples, Agostino Ferrente’s Selfie (2019) is a powerful depiction of an entire community at a significant time, when limited perspectives and the pervasive presence of organized crime – with a value system that is intrinsic to the Camorra – deeply influence the present and the future of a generation. Shot by two 16-year-old boys from the Traiano district (Naples), the film is a powerful example of how self-representation can be a strategic and political tool to immerse in a life and its context. Within the framework of studies on first-person filmmaking and self-representation, and mobilizing concepts from the theory of mobile films, this article argues that, through the filming carried out by the two teenagers, Selfie is able to offer us a wider glimpse of a generation, of its everyday life and imagination, and of its perception of the contemporary media imaginary. I argue that, by employing a reflexive mode of documentary and the linguistic forms of the photographic selfie, the film engages the spectator in an intimate flow of images, questioning authorial instances, the relationship of the iGeneration with filming devices, and the different approaches and aesthetic choices that form the basis of every representation of reality.

摘要

阿戈斯蒂诺·费伦特 (Agostino Ferrente) 的自拍(2019)专注于应对那不勒斯艰难现实的两名青少年，有力地描绘了一个重要时期的整个社区，当时观点有限，有组织犯罪无处不在——其价值体系是Camorra——深刻影响了一代人的现在和未来。这部电影由来自特拉亚诺区（那不勒斯）的两名 16 岁男孩拍摄，是一个有力的例子，说明自我表现如何成为一种战略和政治工具，让人们沉浸在生活及其背景中。在第一人称电影制作和自我表现的研究框架内，并从移动电影理论中动员概念，本文认为，通过两个青少年的拍摄，Selfie能够让我们更广泛地了解一代人、他们的日常生活和想象力，以及他们对当代媒体想象的看法。我认为，通过采用纪录片的反思模式和摄影自拍的语言形式，这部电影让观众参与到亲密的图像流动中，质疑作者的例子、iGeneration 与拍摄设备的关系，以及不同的方法和美学选择构成了现实的每一种表现形式的基础。