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Sian Barber

narrative plot resolution, conventional editing techniques, easily identifiably characters, genres and styles which combined to make this type of filmmaking the dominant model for commercial cinema for the twentieth and twenty-first centuries. Many of the tropes and styles which we take for granted in conventional filmmaking are features of classical Hollywood narrative. Italian neo-realism emerged in Italy in the immediate post-war period and has traditionally been read as offering a commentary on the social plight of the people and the nation in this period. Although

in Using film as a source
Sian Barber

methodologies found in the sciences, the study of film does not foreground a single methodological approach. As film developed as a discipline, different methodologies also developed; some adhered to processes of film critique and textual analysis, while some espoused archival work and the importance of historical and social context. As shown in Chapter 4, the development of film as a discipline has been heavily shaped by different trends, methodologies and approaches. Movements such as Italian neo-realism or the British new wave emerged at key historical moments, and the

in Using film as a source
Abstract only
Austerity, abundance and race in post-war visual culture
David C. Wall

Beaux Arts Gallery. For his part, the painter John Bratby rejected these labels altogether and, stating unequivocally in a BBC interview in 1960, ‘I am not a social realist painter’, he said that he would prefer to call his style ‘neo-realism’. 14 Like much left politics of the period, Berger’s socialism was an interesting (and sometimes contradictory) mixture

in Cultures of decolonisation
Real sympathy, the imitation of suffering and the visual arts after Burke’s sublime
Aris Sarafianos

, ‘Reenactment and Neo-Realism’, in Iain McCalman, and Paul A. Pickering ( eds), Historical Re-enactment: From Realism to the Affective Turn (London: Palgrave Macmillan, 2010), pp. 79–89, pp. 83–4. 198 Wounding realities and ‘painful excitements’ 52 For Diderot, art could at best be an approximation of nature, aiming at that ‘grand magic that consists in approaching nature very close’ or a little closer (‘un peu pres’) but never so close as taking its place. 53 Diderot on Art, vol. I, ed. Goodman, p. 64. 54 Roche, ‘Notes from the Field’, pp. 506–7. 55 See author’s ‘The

in The hurt(ful) body
Piero Garofalo, Elizabeth Leake, and Dana Renga

even includes a surprisingly bad performance (one of his last) by Volonté’. A History of Italian Cinema (New York and London: Continuum, 2009), p. 248. 48 Millicent Marcus, Italian Film in the Light of Neorealism (Princeton:  Princeton University Press, 1986), pp. 340–​1. 49 Marcus argues that the State is uninterested in the South indicting Italy’s colonial pursuits in North Africa. 50 Modleski, ‘Clint Eastwood and Male Weepies’, 154, original italics. 51 Modleski, ‘Clint Eastwood and Male Weepies’, 150. 52 In a letter in which he discusses the screenplay

in Internal exile in Fascist Italy