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. |
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النتائج 1-3 من 27
الصفحة 24
... allusion to Steiner's grotesque intellectual salon in La dolce vita , the butler greeting Ninetto and Totò at the door parodies the gesture of Mrs. Steiner . The dentists themselves are played by prominent Italian intellectuals and ...
... allusion to Steiner's grotesque intellectual salon in La dolce vita , the butler greeting Ninetto and Totò at the door parodies the gesture of Mrs. Steiner . The dentists themselves are played by prominent Italian intellectuals and ...
الصفحة 117
... allusion ( absent from the original scenario ) . Domino , a transvestite , introduces the idea of " penance " as he walks to the fish beside Marcello . He talks of changing his life . When he sees the fish he says , " Il est plein de ...
... allusion ( absent from the original scenario ) . Domino , a transvestite , introduces the idea of " penance " as he walks to the fish beside Marcello . He talks of changing his life . When he sees the fish he says , " Il est plein de ...
الصفحة 229
... allusion to Adorno at the opening of La notte is evidence of this . See Joan Esposito , “ Antonioni and Benjamin : Dia- lectic Imagery in Eclipse , " Film Criticism 9 , no . 1 ( Fall 1984 ) : 35–46 . 8. NEW WAVE NEOREALISM : PASOLINI ...
... allusion to Adorno at the opening of La notte is evidence of this . See Joan Esposito , “ Antonioni and Benjamin : Dia- lectic Imagery in Eclipse , " Film Criticism 9 , no . 1 ( Fall 1984 ) : 35–46 . 8. NEW WAVE NEOREALISM : PASOLINI ...
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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