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 43.
... Bondanella, Ben Lawton, and Robert Sklar for their endorsements of my research plans from the very start. I am also grateful to Gian-Paolo Biasin who first encouraged me to plunge into film teaching and to embark on the road that would ...
... Bondanella, Italian Cinema from Neorealism to the Present (New York: Ungar, 1983), p. 35. "Lino Micciché argues that the neorealists never succeeded in elevating the cinematic tastes of the Italian public. See “Per una verifica,” in Il ...
... Bondanella, Italian Cinema; R. T. Witcombe, The New Italian Cinema (New York: Oxford, 1982); Brunetta, Storia del cinema italiano; and Liehm, Passion and Defiance. ”See Giuseppe Ferrara, Il nuovo cinema italiano (Florence: Le Monnier ...
... Bondanella, neorealism's primary preoccupation is the dialectic between reality and illusion. See his “Early Fellini: Variety Lights, The White Sheik, The Vitelloni,” in Federico Fellini, Essays in Criticism (New York: Oxford, 1978), pp ...
... Bondanella, Italian Cinema, p. 34. Nor was there ideological homogeneity among neorealists, according to Brunetta, Storia, p. 321. On the divergent cultural backgrounds and preparations of the major neorealist directors, see Brunetta ...
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 |
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Italian Film in the Light of Neorealism Millicent Marcus,Millicent Joy Marcus,Professor Millicent Marcus Priekšskatījums nav pieejams - 1986 |