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 75
الصفحة 12
... , 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.
... , 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
... shots:5 an aging man and an adolescent walk along along flat road. The widescreen ratio and the compositional centrality of the road emphasize its virtual infinity and its isolation in the flat landscape. A quotation from Mao gives that ...
... shots:5 an aging man and an adolescent walk along along flat road. The widescreen ratio and the compositional centrality of the road emphasize its virtual infinity and its isolation in the flat landscape. A quotation from Mao gives that ...
الصفحة 17
... shot just out of sight of Rome's airport, suggest that the spiritual authority birds had once symbolized cannot be sustained in a landscape in which the passenger airplane is taken for granted. A correlative exists in the very “comedy ...
... shot just out of sight of Rome's airport, suggest that the spiritual authority birds had once symbolized cannot be sustained in a landscape in which the passenger airplane is taken for granted. A correlative exists in the very “comedy ...
الصفحة 20
... shots, flies away, above Rome's Aquiline hill. The catechism of the birds was to have been the second autonomous ... shot-countershot, by subtitling the film in Italian at this point. The fun continues when the haughty hawks rush to ...
... shots, flies away, above Rome's Aquiline hill. The catechism of the birds was to have been the second autonomous ... shot-countershot, by subtitling the film in Italian at this point. The fun continues when the haughty hawks rush to ...
الصفحة 25
... shot, Totò and Ninetto are just where they began, but they have consumed (and presumably will defecate) Togliattian communism and have interiorized the iconography of the modern Italian cinema. Of course, Pasolini's emphasis on ...
... shot, Totò and Ninetto are just where they began, but they have consumed (and presumably will defecate) Togliattian communism and have interiorized the iconography of the modern Italian cinema. Of course, Pasolini's emphasis on ...
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