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 55.
... critical discernment with which they have received my ideas, and for sharing the wealth of their perceptions with me. Final credit goes to my husband and colleague, Robert Hill, for doing 50 percent of the child-care, and Ioo percent of ...
... critical habit of conducting “summary trials against works and directors, considering entire groups accused of desertion as if worthy of the firing squad.” See Storia del cinema italiano dal 1945 agli anni ottanta (Rome: Riuniti, 1982) ...
... critical methods, while continuing to attract scholars even thirty years after the official neorealist “demise” in the early 1950s. This also may explain the seemingly disproportionate impact of a movement that lasted only seven years ...
... critical consensus when he referred to “our best cinema . . . that which was born from the Resistance and from neorealism.” See Fulvio Accialini and Lucia Coluccelli, I Taviani (Florence: La Nuova Italia, 1979), p. 9. PRE FA CE xvii.
... be the subject of my final section. From a distance of some thirty years, filmmakers have been able to return to this traumatic period with irony and critical detachment. Bertolucci's The Conformist is a PR E FA C E xviii.
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 |