Landscape and Memory in Post-Fascist Italian Film: Cinema Year Zero: Routledge Advances in Film Studies
Autor Giuliana Minghellien Limba Engleză Paperback – 10 oct 2016
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Specificații
ISBN-13: 9781138233843
ISBN-10: 1138233846
Pagini: 252
Ilustrații: 50 black & white illustrations, 50 black & white halftones
Dimensiuni: 152 x 229 x 14 mm
Greutate: 0.45 kg
Ediția:1
Editura: Taylor & Francis
Colecția Routledge
Seria Routledge Advances in Film Studies
Locul publicării:Oxford, United Kingdom
ISBN-10: 1138233846
Pagini: 252
Ilustrații: 50 black & white illustrations, 50 black & white halftones
Dimensiuni: 152 x 229 x 14 mm
Greutate: 0.45 kg
Ediția:1
Editura: Taylor & Francis
Colecția Routledge
Seria Routledge Advances in Film Studies
Locul publicării:Oxford, United Kingdom
Public țintă
Postgraduate and UndergraduateCuprins
1. 1943 Visconti: The Haunted Frames of Ossessione 2. 1946 Rossellini: Landscape as Burial Ground 3. 1948 De Sica and Zavattini: Memory in Shadow and Stone 4. 1950 Antonioni: Cronaca di un Amore’s Landscapes of Remorse 5.: Epilogue as Prologue—Zavattini/Celati: Documentaristic Visions from Un Paese to Mondonuovo
Notă biografică
Giuliana Minghelli is Associate Professor of Romance Languages and Literatures at Harvard University, USA.
Recenzii
Landscape and Memory in Post-Fascist Italian Film's thesis is original, groundbreaking, and inescapable. The notion of the present as what-comes-afterward – the repressed history of an unbearable and persistent past revealed in the neorealist landscape – is so perceptive that the reader has the feeling of understanding the post-war historical moment for the first time. At the core of the book is the question of our responsibility, the responsibility of not remaining passive. The book is so entrancing it will easily appeal to non-specialized readers. -Silvestra Mariniello, Université de Montréal, Canada
What appeals to me in Landscape and Memory in Post-Fascist Italian Film, and what makes it a contribution to the scholarship on neorealism, is the book’s powerful ethical charge. I was often moved and reminded why I am so drawn to this body of films. The writing is extremely limpid; the illustrations are effective supports to the arguments and of great visual interest. I can envision this book as part of the reading list of both undergraduate and graduate level courses.-Millicent Marcus, Yale University, USA
What appeals to me in Landscape and Memory in Post-Fascist Italian Film, and what makes it a contribution to the scholarship on neorealism, is the book’s powerful ethical charge. I was often moved and reminded why I am so drawn to this body of films. The writing is extremely limpid; the illustrations are effective supports to the arguments and of great visual interest. I can envision this book as part of the reading list of both undergraduate and graduate level courses.-Millicent Marcus, Yale University, USA
Descriere
This study argues that neorealism’s visual genius is inseparable from its almost invisible relation to the Fascist past: a connection inscribed in cinematic landscapes. Through her readings of canonical neorealist films, Minghelli unearths the memorial strata of the neorealist image. Films discussed include Ossessione (1943) Paisà (1946), Ladri di biciclette (1948), and Cronaca di un amore (1950).