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The new Italian cinema : studies in dance and despair

Author: R T Witcombe
Publisher: New York : Oxford University Press, 1982.
Edition/Format:   Print book : EnglishView all editions and formats
Summary:
This volume examines the development of Italian motion pictures from 1960 to the 1970s. The author analyzes the films of various Italian directors, including Fellini, Antonioni, and Bertolucci. In the 1960s, Italian directors began to deviate from the tenets of neorealism, creating autobiographical, fantastical, and mythical films that unabashedly celebrated the artistic imagination. These filmmakers turned their  Read more...
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Genre/Form: Criticism, interpretation, etc
Additional Physical Format: Online version:
Witcombe, R.T. (Rick Trader).
New Italian cinema.
New York : Oxford University Press, 1982
(OCoLC)562928047
Document Type: Book
All Authors / Contributors: R T Witcombe
ISBN: 019520381X 9780195203813
OCLC Number: 8599258
Notes: Includes index.
Description: x, 294 pages : illustrations ; 22 cm
Contents: Introduction --
Exile and exasperation: Antonioni and Ferreri --
Distance and didactics: Bellochio and Cavani --
Form as fatheresque: Bolognini and Bertolucci --
Fable and phenomena: Pasolini and Fellini --
Debate and denunciation: Rosi and Petrie --
Peasant perspectives: Olmi and the Tavianis --
Terminus and tantrum: Visconti and Wertmuller --
During the devolution: Brusati, Brass, Giuseppe Bertolucci, Peter Del Monte, and Nano Moretti.
Responsibility: R.T. Witcombe.

Abstract:

This volume examines the development of Italian motion pictures from 1960 to the 1970s. The author analyzes the films of various Italian directors, including Fellini, Antonioni, and Bertolucci. In the 1960s, Italian directors began to deviate from the tenets of neorealism, creating autobiographical, fantastical, and mythical films that unabashedly celebrated the artistic imagination. These filmmakers turned their attention away from the urban and rural poor and toward the alienation of the cosmopolitan middle and upper classes. What was lost in political content was gained in stylistic innovation: films of the period featured groundbreaking uses of symbolic mise-en-scène, allegorical narratives, elliptical editing, and expressive cinematography. Key films include Michelangelo Antonioni's L'Avventura (1959), Federico Fellini's La Dolce Vita (1960), Pier Paolo Pasolini's Teorema (1968), and Bernardo Bertolucci's The Conformist (1970).

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