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. |
No grāmatas satura
1.–5. rezultāts no 70.
... Sica's Bicycle Thief : Casting Shadows on the Visionary City 76 3. De Santis's Bitter Rice : A Neorealist Hybrid 96 4. De Sica's Umberto D : Dark Victory for Neorealism 119 PART II : Transitions 121 144 164 188 5. Comencini's Bread ...
... Sica ( Courtesy of Museum of Modern Art / Film Stills Archive ) , 63 3. Bitter Rice by Giuseppe De Santis ( Courtesy of Mu- seum of Modern Art / Film Stills Archive ) , 91 4. Umberto D by Vittorio De Sica ( Courtesy of Museum of Modern ...
... Sica's comments on Shoeshine , his first film of the postwar period , suggest the intensity of the social and ethical commitment that went into neorealist practice . The experience of the war was decisive for us all . Each felt the mad ...
... Sica's statement nonetheless stands as a cogent argument for the inadequacy of a strictly stylistic approach to neorealism . As the cinematic offspring of the Resistance ( Open City , for ex- ample , was originally intended to ...
... Sica's I bambini ci guardano , Oss- essione was considered the harbinger of that realist recur- ographic and literary neorealism were born from the same research and experience . " In Inchiesta sul neorealismo , ed . Carlo Bo ( Turin ...
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 |