It is, therefore, a piece of scholarship akin to that which it describes, adapting to waves of the present while grasping to the roots of its past. This second edition, revised and expanded with Federico Pacchioni, integrates new themes and takes full account of the latest approaches to the history of Italian cinema. It will be an indispensable reference work for academics, students and general readers for years to come. Ideal for teaching a variety of courses and levels, and well-suited for a general reader, "History of Italian Cinema" will remain the gold standard in a crowded field for years to come. Written in a clear and compelling style, balancing vast coverage with vivid sketches of individual films, this book provides an indispensable resource for scholars and film buffs eager to enrich their knowledge of this grand, and ever vital cinematic tradition.
|Published (Last):||13 October 2019|
|PDF File Size:||9.71 Mb|
|ePub File Size:||14.69 Mb|
|Price:||Free* [*Free Regsitration Required]|
To the Futurists, cinema was an ideal art form, being a fresh medium, and able to be manipulated by speed, special effects and editing. The Italian film industry struggled against rising foreign competition in the years following World War I.
The advent of talkies led to stricter censorship by the Fascist government. Neorealist films typically dealt with the working class in contrast to the Telefoni Bianchi , and were shot on location.
Many neorealist films, but not all, utilized non-professional actors. Ossessione angered Fascist officials. Upon viewing the film, Vittorio Mussolini is reported to have shouted, "This is not Italy!
Giuseppe De Santis , on other hand, used actors such as Silvana Mangano and Vittorio Gassman in his film, Bitter Rice , which is set in the Po Valley during rice-harvesting season. Poetry and cruelty of life were harmonically combined in the works that Vittorio De Sica wrote and directed together with screenwriter Cesare Zavattini : among them, Shoeshine , The Bicycle Thief and Miracle in Milan The film Umberto D.
It was not a commercial success and since then it has been shown on Italian television only a few times. Yet it is perhaps the most violent attack, in the apparent quietness of the action, against the rules of the new economy, the new mentality, the new values, and it embodies both a conservative and a progressive view. Although Umberto D. The Neorealist period is often simply referred to as "The Golden Age" of Italian Cinema by critics, filmmakers, and scholars.
Bicycle Thieves , by Vittorio De Sica , ranked among the best movies ever made and part of the canon of classic cinema. Possibly because of this, neorealism effectively ended with that film; subsequent works turned toward lighter atmospheres, perhaps more coherent with the improving conditions of the country, and this genre has been called pink neorealism.
His films often with Peppino De Filippo and almost always with Mario Castellani expressed a sort of neorealistic satire, in the means of a guitto a "hammy" actor as well as with the art of the great dramatic actor he also was. A "film-machine" who produced dozens of titles per year, his repertoire was frequently repeated.
His personal story a prince born in the poorest rione section of the city of Naples , his unique twisted face, his special mimic expressions and his gestures created an inimitable personage and made him one of the most beloved Italians of the s. For a long time this definition was used with a derogatory intention. Vittorio Gassman , Marcello Mastroianni , Ugo Tognazzi , Alberto Sordi , Claudia Cardinale , Monica Vitti and Nino Manfredi were among the stars of these movies, that described the years of the economical reprise and investigated Italian customs, a sort of self-ethnological research.
A series of black-and-white films based on Don Camillo character created by the Italian writer and journalist Giovannino Guareschi were made between and Colin Blakely performed Peppone in one of his last film roles. In the late s, Hollywood studios began to shift production abroad to Europe.
Italy was, along with Britain, one of the major destinations for American film companies. Peplum a. Besides the many films starring a variety of muscle men as Hercules, heroes such as Samson and Italian fictional hero Maciste were common. Sometimes dismissed as low-quality escapist fare, the Peplums allowed newer directors such as Sergio Leone and Mario Bava a means of breaking into the film industry. Most Peplum films were in color , whereas previous Italian efforts had often been black and white.
Cinema of Italy
About this title An unprecedented survey of Italian film from the leading expert in the field A History of Italian Cinema is a major new study from the author of the bestselling Italian Cinema - which has been published in three landmark editions and celebrated its twenty-fifth anniversary in Building upon his decades of research, Peter Bondanella has now written the definitive history of the subject, from the birth of cinema to the present day. He has rethought, reorganized, and completely rewritten his previous work, which focused on postwar cinema, and has broadened his coverage of the spaghetti western and comedy genres. This new book also examines the emergence of a "third wave" of new auteurs born in the s as well as an even younger group of important directors born in the s who have already made their mark on the direction of the Italian cinema in the third millennium. Finally, A History of Italian Cinema now includes the most comprehensive bibliography of the subject ever to be assembled in an English-language publication. Erudite, comprehensive, and heavily illustrated throughout, this is an essential purchase for any fan of Italian film.
A History of Italian Cinema
To the Futurists, cinema was an ideal art form, being a fresh medium, and able to be manipulated by speed, special effects and editing. The Italian film industry struggled against rising foreign competition in the years following World War I. The advent of talkies led to stricter censorship by the Fascist government. Neorealist films typically dealt with the working class in contrast to the Telefoni Bianchi , and were shot on location. Many neorealist films, but not all, utilized non-professional actors. Ossessione angered Fascist officials. Upon viewing the film, Vittorio Mussolini is reported to have shouted, "This is not Italy!