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 87.
... film teaching and to embark on the road that would lead to this book. The many students who have taken my Italian cinema courses over the years have contributed to my thinking about film in ways too subtle and all-pervasive to ...
... cinema of greater subjectivity and depth, he was called a traitor to the movement he had been so instrumental in founding.' That such strong language should be used in matters of ... Italian cinema, to plant the camera in the midst Preface.
Millicent Marcus. the Italian cinema, to plant the camera in the midst of real life, in the midst of all that struck our astonished eyes. We sought to liberate ourselves from the weight of our sins, we wanted to look ourselves in the ...
... cinema appeared which was looked on as a means toward liberation and to ... Italian conscience is figured as an edifice, devastated by years of Fascism ... Italian national identity will thus owe as much to the cinema as it does to the ...
... film industry of the postwar years. It is an attempt, instead, to fathom the impact of neorealism on Italian cinema through selective analyses of exemplary works produced between 1945 and 1982. Nor does this study aspire to completeness ...
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 |