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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الصفحة 56
... vision . Rossellini told Dacia Maraini , in 1973 , that he had never been a member of any political party : " I believe that it is necessary to keep alive and or- thodoxies frighten me because they make me feel dead . " 30 Yet he was ...
... vision . Rossellini told Dacia Maraini , in 1973 , that he had never been a member of any political party : " I believe that it is necessary to keep alive and or- thodoxies frighten me because they make me feel dead . " 30 Yet he was ...
الصفحة 210
... vision of aestheticism with the vision of a neurotic . * woman .... In both the Vie nuove text and the more elaborately theoretical essay Pasolini specifies two traits as characteristic of Antonioni's " free indirect " style : the ...
... vision of aestheticism with the vision of a neurotic . * woman .... In both the Vie nuove text and the more elaborately theoretical essay Pasolini specifies two traits as characteristic of Antonioni's " free indirect " style : the ...
الصفحة 212
... vision to be able to ascertain the objec- tivity of her observations ; for even when she is not on the screen the “ de- lirious vision of aestheticism " determines the eccentric color patterns and camera strategies . As the wife of a ...
... vision to be able to ascertain the objec- tivity of her observations ; for even when she is not on the screen the “ de- lirious vision of aestheticism " determines the eccentric color patterns and camera strategies . As the wife of a ...
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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