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 53
الصفحة 3
... exacerbated by the fall of Fascism. He wrote the previously quoted passage in 1957, when he was thirty-five years old, in an essay accompanying the published script of Fellini's Le notti di Cabiria; it was 1. Introduction.
... exacerbated by the fall of Fascism. He wrote the previously quoted passage in 1957, when he was thirty-five years old, in an essay accompanying the published script of Fellini's Le notti di Cabiria; it was 1. Introduction.
الصفحة 5
... Fascist films (on which Antonioni, Mida, and De Santis worked with him), was associated with Federico Fellini. De Sica, a stage and film actor since the end of the First World War, had great popularity as a matinée idol throughout the ...
... Fascist films (on which Antonioni, Mida, and De Santis worked with him), was associated with Federico Fellini. De Sica, a stage and film actor since the end of the First World War, had great popularity as a matinée idol throughout the ...
الصفحة 6
... Fascist state and the fledgling new order generated an atmosphere of radical uncertainty in which the different filmmakers assumed often mutually contradictory positions on the nature of the society Italy was becoming or should become ...
... Fascist state and the fledgling new order generated an atmosphere of radical uncertainty in which the different filmmakers assumed often mutually contradictory positions on the nature of the society Italy was becoming or should become ...
الصفحة 22
... Fascists of Florence almost entirely with the offscreen sounds of sporadic gunfire: the protagonists of the episode scramble through the emptied Uffizi Gallery and across deserted piazzas in their effort to reach a part of the city that ...
... Fascists of Florence almost entirely with the offscreen sounds of sporadic gunfire: the protagonists of the episode scramble through the emptied Uffizi Gallery and across deserted piazzas in their effort to reach a part of the city that ...
الصفحة 25
... Fascism or the Resistance, would repudiate the PCI. The funereal gestures of the crowd at Togliatti's funeral echo the mime “How Rome Ruined the World.” For there we saw a woman, who played the role of a primitive Christian, praying and ...
... Fascism or the Resistance, would repudiate the PCI. The funereal gestures of the crowd at Togliatti's funeral echo the mime “How Rome Ruined the World.” For there we saw a woman, who played the role of a primitive Christian, praying and ...
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 |
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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