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 42.
... filmmakers and their audiences to see an Italy that Mussolini had concealed for two full de- cades . " Twenty years of Fascism and therefore of absolute closure vis - à - vis all types of representations of reality , " claimed Ettore ...
... films will be the sub- ject 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 Con- formist PREFACE xviii.
... filmmaking conditions themselves . Thus deep- focus photography , which enhanced the representational values of the medium by allowing all planes of the shot to appear in clear focus , required a studio setting and the con- comitant ...
... filmmaking ap- proach free of artifice , unhampered by fixed screenplays , in- spired by real - life subjects , and resolved to tell the unvar- nished truth.46 The cause of realism was taken up again by a group of young contributors to ...
... filmmakers had sought at least physical realism in their fidelity to detail in historical reconstructions , in their ... filmmaking in the silent era , see Liehm , Passion and Defiance , pp . 12–16 . sional cast - as well as in their ...
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 |