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 51.
... Rossellini's Open City: The Founding De Sica's Bicycle Thief: Casting Shadows on the Visionary City . De Santis's Bitter Rice: A Neorealist Hybrid De Sica's Umberto D: Dark Victory for Neorealism PART II: Transitions 5. Comencini's ...
... Ambivalent Tribute to Neorealism 391 17. Scola's We All Loved Each Other So Much: An Epilogue 423 Bibliography of Works Consulted 437 Index IO. II. I2. Illustrations Open City by Roberto Rossellini (Courtesy C O N T E N T S viii.
Millicent Marcus. IO. II. I2. Illustrations Open City by Roberto Rossellini (Courtesy of Museum of Modern Art/Film Stills Archive), 41 Bicycle Thief by Vittorio De Sica (Courtesy of Museum of Modern Art/Film Stills Archive), 63 . Bitter ...
... Rossellini's presumed tradimento see Gianni Rondolino, Rossellini (Florence: La Nuova Italia, 1977), p. 39, and Lino Micciché, Per una verifica del neorealismo, in Il neorealismo cinematografico italiano, ed. L. Miccichè (Venice ...
... Rossellini will argue that neorealist cinema must represent reality with statistical and scientific concern, while at the same time it must grasp the intelligence of things . . . because to give the true value to anything means to ...
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 |