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Marja Warehime

’s in Paris, Pialat’s in the northern mining country around Lens, using relatively unknown or non-professional actors. Both filmmakers even had the same impulse to salvage otherwise unusable footage by having it serve as the background to the opening credits. Yet a closer look at the two films suggests Pialat’s more radical realism, which links him to Jean Rouch and Jacques Rozier. Truffaut’s desire to make a film that resembled a documentary without being one, reflected his admiration for the neo-realism of Rossellini, despite his avowed preference for fiction over

in Maurice Pialat
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Hable con ella
Ana María Sánchez-Arce

ella , what Almodóvar refers to as ‘tone’. Poetic techniques are used skilfully to equivocate, as Benigno does, and constantly undermine spectators’ assumptions. Almodóvar writes in his notes on Hable con ella : Disrupted time and the mixing of diverse narrative units function best when the action is mental or internal, or occurs in another dimension, as in the films of David Lynch. In this kind of ‘fantastic neorealism’ or ‘naturalism of the absurd’ in which I move, plot ruptures suppose a kind of punch in the eyes of the spectator since he’s already

in The cinema of Pedro Almodóvar
Notes on developing a photo-ethnographic practice in Basilicata
Lorenzo Ferrarini

developing themes of his work – were in different ways influenced by neorealism and their work had wide circulation in Italian printed media – especially newspapers and magazines. These outlets are in fact more substantial than the actual use of images in De Martino’s books, which was limited. During the time of his research trips during the 1950s, De Martino often published write-ups in popular magazines – Espresso Mese, Radiocorriere, Il Mondo – in which the photographic component had a similar role to the photo essays published by American periodicals such as Life

in Sonic ethnography
Problematising the normative connection
Eşref Aksu

’ realism and liberalism as opposed to neo-realism and neo-liberalism. 20 An example is C. Douzinas and R. Warrington, Justice Miscarried: Ethics and Aesthetics in Law (New York: Harvester Wheatsheaf, 1994). While postmodernism is usually presented as being irreconcilable with ethics, Bauman notes that as

in The United Nations, intra-state peacekeeping and normative change
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Stephan Frühling and Andrew O'Neil

political link to the United States’, 44 but that political agreement did not always translate into material contributions. In formulating policy over Bosnia during the 1990s, the Bush and Clinton administrations ‘typically compromised with or accommodated the Europeans’ in an effort to preserve alliance unity, but Papayanou finds little clear support for neorealism or

in Partners in deterrence
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Signature, event, context
Steven Marsh

representational persuasiveness, is, furthermore, reinforced by the use of non-professional actors (Alfonso Blanco ‘O Padriño’, the altar boy; the student, José Luis Desiré; the pilgrim, Manuel Seone; and the priest, Manuel Troitiño Marino, who plays himself, were all locals). The combination of naturalism and artifice – indeed the documentary style itself – recalls Italian neo-realism, the key reiterated

in Hispanic and Lusophone women filmmakers
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Naples is a Battlefield (1944); The Bespoke Overcoat (1955)
Neil Sinyard

life and tasting freedom. Technically the film is very accomplished, edited with a sensitivity to pace and rhythm. The music, as Cocteau used to say of all good film music, seems simultaneously to drive the film forward and to be driven forward by the film. The raw photography prefigures post-war neo-realism, where Italian film-makers like Rossellini and De Sica will explore the social consequences of the war and echo the

in Jack Clayton
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Karel Reisz, ‘The last great man in England’
Colin Gardner

vigorous commitment to everyday working-class subject matter and a uniquely personal film style. Deeply indebted to the poetic realism of Humphrey Jennings and the urban immediacy of Italian neo-realism (as opposed to the sociological, 1930s documentary tradition of John Grierson), Reisz’s Free Cinema films, Momma Don’t Allow (1956, co-directed with Tony Richardson) and We Are the Lambeth Boys (1959) laid the basis for a

in Karel Reisz
Maria Rovisco

flourished in the aftermath of the Second World War. This cinematic trend spans across a period of more than fifty years and includes films cutting across diverse film traditions and movements in film history. Voyage to Italy (Rossellini, 1953) and La Strada (Fellini, 1954), two iconic films of Italian neo-realism, find their place within the tradition of European ‘films of voyage’. In a similar vein

in Cinematic countrysides
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Changing images of Germany
Jens Steffek and Leonie Holthaus

culture and state behaviour: why Germany confounds neorealism ’, International Organization 53 : 4 ( 1999 ), pp. 765 – 803 ; R. Baumann , V. Rittberger and W. Wagner , ‘ Macht und Machtpolitik. Neorealistische Außenpolitiktheorie und Prognosen über die deutsche Außenpolitik nach der Vereinigung ’, Zeitschrift für Internationale Beziehungen , 6 : 2 ( 1999 ), pp. 245 – 86 . 21 For the foreign policy debate that the 2001 decision triggered, see Bundeszentrale für Politische Bildung (ed.), Aus Politik und Zeitgeschichte , B11 ( 2004 ); P

in Prussians, Nazis and Peaceniks