Vital Crises in Italian Cinema: Iconography, Stylistics, PoliticsOxford 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. |
من داخل الكتاب
النتائج 1-5 من 89
الصفحة
... films I discuss: Marcia Landy's Italian Film, Noa Steimatsky's Italian Locations: Inhabiting the Past in Postwar Cinema, Angelo Restivo's The Cinema of Economic Miracles: Visuality and Modernization in the Italian Art Film, Henry ...
... films I discuss: Marcia Landy's Italian Film, Noa Steimatsky's Italian Locations: Inhabiting the Past in Postwar Cinema, Angelo Restivo's The Cinema of Economic Miracles: Visuality and Modernization in the Italian Art Film, Henry ...
الصفحة
... film history, for it is neither polemical nor centered on my lifelong association with the American avant-garde cinema and its artists. It is the product of a passion and of the scholarship animated by that passion. The three crucial films ...
... film history, for it is neither polemical nor centered on my lifelong association with the American avant-garde cinema and its artists. It is the product of a passion and of the scholarship animated by that passion. The three crucial films ...
الصفحة
... films not distributed in English, and I have left the distributed English titles even when inaccurately translated, such as The Gospel according to St. Matthew, where Pasolini had deliberately excluded the honorific “Saint.” In some ...
... films not distributed in English, and I have left the distributed English titles even when inaccurately translated, such as The Gospel according to St. Matthew, where Pasolini had deliberately excluded the honorific “Saint.” In some ...
الصفحة 5
... film, La dolce vita, would be both the first sign and a major stimulus. Naturally all the belligerent nations ... films before the rise of Hitler. The major achievements of the French, British, and American cinemas in the late forties ...
... film, La dolce vita, would be both the first sign and a major stimulus. Naturally all the belligerent nations ... films before the rise of Hitler. The major achievements of the French, British, and American cinemas in the late forties ...
الصفحة 6
... films by one director, were liable to shift and readjust. In the three chapters I devote to that period, I shall attempt to distinguish among the aesthetic and moral positions of Rossellini, Visconti, and De Sica (and Zavattini) as ...
... films by one director, were liable to shift and readjust. In the three chapters I devote to that period, I shall attempt to distinguish among the aesthetic and moral positions of Rossellini, Visconti, and De Sica (and Zavattini) as ...
المحتوى
3 | |
2 Rossellinis Resistance | 27 |
The National Language Dialect and the Southern Question | 55 |
4 De Sicas and Zavattinis Neopopulism | 75 |
5 Between the Vital Crises | 97 |
6 Annus Mirabilis | 105 |
Illustrations | 132 |
7 Antonionis Psychoanalysis of the Boom | 137 |
Pasolini Olmi Rosi | 163 |
9 Conclusion | 195 |
Pastoral Education in Language and Politics | 207 |
Notes | 237 |
Index | 249 |
عبارات ومصطلحات مألوفة
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