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 52.
... Umberto D: Dark Victory for Neorealism PART II: Transitions 5. Comencini's Bread, Love, and Fantasy: Consumable Realism Fellini's La strada: Transcending Neorealism Visconti's Senso: The Risorgimento According to Gramsci Antonioni's Red ...
... Umberto D by Vittorio De Sica (Courtesy of Museum of Modern Art/Film Stills Archive), III . Bread, Love, and Fantasy by Luigi Comencini (Courtesy of Museum of Modern Art/Film Stills Archive), I 35 La strada by Federico Fellini (Courtesy ...
... Umberto D, that neorealism had not yet achieved its ideals. See “Alcune idee sul cinema,” in Umberto D (Milan and Rome: Fratelli Bocca, 1954), pp. 10, 19. For a translation of this important essay, see “Some Ideas on the Cinema,” in ...
... Umberto D, 1952) as well as Bicycle Thief, which epitomizes the movement at its peak, and Bitter Rice, which adds a heterodox, melodramatic element to the standard neorealist aesthetic. In Part Two I consider films that exemplify the ...
... Umberto Barbaro was to issue his famous challenge: “If we in Italy wish to abandon once and for all our trashy histories, our rehashes of the 19th century, and our trifling comedies, we must try the cinema of realism.” THE TERM ...
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 |