Italian Film in the Light of NeorealismPrinceton University Press, 2020. gada 31. marts - 464 lappuses The movement known as neorealism lasted seven years, generated only twenty-one films, failed at the box office, and fell short of its didactic and aesthetic aspirations. Yet it exerted such a profound influence on Italian cinema that all the best postwar directors had to come to terms with it, whether in seeming imitation (the early Olmi), in commercial exploitation (the middle Comencini) or in ostensible rejection (the recent Tavianis). Despite the reactionary pressures of the marketplace and the highly personalized visions of Fellini, Antonioni. And Visconti, Italian cinema has maintained its moral commitment to use the medium in socially responsible ways--if not to change the world, as the first neorealists hoped, then at least to move filmgoers to face the pressing economic, political, and human problems in their midst. From Rossellini's Open City (1945) to the Taviani brothers' Night of the Shooting Stars (1982). The author does close readings of seventeen films that tell the story of neorealism's evolving influence on Italian postwar cinematic expression. |
No grāmatas satura
1.–5. rezultāts no 34.
... Bertolucci's The Conformist: A Morals Charge 313 14. Wertmuller's Love and Anarchy: The High Price of Commitment 339 15. Rosi's Christ Stopped at Eboli: A Tale of Two Italies 360 16. The Taviani Brothers' Night of the Shooting Stars ...
... of Museum of Modern Art/Film Stills Archive), 255 Investigation of a Citizen above Suspicion by Elio Petri (Courtesy of Museum of Modern Art/Film Stills Archive), 277 I3. I4. I5. I6. I7. The Conformist by Bernardo Bertolucci.
... Bertolucci (Courtesy of Museum of Modern Art/Film Stills Archive), 305 Love and Anarchy by Lina Wertmuller (Courtesy of Museum of Modern Art/Film Stills Archive), 325 Christ Stopped at Eboli by Francesco Rosi (Courtesy of Museum of ...
... films will be the subject of my final section. From a distance of some thirty years, filmmakers have been able to return to this traumatic period with irony and critical detachment. Bertolucci's The Conformist is a PR E FA C E xviii.
Millicent Marcus. with irony and critical detachment. Bertolucci's The Conformist is a study of the aberrant logic behind one man's complicity with Fascism, while eros and ideology battle for the soul of Everyman in Wertmuller's Love and ...
Saturs
3 | |
Visionary City | 54 |
Bicycle Thief by Vittorio De Sica Courtesy of Museum | 63 |
A Neorealist Hybrid | 76 |
Bitter Rice by Giuseppe De Santis Courtesy of | 91 |
Dark Victory | 96 |
Transcending Neorealism | 144 |
to Gramsci | 164 |
Teorema by Pier Paolo Pasolini Courtesy of Museum | 255 |
Power as Pathology | 263 |
I2 Investigation of a Citizen above Suspicion by Elio Petri | 277 |
I3 The Conformist by Bernardo Bertolucci Courtesy | 305 |
Price of Commitment | 313 |
I4 Love and Anarchy by Lina Wertmuller Courtesy | 325 |
Two Italies | 339 |
I5 Christ Stopped at Eboli by Francesco Rosi Courtesy | 357 |
Senso by Luchino Visconti Courtesy of Museum | 165 |
Abstraction as | 188 |
Red Desert by Michelangelo Antonioni Courtesy | 195 |
Miracle | 211 |
posto by Ermanno Olmi Courtesy of Museum | 223 |
Inside | 228 |
IO Seduced and Abandoned by Pietro Germi Courtesy | 237 |
Ambivalent Tribute to Neorealism | 360 |
An Epilogue | 391 |
I7 We All Loved Each Other So Much by Ettore Scola | 407 |
Bibliography of Works Consulted | 423 |
Index | 437 |
Citi izdevumi - Skatīt visu
Italian Film in the Light of Neorealism Millicent Marcus,Millicent Joy Marcus,Professor Millicent Marcus Priekšskatījums nav pieejams - 1986 |