Italian Film in the Light of Neorealism

Pirmais vāks
Princeton University Press, 1986 - 443 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.

Other films discussed are De Sica's Bicycle Thief and Umberto D. De Santis's Bitter Rice, Comencini's Bread, Love, and Fantasy, Fellini's La strada, Visconti's Senso, Antonioni's Red Desert, Olmi's Il Posto, Germi's Seduced and Abandoned, Pasolini's Teorema, Petri's Investigation of a Citizen above Suspicion, Bertolucci's The Conformist, Rosi's Christ Stopped at Eboli, and Wertmuller's Love and Anarchy, Scola's We All Loved Each Other So Much provides the occasion for the author's own retrospective consideration of how Italian cinema has fulfilled, or disappointed, the promise of neorealism.

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Atlasītās lappuses


The Founding
Casting Shadows on the Visionary City
A Neorealist Hybrid
Dark Victory for Neorealism
Consumable Realism
Transcending Neorealism
The Risorgimento According to Gramsci
The halfway revolution
Power as Pathology
Fascism and War Reconsidered
A Morals Charge
The High Price of Commitment
A Tale of Two Italies
Ambivalent Tribute to Neorealism
An Epilogue

Abstraction as the Guiding Idea
Return to Social Commentary
Discrediting the economic miracle
Inside the Honor Code

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Populāri fragmenti

13. lappuse - Chi osserva questo spettacolo non ha il diritto di giudicarlo; è già molto se riesce a trarsi un istante fuori del campo della lotta per studiarla senza passione, e rendere la scena nettamente, coi colori adatti, tale da dare la rappresentazione della realtà coni' è stata, o come avrebbe dovuto essere do . lV, Milano, 19 gennaio iSSi.
8. lappuse - En un mot, nous devons opérer sur les caractères, sur les passions, sur les faits humains et sociaux, comme le chimiste et le physicien opèrent sur les corps bruts, comme le physiolologiste opère sur les corps vivants.
22. lappuse - The rules governing neorealist practice would include location shooting, lengthy takes, unobtrusive editing, natural lighting, a predominance of medium and long shots, respect for the continuity of time and space, use of contemporary, true-to-life subjects, an uncontrived, open-ended plot, working-class protagonists, a non-professional cast, dialogue in the vernacular, active viewer involvement, and implied social criticism" (Marcus, Italian Cinema, 22).

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