{"product_id":"italian-film-in-the-light-of-neorealism-paperback","title":"Italian Film in the Light of Neorealism - Paperback","description":"\u003cp\u003eby \u003cb\u003eMillicent Marcus\u003c\/b\u003e (Author)\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eThe 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 \u003ci\u003eOpen City\u003c\/i\u003e (1945) to the Taviani brothers' \u003ci\u003eNight of the Shooting Stars\u003c\/i\u003e (1982). The author does close readings of seventeen films that tell the story of neorealism's evolving influence on Italian postwar cinematic expression. \u003c\/p\u003e\u003cp\u003e\u003c\/p\u003eOther films discussed are De Sica's \u003ci\u003eBicycle Thief\u003c\/i\u003e and Umberto D. De Santis's \u003ci\u003eBitter Rice\u003c\/i\u003e, Comencini's \u003ci\u003eBread, Love, and Fantasy\u003c\/i\u003e, Fellini's \u003ci\u003eLa strada\u003c\/i\u003e, Visconti's \u003ci\u003eSenso\u003c\/i\u003e, Antonioni's \u003ci\u003eRed Desert\u003c\/i\u003e, Olmi's \u003ci\u003eIl Posto\u003c\/i\u003e, Germi's \u003ci\u003eSeduced and Abandoned\u003c\/i\u003e, Pasolini's \u003ci\u003eTeorema\u003c\/i\u003e, Petri's \u003ci\u003eInvestigation of a Citizen above Suspicion\u003c\/i\u003e, Bertolucci's \u003ci\u003eThe Conformist\u003c\/i\u003e, Rosi's \u003ci\u003eChrist Stopped at Eboli\u003c\/i\u003e, and Wertmuller's \u003ci\u003eLove and Anarchy\u003c\/i\u003e, Scola's \u003ci\u003eWe All Loved Each Other So Much\u003c\/i\u003e provides the occasion for the author's own retrospective consideration of how Italian cinema has fulfilled, or disappointed, the promise of neorealism.\u003ch3\u003eBack Jacket\u003c\/h3\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003e\"This is unquestionably one of the best works on Italian cinema I have read in any language. . . . an exceptional work that will become an instant classic on publication. It will be must reading for anyone interested in Italian culture in any way.\"\u003cb\u003e--Ben Lawton, Purdue University\u003c\/b\u003e\u003c\/p\u003e\u003cdiv\u003e\n\u003cstrong\u003eNumber of Pages:\u003c\/strong\u003e 464\u003c\/div\u003e\u003cdiv\u003e\n\u003cstrong\u003eDimensions:\u003c\/strong\u003e 1.16 x 8.49 x 5.49 IN\u003c\/div\u003e\u003cdiv\u003e\n\u003cstrong\u003ePublication Date:\u003c\/strong\u003e March 21, 1987\u003c\/div\u003e","brand":"Books by splitShops","offers":[{"title":"Default Title","offer_id":42290126848135,"sku":"9780691102085","price":99.18,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/2623\/2711\/files\/3552c766665ab1ff3139e82da66b4d56.webp?v=1737965125","url":"https:\/\/booksby.splitshops.com\/products\/italian-film-in-the-light-of-neorealism-paperback","provider":"Books by splitShops","version":"1.0","type":"link"}