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 40.
... look ourselves in the face and tell ourselves the truth , to discover what we really were , and to seek salvation . . . . Shoeshine was a small stone , a very small stone , contributed to the moral reconstruction of our country.2 Though ...
... look ahead to neo- realism in their technique - location shooting , nonprofes- 49 See Gian Piero Brunetta , " La migrazione dei generi dalla biblioteca alla filmoteca dell'italiano , ” Italian Quarterly 21 ( Summer 1980 ) , 86 ; and ...
... look at our disasters . How much are we obligated to the Mafia ? to hypocritical bigotry ? to conformity , to irresponsibility , to bad breeding ? Let's pay all our debts with a ferocious love of honesty and the world will participate ...
... look at the entire postwar produc- Discourse on Neorealism , " pp . 139 and 161 ; Ferrara , " Neo - Realism : Yes- terday , " p . 205 ; De Santis , " In Defense of the Italian Cinema , ” p . 217 ; and Ferrara , " Neo - Realism : Today ...
Atvainojiet, šīs lappuses saturs ir ierobežots..
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 | |
Citi izdevumi - Skatīt visu
Italian Film in the Light of Neorealism Millicent Marcus,Millicent Joy Marcus,Professor Millicent Marcus Priekšskatījums nav pieejams - 1986 |