Vital Crises in Italian Cinema: Iconography, Stylistics, PoliticsUniversity 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. |
من داخل الكتاب
النتائج 1-3 من 9
الصفحة 125
... Nadia seems at first to accept in a gesture of crucifixion , collides effectively with the sound texture of the blows and shouts of the ring at each montage shift . There is even a verbal overlapping when Rocco's trainer urges him to ...
... Nadia seems at first to accept in a gesture of crucifixion , collides effectively with the sound texture of the blows and shouts of the ring at each montage shift . There is even a verbal overlapping when Rocco's trainer urges him to ...
الصفحة 127
... Nadia's room ; he has gone off with her without telling his manager , the homo- sexual Morini ( a figure from Testori's book ) , who had arranged a celebra- tory dinner . Thus Visconti draws him to the center of the narrative as a ...
... Nadia's room ; he has gone off with her without telling his manager , the homo- sexual Morini ( a figure from Testori's book ) , who had arranged a celebra- tory dinner . Thus Visconti draws him to the center of the narrative as a ...
الصفحة 129
... Nadia into her apartment and Rocco leaves to live with Vincenzo ( she does not know of the fight between the brothers , and thinks Simone is the victim of the evil eye , which she in turn tries to put on Nadia ) . Gian Piero Brunetta ...
... Nadia into her apartment and Rocco leaves to live with Vincenzo ( she does not know of the fight between the brothers , and thinks Simone is the victim of the evil eye , which she in turn tries to put on Nadia ) . Gian Piero Brunetta ...
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عبارات ومصطلحات مألوفة
Accattone Acitrezza allusion American Antonioni bicycle brother Cabiria camera Christian cinema italiano città aperta Claudia comic Communist Courtesy critical culture Dantean death deserto rosso dialect dolce vita Don Pietro dramatic economic miracle encounter episode erotic fantasy Fascist father Fellini Film Stills Archive film's filmmaker final Germans gesture Giovanni Giuseppe iconographic Il deserto rosso Italian cinema Italian films Italy L'avventura L'eclisse La dolce vita La terra trema Ladri di biciclette Lidia Liliana literary Manfredi Marcello Milan Miracolo a Milano montage moral Museum of Modern Nadia narrative neorealism Ninetto notte novel Ntoni Olmi opening Paisà partisan party Pasquale Pier Paolo Pasolini Piero police political postwar prostitute protagonist Resistance Ricci Roma Rome Rosi's Rossellini Salvatore Giuliano Sandro scene Sciuscià script sexual shot Sica Sica's Sicilian Sicily Simone social story stylistic terra trema tion Totò turns Uccellacci e uccellini Umberto Valastros Verga's viewer Visconti Vittoria woman Zavattini