Vital Crises in Italian Cinema: Iconography, Stylistics, Politics

الغلاف الأمامي
University of Texas Press, 1995 - 239 من الصفحات
Italian films of the post-World War II period showed an extraordinary power and originality that sets them apart from others in the history of Italian cinema. In this book, P. Adams Sitney combines new interpretations of many of these films with original research into the intellectual milieu in which they were made in order to explain them as reflections of Italian national life during moments of vital self-definition. The films Sitney analyzes were made during the years 1945-1950 and 1958-1963. Taking six films from the first period and nine from the second, he focuses on three interrelated aspects: the ways in which they refer, directly or obliquely, to the social and political issues of their times; their relationships to contemporary currents in Italian literature; and their elaborations of a traditional iconography to which they actively contribute. Rossellini, Visconti, De Sica, Zavattini, Antonioni, Pasolini, Olmi, and Rosi are among the directors whose work he discusses. The films include Paisa, La terra trema, La dolce vita, and Il deserto rosso.

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المحتويات

Introduction
1
Rossellinis Resistance
28
The National Language Dialect and the Southern Question
58
حقوق النشر

7 من الأقسام الأخرى غير ظاهرة

طبعات أخرى - عرض جميع المقتطفات

عبارات ومصطلحات مألوفة

حول المؤلف (1995)

P. Adams Sitney is a Professor of Visual Art at Princeton University. He has taught at Bard College, New York University, The Cooper Union, The School of the Art Institute of Chicago, and the School of Visual Arts. He is the author of Visionary Film: The American Avan-Garde 1943-1200; Modernist
Montage: The Obscurity of Vision in Film and Literature; Vital Crises in Italian Cinema; and he edited Film Culture Reader; The Essential Cinema; The Avant-Garde Film; and Stan Brakhage's Metaphors on Vision. In 1969 he co-founded Anthology Film Archives in New York.

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