| Opis: | Namen prispevka je predstaviti izsledke analize izbranih del režiserja in scenarista Franca Giraldija (1931–2020), rojenega v obmejnem prostoru med Slovenijo in Italijo ter tam deloma tudi umetniško de- javnega, in osvetliti njegove pristope pri upodobitvi meje kot izkustvenega prostora srečevanja različnih narodov, jezikov in kultur. Analiza se osredotoča na tri ključne filme njegovega filmskega in televizijskega opusa, adaptacije literar- nih predlog: La rosa rossa (1973), posnete po romanu Piera Antonia Quarantottija Gambinija, Un anno di scuola (1977), nastale po pripovedi Gianija Stuparicha, ter La frontiera (1996), proste priredbe po romanu Franca Veglianija. Dela tematizirajo individualni in kolektivni spomin, soočanje različnih kultur, iden- titet in občutek pripadnosti. Prispevek pokaže, kako Giraldijevi pristopi k adaptaciji literarnih del in filmske upodobitve presegajo tradicionalno razumevanje meje kot statične ločnice ter ponujajo upodobitve, ki razgrajujejo enoznač- ne identitetne modele, in izpostavljajo kompleksnost večplastne pripadnosti ter medkulturnih odnosi sov, s čimer pomembno prispevajo k filmski pripovedi obmejnih prostorov in širšemu humanističnemu razmisleku o pluralnih identitetah jadranskega območja.This article presents a set of insights emerging from a critical investigation into the perspectives and strategies through which the director and screenwriter Franco Giraldi (1931–2020), who was born in the border region between Slovenia and Italy and was artistically active there for part of his career, represented the frontier as a lived site of encounters among diverse peoples, languages, and cultures. The analysis focuses on three key works from his film and television oeuvre – adaptations of literary texts: La rosa rossa (1973), based on the first novel by Pier Antonio Quarantotti Gambini, Un anno di scuola (1977), inspired by a story by Giani Stuparich; and La frontiera (1996), a free adaptation of a novel by Franco Vegliani. These works converge on themes such as individual and collective memory, encounter with other cultures, multiple identities, and the sense of belonging. This article underscores Giraldi’s contribution to the cinematic representation of the frontier and the plural identities characterizing the Adriatic region, a historically complex and culturally stratified space. His work transcends the conventional notion of the border as a rigid dividing line, offering – also through specific adaptation procedures – representations that contest univocal identity models and foreground the complexity of multiple belongings and intercultural relations. |
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