Italian Film in the Light of NeorealismPrinceton 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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1.–5. rezultāts no 45.
... According to Gramsci 8. Antonioni's Red Desert : Abstraction as the Guiding Idea 209 PART III : Return to Social Commentary 211 9. Olmi's Il posto : Discrediting the Economic Miracle 228 10. Germi's Seduced and Abandoned : Inside the Honor.
Millicent Joy Marcus. 228 10. Germi's Seduced and Abandoned : Inside the Honor Code 245 263 II . Pasolini's Teorema : The Halfway Revolution 12. Petri's Investigation of a Citizen above Suspi- cion : Power as Pathology 283 PART IV ...
... Abandoned by Pietro Germi ( Courtesy of Museum of Modern Art / Film Stills Archive ) , 237 11. Teorema by Pier Paolo Pasolini ( Courtesy of Museum of Modern Art / Film Stills Archive ) , 255 12. Investigation of a Citizen above ...
... , and 100 percent of the criticism and encouragement so necessary for the com- pletion of this book . Austin , Texas September 1985 Preface WHEN ROBERTO ROSSELLINI abandoned neorealism in the early 1950s ACKNOWLEDGMENTS xii.
Millicent Joy Marcus. Preface WHEN ROBERTO ROSSELLINI abandoned neorealism in the early 1950s for a cinema of greater subjectivity and depth , he was called a traitor to the movement he had been so instrumental in founding . That such ...
Saturs
The Founding | 33 |
Casting Shadows on the Visionary City | 54 |
A Neorealist Hybrid | 76 |
Dark Victory for Neorealism | 96 |
Transitions | 119 |
Consumable Realism | 121 |
Transcending Neorealism | 144 |
The Risorgimento According to Gramsci | 164 |
The halfway revolution | 245 |
Power as Pathology | 263 |
Fascism and War Reconsidered | 283 |
A Morals Charge | 285 |
The High Price of Commitment | 313 |
A Tale of Two Italies | 339 |
Ambivalent Tribute to Neorealism | 360 |
An Epilogue | 391 |
Abstraction as the Guiding Idea | 188 |
Return to Social Commentary | 209 |
Discrediting the economic miracle | 211 |
Inside the Honor Code | 228 |
of Works Consulted | 423 |
437 | |
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Italian Film in the Light of Neorealism Millicent Marcus,Millicent Joy Marcus,Professor Millicent Marcus Priekšskatījums nav pieejams - 1986 |