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. |
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1.–5. rezultāts no 44.
... (Paris: Union Générale d'Editions, 1978), p. 3oo. *See Joan Mellen, “Cinema Is Not for an Elite but for the Masses: An Interview with Elio Petri,” Cinéaste 6 (1973), Io. 6 Ibid. 7See the interview in Aldo Tassone, Parla il PR E FA C E xiv.
... Ibid. 7See the interview in Aldo Tassone, Parla il cinema italiano, II (Milan: Il Formichiere 1980), p. 314. *On the relationship between neorealism and the collective conscience of the newly emergent postwar social order, see Pietro ...
... Ibid. On the slipperiness of the term “realism” and on the need for a contextual approach, see Springtime, ed. Overbey, p. 20. *Louis Giannetti sets realism against expressionism throughout his Understanding Movies (Englewood Cliffs ...
... Ibid., p. 51. *The photographic image is a “trace, something directly stenciled off the real . . . a material vestige of its subject.” Susan Sontag, On Photography (New York: Dell, 1980), p. 154. illusion of reality” than the original ...
... Ibid., p. 35. Similarly, “to render the idea of reality it is often necessary to modify it,” according to Vittorio Taviani. See Tassone, Parla il cinema, II, p. 368. *Bazin, What Is Cinema? 2:28–29. “Ibid., 2:29–30. * “Nous partons bien ...
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 |