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After Fellini : National Cinema in the Postmoder Age (02 Edition)by Millicent Joy Marcus
Synopses & ReviewsPlease note that used books may not include additional media (study guides, CDs, DVDs, solutions manuals, etc.) as described in the publisher comments.
Over the past twenty-five years, Italy's film industry has produced a remarkable number of award-winning international art-house hits, among them Cinema Paradiso and Life Is Beautiful. Despite these successes, Italian cinema is in a state of crisis: ticket sales for domestic films, which plummeted in the l980's, are only now beginning to recover; television deregulation has engendered a popular culture largely dependent on American programming; and the passing of an entire generation of brilliant auteurs--Rossellini, Viscounti, Pasolini, Antonioni, and Fellini--extinguished the revolutionary impulse which had characterized Italian filmmaking since the Second World War.<P>In After Fellini, Millicent Marcus contends that in the late 1980s and 1990s, a new wave of Italian filmmakers has transcended these obstacles and reasserted Italy's importance in world cinema. Through in-depth critiques of such acclaimed films as The Last Emperor, Caro Diario, and Stolen Children, as well as the immensely popular Cinema Paradiso and Life Is Beautiful, Marcus details how today's auteurs have both reflected and resisted Italy's shifting social, political, and cultural identity, and created a body of work that signals a new beginning for Italian cinema.
Book News Annotation:
Scholars of film as well as those who enjoy Italian cinema will welcome this fine survey by Marcus (Italian studies, U. of Pennsylvania). Critical analysis is applied to 15 films produced since WWII, including Rossellini's Paisan, Visconti's Bellissima, Amelio's Stolen Children, Tornatore's Cinema paradiso, and Nichetti's The Icicle Thief. The impact of television deregulation and the representation of Italy and Italian identity are recurring themes.
Annotation c. Book News, Inc., Portland, OR (booknews.com)
Table of Contents
Roberto Rossellini's Paisan : national identity by means of montage — Luchino Visconti's Bellissima : the diva, the mirror, and the screen — Bernardo Bertolucci's Last emperor : powerless in Peking — Gabriele Salvatores's Mediterraneo : where nationalism surrenders to utopian myth — Roberto Faenza's Sostiene Pereira : from Salazar's Lisbon to Mussolini's Rome by way of France — Francesco Rosi's Three brothers : the family of Italy in transition — Ricky Tognazzi's La scorta : guarding the alternative body of power — Gianni Amelio's stolen children : the gaze of innocence, lost and found — Federico Fellini's Ginger and Fred : postmodern simulation meets Hollywood romance — Giuseppe Tornatores' Cinema paradiso : filmic fascination and the art of nostalgia — Maurizio Nichetti's Icicle thief : travels in hyporeality — Roberta Torre's Tano da morire : postmodern pastiche, the sceneggiata, and the view — Of the mafia from below — Francesco Rosi's The truce : filming the text of witness — Roberto Benigni's Life is beautiful : the serious humor of a controversial comedy manquâe — Nanni Moretti's Caro diario : reclaiming the body on screen.
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