Italian Cinema: From Neorealism to the PresentContinuum, 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
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النتائج 1-3 من 29
... sound track to advance the story of Umberto D. represents a step beyond The Bicycle Thief . His landlady , once kept alive by her old boarder's surplus ration coupons during the war , now wants to evict him , and she even rents his room ...
... sounds like applause on the sound track . The poetic necessity of this intrusive commentary by the directors is unassailable , even if it would be out of place in any purely representational treatment of the scene . We have , indeed ...
... sound track as if it were a heart beat , while Olmi's camera holds a close - up on Domenico's vulnerable face for an inordinate length of time , then fades to black . Rarely has such an eloquent portrait of the anguish of daily labor ...
المحتوى
Rossellini De Sica and Visconti | 31 |
Exploring the Boundaries of Neorealism | 74 |
Rossellini in Transition Early | 103 |
حقوق النشر | |
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Italian Cinema: From Neorealism to the Present <span dir=ltr>Peter E. Bondanella</span> لا تتوفر معاينة - 2001 |