Italian Film in the Light of Neorealism
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A01=Millicent Marcus
Allusion
Antonio
Artifice
Author_Millicent Marcus
Awareness
Bernardo Bertolucci
Bitter Rice
Bourgeoisie
Caricature
Category=ATF
Cinema Italiano
Cinematography
Criticism
Episode
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
Film industry
Filmmaking
Gestapo
Henchman
Humour
Ideology
Il Posto
Indictment
Investigation of a Citizen Above Suspicion
Irony
Italian neorealism
Italians
La Strada
La Terra Trema
Literature
Love and Anarchy
Luchino Visconti
Melodrama
Michelangelo Antonioni
Narration
Narrative
Neorealism (art)
On the Eve
Open City
Paisan
Parody
Pauline Kael
Pessimism
Pier Paolo Pasolini
Ploy
Predicament
Pretext
Rhetoric
Roberto Rossellini
Satire
Seduced and Abandoned
Sensibility
Seriousness
Social commentary
Social criticism
Social order
Stanley Kauffmann
Storytelling
Structuring
Subplot
Suggestion
The Conformist
The Fascist
The Other Hand
The Realist
The Various
Two Women
Umberto D.
Vittorio De Sica
Voice-over
Voyeur (video game)
World view
Writing
Product details
- ISBN 9780691102085
- Weight: 567g
- Dimensions: 140 x 216mm
- Publication Date: 21 Mar 1987
- Publisher: Princeton University Press
- Publication City/Country: US
- Product Form: Paperback
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The movement known as neorealism lasted seven years, generated only twenty-one films, failed at the box office, and fell short of its didactic and aesthetic aspirations. Yet it exerted such a profound influence on Italian cinema that all the best postwar directors had to come to terms with it, whether in seeming imitation (the early Olmi), in commercial exploitation (the middle Comencini) or in ostensible rejection (the recent Tavianis). Despite the reactionary pressures of the marketplace and the highly personalized visions of Fellini, Antonioni. And Visconti, Italian cinema has maintained its moral commitment to use the medium in socially responsible ways--if not to change the world, as the first neorealists hoped, then at least to move filmgoers to face the pressing economic, political, and human problems in their midst. From Rossellini's Open City (1945) to the Taviani brothers' Night of the Shooting Stars (1982). The author does close readings of seventeen films that tell the story of neorealism's evolving influence on Italian postwar cinematic expression. Other films discussed are De Sica's Bicycle Thief and Umberto D.
De Santis's Bitter Rice, Comencini's Bread, Love, and Fantasy, Fellini's La strada, Visconti's Senso, Antonioni's Red Desert, Olmi's Il Posto, Germi's Seduced and Abandoned, Pasolini's Teorema, Petri's Investigation of a Citizen above Suspicion, Bertolucci's The Conformist, Rosi's Christ Stopped at Eboli, and Wertmuller's Love and Anarchy, Scola's We All Loved Each Other So Much provides the occasion for the author's own retrospective consideration of how Italian cinema has fulfilled, or disappointed, the promise of neorealism.
