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.

lgli/Italian Film in the Light of Neorealism final.pdf

lgrsnf/Italian Film in the Light of Neorealism final.pdf

zlib/Society, Politics & Philosophy/Government & Politics/Millicent Marcus/Italian Film in the Light of Neorealism_5902854.pdf

Millicent Joy Marcus

Marcus, Millicent

Princeton University, Department of Art & Archaeology

Book collections on Project MUSE, Princeton, N.J, 1987

Princeton University Press, Princeton, N.J., 1986

United States, United States of America

Princeton, N.J, New Jersey, 1986

First Edition, PS, 1987

2, 2020

lg2771819

{"isbns":["0691102082","0691209472","9780691102085","9780691209470"],"last_page":464,"publisher":"Princeton University Press"}

Bibliography: p. [423]-436.
Includes index.

Italian Film in the Light of Neorealism
Contents
List of Illustrations
Acknowledgments
Preface
Introduction
PART I: Neorealism Proper
1. Rossellini's Open City: The Founding
2. De Sica's Bicycle Thief: Casting Shadows on the Visionary City
3. De Santis's Bitter Rice: A Neorealist Hybrid
4. De Sica's Umberto D: Dark Victory for Neorealism
PART II: Transitions
5. Comencini's Bread, Love, and Fantasy: Consumable Realism
6. Fellini's La strada: Transcending Neorealism
7. Visconti's Senso: The Risorgimento According to Gramsci
8. Antonioni's Red Desert: Abstraction as the Guiding Idea
PART III: Return to Social Commentary
9. Olmi's Il Posto: Discrediting the Economic Miracle
10. Germi's Seduced and Abandoned: Inside the Honor Code
11. Pasolini's Teorema: The Halfway Revolution
12. Petri's Investigation of a Citizen above Suspicion: Power as Pathology
PART IV: Fascism and War Reconsidered
13. Bertolucci's The Conformist: A Morals Charge
14. Wertmuller's Love and Anarchy: The High Price of Commitment
15. Rosi's Christ Stopped at Eboli: A Tale of Two Italies
16. The Taviani Brothers' Night of the Shooting Stars: Ambivalent Tribute to Neorealism
17. Scola's We All Loved Each Other So Much: An Epilogue
Bibliography of Works Consulted
Index

2020-09-11