In the past ten years, Venice has become an essential field of study for thinking about the Anthropocene. At the same time, the city has become a laboratory for experimenting with new forms of vision, projection and the production of sensitive atmospheres. Based on these premises, the aim of this article is to explore the relationship between media and the Venice Lagoon. Starting from the concept of Venice as an assemblage , this article reflects on a new way of exploring the relationship between cinema and the environment. Through the study of several films shot in Venice over the past decade, the article not only analyses how images have captured the alterations and transformations that have shaped Venice, but also considers the possibility that the lagoon – and Venice itself – can shape a specific cinematic perspective, defined as a ‘threshold’ perspective.
Simona Arillotta (Thu,) studied this question.