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Research Articles

Docu-musical, migration and media reflexivity in The Harvest (2017) and Dimmi chi sono (2019)

Figures & data

Figure 1-2. Screenshot The Harvest: western genre and the caporale-singer.

Figure 1-2. Screenshot The Harvest: western genre and the caporale-singer.

Figure 3-4. Screenshots from The Harvest: the Italian landscape from static, central perspectives.

Figure 3-4. Screenshots from The Harvest: the Italian landscape from static, central perspectives.

Figure 5. Screenshot from The Harvest: music and dance of rebellion.

Figure 5. Screenshot from The Harvest: music and dance of rebellion.

Figure 6-7. Screenshot Dimmi chi sono: Sarita and the camcorder, Sarita and the red window.

Figure 6-7. Screenshot Dimmi chi sono: Sarita and the camcorder, Sarita and the red window.

Figure 8. Screenshot from Dimmi chi sono: the photo tree.

Figure 8. Screenshot from Dimmi chi sono: the photo tree.

Figure 9. Screenshot from Dimmi chi sono, bird’s-eye view of a musical scene.

Figure 9. Screenshot from Dimmi chi sono, bird’s-eye view of a musical scene.

Figure 10–11. Screenshots from Dimmi chi sono: choreography of everyday life.

Figure 10–11. Screenshots from Dimmi chi sono: choreography of everyday life.

Figure 12–13. Screenshots from Dimmi chi sono, ‘Welcome, everybody’.

Figure 12–13. Screenshots from Dimmi chi sono, ‘Welcome, everybody’.