Vital Crises in Italian Cinema: Iconography, Stylistics, PoliticsOxford University Press, 01/03/2013 - 288 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 41
الصفحة 4
... Communist party (PCI) into political and moral disarray. Yet Pasolini could not have known that as he was writing about the culture of 1945 and immediately after, the Italian cinema was on the verge of a dramatic reinvigoration, of ...
... Communist party (PCI) into political and moral disarray. Yet Pasolini could not have known that as he was writing about the culture of 1945 and immediately after, the Italian cinema was on the verge of a dramatic reinvigoration, of ...
الصفحة 5
... Communist Resistance, knew each other from working on Cinema, the progressive journal of Vittorio Mussolini, the Duce's son. They included Visconti, Michelangelo Antonioni, Gianni Puccini and his brother Massimo Mida (Puccini), Pietro ...
... Communist Resistance, knew each other from working on Cinema, the progressive journal of Vittorio Mussolini, the Duce's son. They included Visconti, Michelangelo Antonioni, Gianni Puccini and his brother Massimo Mida (Puccini), Pietro ...
الصفحة 8
... Communist Left; the Church had initiated its historic readjustment to the twentieth century; the agrarian South provided cheap labor (along with major social problems) for the industrial North. As membership in the PCI dramatically ...
... Communist Left; the Church had initiated its historic readjustment to the twentieth century; the agrarian South provided cheap labor (along with major social problems) for the industrial North. As membership in the PCI dramatically ...
الصفحة 12
... example, there seems to be a critical consensus that the shot of the dying Communist in Roma, città aperta, with his head bloodied and arms outstretched, invokes Christ on the Cross. A more controversial [12] Vital Crises in Italian Cinema.
... example, there seems to be a critical consensus that the shot of the dying Communist in Roma, città aperta, with his head bloodied and arms outstretched, invokes Christ on the Cross. A more controversial [12] Vital Crises in Italian Cinema.
الصفحة 15
... Communist party since the fall of Mussolini. While cataloguing the stylistic achievements of the Italian cinema of ... communism. Since Pasolini was the first to recognize, at least implicitly, that neorealism was fundamentally a system ...
... Communist party since the fall of Mussolini. While cataloguing the stylistic achievements of the Italian cinema of ... communism. Since Pasolini was the first to recognize, at least implicitly, that neorealism was fundamentally a system ...
المحتوى
3 | |
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 |
طبعات أخرى - عرض جميع المقتطفات
عبارات ومصطلحات مألوفة
Accattone allusion American Antonioni becomes camera Christian cinema italiano città aperta Communist critical culture Dantean death deserto rosso dialect dolce vita dramatic economic miracle episode erotic fantasy Fascist father Fellini film’s filmmakers final free indirect discourse Gavino gesture Giovanni historical iconographic Il deserto rosso Italian cinema Italian films Italy L’avventura L’eclisse La dolce vita La terra trema Ladri di biciclette landscape language Ledda Lidia Liliana literary Marcello Milan Miracolo a Milano montage moral Nadia narrative neorealism Ninetto novel Ntoni Olmi Olmi’s opening Padre Padrone Paisà partisan party 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