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8 1/2 = Otto e mezzo /
"On its release in 1963, Federico Fellini's 8 1/2 shocked audiences around the world with its sheer auteurist gall. Whether attacked for self-indulgence or extolled for self-consciousness, 8 1/2 became the paradigm of personal film-making, and numerous directors, including Martin Scorsese,...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Autor Corporativo: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Basingstoke, Hampshire ; New York :
BFI Book/Palgrave Macmillan,
2008.
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| Colección: | BFI film classics.
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 100 | 1 | |a Miller, D. A., |d 1948- |1 https://id.oclc.org/worldcat/entity/E39PBJk93V9RqCmXfpjykr6dwC | |
| 245 | 1 | 0 | |a 8 1/2 = |b Otto e mezzo / |c D.A. Miller. |
| 246 | 3 | 0 | |a Otto e mezzo |
| 246 | 3 | |a Eight and a half | |
| 260 | |a Basingstoke, Hampshire ; |a New York : |b BFI Book/Palgrave Macmillan, |c 2008. | ||
| 300 | |a 1 online resource (122 pages) : |b illustrations. | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
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| 490 | 1 | |a BFI film classics | |
| 504 | |a Includes bibliographical references (pages 111-119). | ||
| 538 | |a Master and use copy. Digital master created according to Benchmark for Faithful Digital Reproductions of Monographs and Serials, Version 1. Digital Library Federation, December 2002. |u http://purl.oclc.org/DLF/benchrepro0212 |5 MiAaHDL | ||
| 583 | 1 | |a digitized |c 2010 |h HathiTrust Digital Library |l committed to preserve |2 pda |5 MiAaHDL | |
| 588 | 0 | |a Print version record. | |
| 505 | 0 | |a Cover; Contents; Prologue; 1 From No One to Someone; 2 From Auteur to Person; 3 From Substance to Style; Finale; Acknowledgments; Notes; Credits. | |
| 506 | |3 Use copy |f Restrictions unspecified |2 star |5 MiAaHDL | ||
| 520 | |a "On its release in 1963, Federico Fellini's 8 1/2 shocked audiences around the world with its sheer auteurist gall. Whether attacked for self-indulgence or extolled for self-consciousness, 8 1/2 became the paradigm of personal film-making, and numerous directors, including Martin Scorsese, Woody Allen and Bruce LaBruce, paid homage to it in their own work." "Now that 8 1/2's conceit is less shocking, D.A. Miller argues, we can see more clearly how tentative, even timid, Fellini's ground-breaking incarnation always was. Guido is a perfect blank, or is trying his best to seem one. By his own admission he doesn't even have an artistic or social statement to offer: 'I have nothing to say, but I want to say it anyway.' 8 1/2's deepest commitment is not to this man (who is never quite 'all there') or to his message (which is lacking entirely) but to its own flamboyant manner. The enduring timeliness of 8 1/2 lies, Miller suggests, in its aggressive shirking of the shame that falls on the man - and the artist - who fails his appointed social responsibilities."--Jacket. | ||
| 533 | |a Electronic reproduction. |b [Place of publication not identified]: |c HathiTrust Digital Library. |d 2024. |5 MiAaHDL | ||
| 590 | |a ProQuest Ebook Central |b Ebook Central Academic Complete | ||
| 630 | 0 | 0 | |a Otto e mezzo (Motion picture) |x Criticism, interpretation, etc. |
| 600 | 1 | 0 | |a Fellini, Federico |x Criticism and interpretation. |
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| 655 | 7 | |a Criticism, interpretation, etc. |2 fast | |
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| 776 | 0 | 8 | |i Print version: |a Miller, D.A., 1948- |t 8 1/2. |d Basingstoke, Hampshire ; New York : BFI Book/Palgrave Macmillan, 2008 |w (OCoLC)213309660 |
| 830 | 0 | |a BFI film classics. | |
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