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Brutal vision : the neorealist body in postwar Italian cinema /
Film history identifies Italian neorealism as the exemplar of national cinema, a specifically domestic response to wartime atrocities. Brutal Vision challenges this orthodoxy by arguing that neorealist films-including such classics as Rome, Open City; Paisan; Shoeshine; and Bicycle Thieves -should b...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Minneapolis :
University of Minnesota Press,
2012.
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| Colección: | JSTOR EBA.
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 100 | 1 | |a Schoonover, Karl. | |
| 245 | 1 | 0 | |a Brutal vision : |b the neorealist body in postwar Italian cinema / |c Karl Schoonover. |
| 260 | |a Minneapolis : |b University of Minnesota Press, |c 2012. | ||
| 300 | |a 1 online resource (xxxiii, 283 pages) : |b illustrations | ||
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| 504 | |a Includes bibliographical references and index. | ||
| 505 | 0 | |a Introduction -- An inevitably obscene cinema: Bazin and neorealism -- The North Atlantic ballyhoo of liberal humanism -- Rossellini's exemplary corpse and the sovereign bystander -- Spectacular suffering: De Sica's bodies and charity's gaze -- Neorealism undone: the resistant physicalities of the second generation -- Conclusion. | |
| 520 | |a Film history identifies Italian neorealism as the exemplar of national cinema, a specifically domestic response to wartime atrocities. Brutal Vision challenges this orthodoxy by arguing that neorealist films-including such classics as Rome, Open City; Paisan; Shoeshine; and Bicycle Thieves -should be understood less as national products and more as complex agents of a postwar reorganization of global politics. For these films, cinema facilitates the liberal humanist sympathy required to usher in a new era of world stability. In his readings of crucial films and newly discovered documents from. | ||
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| 650 | 0 | |a Motion pictures |z Italy. | |
| 650 | 0 | |a Realism in motion pictures. | |
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