Vital Crises in Italian Cinema: Iconography, Stylistics, Politics
Oxford University Press, 01/02/2013 - 256 من الصفحات
Examining the landmark works that ushered in Italy's golden age of cinema, P. Adams Sitney provides a stylish, historically rich survey of the epochal films made by Roberto Rossellini, Vittorio De Sica, Luchino Visconti, Federico Fellini, Michelangelo Antonioni, and others in the years after World War II. Remarking on the period in 1957, Pier Paolo Pasolini wrote that its films reflected a "vital crisis" in Italian culture after the fall of Fascism. Sitney expands this conceit to demonstrate the multivalent social and political forces behind a range of movies made from the mid-1940s through the1960s that includes Paisa, La terra trema, Ladri di biciclette, L'Avventura, and La dolce vita. Throughout its pages, the book considers how the nation's cinema depicts the convergence of Christian and Resistance iconography; contemplates the debate over dialect and a national language; deploys cinematic effects for the purposes of political allegory; and incorporates insights from the psychoanalytic discourse that became popular in Italy during the fifties and sixties. This new edition includes an epilogue that extends the range of the study into the 1970s with discussions of Nanni Moretti's Io sono autaurchico, the Tavianis' Padre Padrone, and Ermanno Olmi's L'albero degli zoccoli.
ما يقوله الناس - كتابة مراجعة
لم نعثر على أي مراجعات في الأماكن المعتادة.
2 Rossellinis Resistance
The National Language Dialect and the Southern Question
4 De Sicas and Zavattinis Neopopulism
5 Between the Vital Crises
6 Annus Mirabilis
7 Antonionis Psychoanalysis of the Boom
Pasolini Olmi Rosi
Pastoral Education in Language and Politics
طبعات أخرى - عرض جميع المقتطفات
Accattone allusion American Antonioni becomes camera cascina Christian cinema italiano città aperta Claudia Communist critical culture Dantean death deserto rosso Deutsche Kinemathek dialect dolce vita dramatic economic miracle episode erotic fantasy Fascist father Fellini fictional film’s filmmakers final free indirect discourse Gavino gesture Giovanni historical iconographic Italian cinema Italian films Italy L’avventura L’eclisse Ladri di biciclette landscape language Ledda Lidia Liliana literary Mamma Roma Manfredi Marcello Milan Miracolo a Milano montage moral Nadia narrative neorealism Ninetto novel Ntoni Olmi Olmi’s opening Padre Padrone Paisà partisan party Pasquale Pier Paolo Pasolini Piero play police political postwar prostitute protagonist Resistance Ricci Roma Roman Rome Rosi’s Rossellini Salvatore Giuliano Sandro scene Sciuscià script sequence sexual shot Sica Sica’s Sicilian Sicily Simone social story stylistic Tavianis terra trema tion Totò turns Uccellacci e uccellini uccellini Umberto Valastro Verga viewer Visconti Vittoria woman Zavattini