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 47.
... interest in my project , and to my unerring copy editor , Marilyn Campbell . The two outside readers solicited by the Press offered comments and criticisms which were of great help to me in revising . I would also like to express my ...
... interest to us , however , is the metaphor with which De Sica concludes his observations . If the collective Italian conscience is figured as an edifice , devastated by years of Fascism and war , then the nature of De Sica's building ...
... interest in the themes of Fascism and war , and these 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 ...
... interest , when we say " let's be realistic , " meaning “ let's set aside all norms of principled behavior in the pursuit of ' In Franco Venturini , “ Origini del neorealismo , " Bianco e nero 11 ( Feb- ruary 1950 ) , 51 . 2See René ...
... interests of time and space , I will limit myself to those arguments that bear most directly on our present concerns . Claiming that neorealism is indeed a school , Georges Sa- doul compiles a list of five characteristics prerequisite ...
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 |