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. |
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النتائج 1-5 من 29
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 4
... script collaborator because of his familiarity with the language of prostitutes and pimps, was the last reverberation of neorealist iconography. By 1957 it was also clear that the efforts of the parties of the Left to challenge the DC's ...
... script collaborator because of his familiarity with the language of prostitutes and pimps, was the last reverberation of neorealist iconography. By 1957 it was also clear that the efforts of the parties of the Left to challenge the DC's ...
الصفحة 5
... script by Cesare Zavattini, whom he met during a mid-1930s production in which he starred. The interrelationship of ... scripts for Rossellini's Roma, città aperta and Paisà (Paisan) with Fellini and others, De Sica's Sciuscià (Shoeshine) ...
... script by Cesare Zavattini, whom he met during a mid-1930s production in which he starred. The interrelationship of ... scripts for Rossellini's Roma, città aperta and Paisà (Paisan) with Fellini and others, De Sica's Sciuscià (Shoeshine) ...
الصفحة 11
... scripts, writings by filmmakers, monographs, and the proceedings of scholarly conferences that has distinguished Italian film publication for decades. Naturally, much of the background and contextual material I present can be traced to ...
... scripts, writings by filmmakers, monographs, and the proceedings of scholarly conferences that has distinguished Italian film publication for decades. Naturally, much of the background and contextual material I present can be traced to ...
الصفحة 18
... script as “a silence of dreams”) and eventually to the replacement of speech by music. Pasolini takes pains to illustrate the independence of the visual and sound tracks, suggesting that the synchronization typical of sound narratives ...
... script as “a silence of dreams”) and eventually to the replacement of speech by music. Pasolini takes pains to illustrate the independence of the visual and sound tracks, suggesting that the synchronization typical of sound narratives ...
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