Italian Cinema: From Neorealism to the Present
Continuum, 2001 - 546 من الصفحات
Praise for Italian Cinema:
"Extremely interesting and stimulating."—Bernardo Bertolucci
"A very good book and a very accurate one."—Federico Fellini
"The librarian who does not get Bondanella immediately must be petitioned, picketed, importuned."—Choice
"To measure the progress and development of Anglo-American studies on Italian cinema, one needs only to consider Peter Bondanella's pioneering and seminal Italian Cinema: from Neorealism to the Present...Bondanella's work carries the crucial merit of having opened up a panoramic view of Italian national cinema to Anglo-American film scholars who in general were mostly familiar with only a few masterpieces. Over the years, Bondanella's systematic approach has enabled and inspired countless studies."—Gian Piero Brunetta, Professor of History and Film Criticism, University of Padua, Italy
This new edition of the bestselling Italian Cinema examines films made from 1989 to the present as well as analyzing the earliest days of Italian filmaking. New coverage includes the Italian horror-film genre, Roberto Benigni (Life Is Beautiful), Bernardo Bertolucci (Stealing Beauty), Franco Zeffirelli (Tea with Mussolini), Michael Radford (The Postman [Il Postino]), Gabriele Salvatores (Mediterraneo), Maurizio Nichetti (The Bicycle Thief), Giuseppe Tornatore (Cinema Paradiso, The Starmaker), and much more. This fully revised and updated new edition includes:
• All new notes
• An extensive bibliography
• DVD information
النتائج 1-3 من 79
Thus, the neorealists in principle "respected" the ontological wholeness of the
reality they filmed, just as the rhythm of their narrated screen time often "
respected" the actual duration of time within the story; neorealist aesthetics thus
In a good neorealist fashion that recalls statements made by such important
figures as Cesare Zavattini, Celestino views the camera as a means of
separating reality from illusion, good from evil, substance from appearance.
Photography is, for ...
His basic contention was that the cinema expressed reality with reality itself (not
with separate semiotic codes, symbols, allegories, or metaphors), and that film's
reproduction of physical objects was an essentially poetic and metonymic ...
ما يقوله الناس - كتابة مراجعة
Rossellini De Ska and Visconti
Exploring the Boundaries of Neorealism
Rossellini in Transition Early
9 من الأقسام الأخرى غير ظاهرة