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 13
الصفحة 161
... Vittoria on the floor of the Borsa , where she had come in search of her mother . The funereal minute freezes Vittoria and her mother on one side of a large column , while Piero and two members of his brokerage stand at the other . When ...
... Vittoria on the floor of the Borsa , where she had come in search of her mother . The funereal minute freezes Vittoria and her mother on one side of a large column , while Piero and two members of his brokerage stand at the other . When ...
الصفحة 164
... Vittoria - Riccardo , with the even tenser final cityscape lacking only the couple Vittoria - Piero . Both represent the termi- nations of affairs . Perhaps it would be more accurate to speak of the opening as a matrix from which the ...
... Vittoria - Riccardo , with the even tenser final cityscape lacking only the couple Vittoria - Piero . Both represent the termi- nations of affairs . Perhaps it would be more accurate to speak of the opening as a matrix from which the ...
الصفحة 165
... Vittoria wants to leave ; Riccardo tries to hold on to her . This sec- ond stage of the episode culminates in a remarkable shot of Vittoria re- coiling from her own reflected image and seeking relief from the claustro- phobic intensity ...
... Vittoria wants to leave ; Riccardo tries to hold on to her . This sec- ond stage of the episode culminates in a remarkable shot of Vittoria re- coiling from her own reflected image and seeking relief from the claustro- phobic intensity ...
طبعات أخرى - عرض جميع المقتطفات
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