Search results

You are looking at 1 - 10 of 187 items for :

  • "Neorealism" x
  • Refine by access: All content x
Clear All
Stefania Parigi

Cesare Zavattini is principally remembered as a theoretician of neorealism and as the author of the screenplays of some of the major post-war films of Vittorio De Sica ( Sciuscià/Shoeshine 1946, Ladri di biciclette/Bicycle Thief 1948, Miracolo a Milano/Miracle in Milan 1951, Umberto D . 1952). In fact, his experience was more extensive and varied. He worked in different media and was especially

in Cinema – Italy
Abstract only
The Face of the Star in Neorealisms Urban Landscape
Ora Gelley

Although Europa 51 (1952) was the most commercially successful of the films Roberto Rossellini made with the Hollywood star, Ingrid Bergman, the reception by the Italian press was largely negative. Many critics focussed on what they saw to be the ‘unreal’ or abstract quality of the films portrayal of the postwar urban milieu and on the Bergman character‘s isolation from the social world. This article looks at how certain structures of seeing that are associated in the classical style with the woman as star or spectacle - e.g., the repetitious return to her fixed image, the resistance to pulling back from the figure of the woman in order to situate her within a determinate location and set of relationships between characters and objects - are no longer restricted to her image but in fact bleed into or “contaminate” the depiction of the world she inhabits. In other words, whereas the compulsive return to the fixed image of the woman tends to be contained or neutralised by the narrative economy and editing patterns (ordered by sexual difference) of the classical style, in Rossellini‘s work this ‘insistent’ even aberrant framing in relation to the woman becomes a part of the (female) characters and the cameras vision of the ‘pathology’ of the urban landscape in the aftermath of the war.

Film Studies
Abstract only

This book is a collection of essays on the author's journeys taken during the past fifteen years. They are journeys in time and of memory about a country that no longer exists: the Italy of Roberto Rossellini's Paisà, torn by war and sometimes in conflict with the American 'liberators'. The essays concentrate on the structure and forms of the films they discuss; a confrontation of cultures, the Italy of Luchino Visconti, a territory more cultural than physical, subject to transfigurations wrought by a sophisticated intellectual who viewed the world through the lens of his sensibilities. The first three essays focus on discussions and films relating to neorealism. They seek problems and inconsistencies in points of view and prejudices that have become institutionalized in popular accounts of neorealism. The next two essays are dedicated to Visconti's commemorative and antiquarian vein, to the central importance of mise en scène (in the theatrical sense) in his films. The final essay is an attempt to recover an archetypical image in Pasolini's work. The characteristics shared by these essays include a sensitivity and knowledge of the cinema, genuine scholarship, and the ability to see aesthetic resonances to painting, literature, poetry, music. The contrast between darkness and light in Paisà and in Visconti's Vaghe stelle dell'Orsais most incisive and dramatic. They are all traversed by recurrent themes and obsessions: the contrast between darkness and light, night and day.

This book traces discussions about international relations from the middle ages up to the present times. It presents central concepts in historical context and shows how ancient ideas still affect the way we perceive world politics. It discusses medieval theologians like Augustine and Aquinas whose rules of war are still in use. It presents Renaissance humanists like Machiavelli and Bodin who developed our understanding of state sovereignty. It argues that Enlightenment philosophers like Hobbes, Locke and Rousseau laid the basis for the modern analyses of International Relations (IR). Later thinkers followed up with balance-of-power models, perpetual-peace projects and theories of exploitation as well as peaceful interdependence. Classic IR theories have then been steadily refined by later thinkers – from Marx, Mackinder and Morgenthau to Waltz, Wallerstein and Wendt.

The book shows that core ideas of IR have been shaped by major events in the past and that they have often reflected the concerns of the great powers. It also shows that the most basic ideas in the field have remained remarkably constant over the centuries.

Abstract only
Stefania Parigi

Paisà had its premiere at the Venice Film Festival in 1946. It is considered the most emblematic film of neorealism, though the term ‘neorealism’ was not yet part of critical debate until early in 1948. Rossellini had made his first film in 1939, Fantasia sottomarina / Underwater Fantasy , a short film on fish, halfway between a documentary and a fairy-tale. By 1946, he was shooting his sixth

in Cinema – Italy
¿Qué he hecho yo para merecer esto?
Ana María Sánchez-Arce

that leads to Antonio’s death. The film’s central event (in which Gloria kills Antonio with a jamón and then makes a broth with it that she tries to feed to the policemen investigating the murder) quotes one of Hitchcock’s television murder mysteries and is itself quoted several years later by Bigas Luna in Jamón, Jamón (1992). 1 Like Volver ( 2006 ), ¿Qué he hecho? partakes of neo-realism’s emphasis on ordinary people, its episodic structure, and its refusal to pass judgement on the characters’ actions. However, it departs from neo-realism in style

in The cinema of Pedro Almodóvar
Abstract only
Return of the prodigious son
Paul Hammond

centuries; the movements speed up the time lags. The cinema seems to have been invented in order to express the subconscious life that so deeply penetrates poetry with its roots; despite that, it is almost never used for such ends. Among the modern tendencies of cinema the best known is the so-called neorealist one. Its films offer up slices of real life to the eyes of the spectator, with characters taken from the street and with authentic buildings and interiors even. Aside from a few exceptions, and I especially cite The Bicycle Thief , neorealism has done nothing

in Surrealism and film after 1945
Abstract only
Sam Rohdie

appliquer’ … Ces considérations prétendent établir des certitudes là ou l’oeuvre d’art est essentiellement incertaine. ( Youssef Ishaghpour ) 3 Pasolini’s film theory is a sustained opposition to what he called naturalism, a phenomenon that he principally identified with Italian neo-realism. His theory was based on, in his own words, a heretical understanding of

in Montage
Abstract only
Stefania Parigi

on discussions and films relating to neorealism. They seek problems and inconsistencies in points of view and prejudices that have become institutionalized in popular accounts of neorealism, for example, those linked to the idea of a realism as a mimetic and objective reproduction of reality and those emphasizing a moral stance incapable of developing into an aesthetic one. I have strictly pursued a symbolic dimension

in Cinema – Italy
Stephen Hobden

traditional theory, then it would be Kenneth Waltz's neorealism. Although often derided, Waltz's work remains highly influential and highly cited. 1 His Theory of International Politics ( 1979 ), at nearly 26,000 citations, according to Google Scholar has almost twice the mentions of Wendt's Social Theory of International Politics ( 1999 ). It was concerning Waltz's work that Cox initially made his distinction between problem-solving theory and critical theory. Hence, in order to understand distinctions between

in Critical theory and international relations