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 33
الصفحة 12
... gestures of opposition to the Church has been in reimagining and parodying its icons. Rossellini, De Sica, and Pasolini, the three filmmakers among those I discuss who were the most ambivalent about the Church, tend to use its ...
... gestures of opposition to the Church has been in reimagining and parodying its icons. Rossellini, De Sica, and Pasolini, the three filmmakers among those I discuss who were the most ambivalent about the Church, tend to use its ...
الصفحة 15
... gesture, since, as the talking crow in the film announces, the author admits: “The era of Rossellini and Brecht is over.” For Pasolini this film was a palinode both to his vain hope of revitalizing cinematic neorealism and to his ...
... gesture, since, as the talking crow in the film announces, the author admits: “The era of Rossellini and Brecht is over.” For Pasolini this film was a palinode both to his vain hope of revitalizing cinematic neorealism and to his ...
الصفحة 18
... gestures in cinematic iconography. As a writer who has turned filmmaker, Pasolini was intensely conscious of the complementary function of gesture to speech in the filmic image. Both of his principal actors are notable for their bodily ...
... gestures in cinematic iconography. As a writer who has turned filmmaker, Pasolini was intensely conscious of the complementary function of gesture to speech in the filmic image. Both of his principal actors are notable for their bodily ...
الصفحة 23
... gesture and historical iconography with the mime “How Rome Ruined the World.” Before departing in their rickety Cadillac, they sell Totò an ointment for his sore feet, which turns out to be contraceptive jelly. The father of eighteen ...
... gesture and historical iconography with the mime “How Rome Ruined the World.” Before departing in their rickety Cadillac, they sell Totò an ointment for his sore feet, which turns out to be contraceptive jelly. The father of eighteen ...
الصفحة 24
... gesture of Mrs. Steiner. The dentists themselves are played by prominent Italian intellectuals and, typically, are ... gestures reflect in symbolical form the contractions within Italian life: they raise the clenched fist of Party ...
... gesture of Mrs. Steiner. The dentists themselves are played by prominent Italian intellectuals and, typically, are ... gestures reflect in symbolical form the contractions within Italian life: they raise the clenched fist of Party ...
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