Italian Neorealist Cinema: An Aesthetic Approach
University of Toronto Press, 2007 - 504 σελίδες
"The end of the Second World War saw the emergence in Italy of the neorealism movement, which produced a number of films characterized by stories set among the poor and working class, often shot on location using non-professional actors. In this study Christopher Wagstaff provides an in-depth analysis of neorealist film, focusing on three films that have had a major impact on filmmakers and audiences around the world: Roberto Rossellini's Roma città aperta and Paisà and Vittorio De Sica's Ladri di biciclette. Indeed, these films are still, more than half a century after they were made, among the most highly regarded works in the history of cinema. In this insightful and carefully researched work, Wagstaff suggests that the importance of these films is largely due to the aesthetic and rhetorical qualities of their assembled sounds and images rather than, as commonly thought, their particular representations of historical reality.The author begins by situating neorealist cinema in its historical, industrial, commercial, and cultural context. He goes on to provide a theoretical discussion of realism and the merits of neorealist films, individually and collectively, as aesthetic artefacts. He follows with a detailed analysis of the three films, focusing on technical and production aspects as well as on the significance of the films as cinematic works of art.While providing a wealth of information and analysis previously unavailable to an English-speaking audience, Italian Neorealist Cinema offers a radically new perspective on neorealist cinema and the Italian art cinema that followed it."
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actors aesthetic artefacts Americans Antonio and Bruno Antonioni artistic assembled background Bergmann bicycle camera Carmela Cesare Zavattini characters Cigolani cinema italiano close-up comedy critical cultural Dale delta episode dialogue director documentary Don Pietro event-story fact Fascist Federico Fellini film’s filmmakers footage foreground frame Francesco friars function genre Germans Giuseppe De Santis historical Italian cinema Italian films Italy Joe’s La terra trema Ladri di biciclette landscape looking Luigi Manfredi Marcello Maria matrix melodrama mise en scène montage movement Naples narrative thread neorealism neorealist cinema neorealist films notion Pacifico Paisà partisans Pasquale Pina Pina’s poetics point of view political production protagonists realism reality reference released representation rhetorical Roberto Rossellini Roma città aperta Rome episode Santis Santona scene screenplay script Sergio Amidei sermo humilis shooting shot Sica’s social sound soundtrack story street Suso Cecchi D’Amico takes Tickets sold tion Umberto Umberto D viewer Vittorio De Sica