Synopses & Reviews
André Bazin and Italian Neorealism presents a new selection of André Bazin's writings on Vittorio De Sica, Roberto Rossellini, and Federico Fellini; lesser known but important neorealist works such as
The Roof,
Forbidden Christ, and
Love in the City; and vital topics like realism versus reality, neorealism's eclipse amid postwar Italy's economic prosperity, and the relationship between neorealism and propaganda. There are also essays on art and politics, film and comedy, and cinema and the avant-garde.
The book also features a sizable scholarly apparatus including explanatory notes, an extensive index, a contextual introduction to Bazin's life and work, a comprehensive Bazin bibliography, and credits of the films discussed. This volume thus represents a major contribution to the discipline of cinema studies, as well as a testament to the continuing influence of one of film's pre-eminent critical thinkers.
Synopsis
Andre Bazin and Italian Neorealism presents a new selection of Andre Bazin's writings on Vittorio De Sica, Roberto Rossellini, and Federico Fellini; lesser known but important neorealist works such as The Roof, Forbidden Christ, and Love in the City; and vital topics like realism versus reality, neorealism's eclipse amid postwar Italy's economic prosperity, and the relationship between neorealism and propaganda. There are also essays on art and politics, film and comedy, and cinema and the avant-garde.
The book also features a sizable scholarly apparatus including explanatory notes, an extensive index, a contextual introduction to Bazin's life and work, a comprehensive Bazin bibliography, and credits of the films discussed. This volume thus represents a major contribution to the discipline of cinema studies, as well as a testament to the continuing influence of one of film's pre-eminent critical thinkers.
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Synopsis
André Bazin and Italian Neorealism presents a new selection of André Bazin's writings on Vittorio De Sica, Roberto Rossellini, and Federico Fellini; lesser known but important neorealist works such as
The Roof,
Forbidden Christ, and
Love in the City; and vital topics like realism versus reality, neorealism's eclipse amid postwar Italy's economic prosperity, and the relationship between neorealism and propaganda. There are also essays on art and politics, film and comedy, and cinema and the avant-garde.
The book also features a sizable scholarly apparatus including explanatory notes, an extensive index, a contextual introduction to Bazin's life and work, a comprehensive Bazin bibliography, and credits of the films discussed. This volume thus represents a major contribution to the discipline of cinema studies, as well as a testament to the continuing influence of one of film's pre-eminent critical thinkers.
Synopsis
Critic and theorist Andrand#233; Bazin (1918-1958) has long enjoyed canonical status in film studies. As his unpublished and published work has become more accessible to scholars, and as new digital technologies call into question established notions of what cinema is, a new generation of film theorists has delved into Bazinand#8217;s writings on cinema and technology. However, one critical aspect of Bazinand#8217;s thinking has received little attention in this recent renaissance: his unorthodox Catholicism.
The Miracle of Realism fills in this gap. Exploring the philosophical content and the theological underpinnings of Bazinand#8217;s contribution to film and media theory, Vinzenz Hediger sheds new light on Bazinand#8217;s ontological analysis of the photographic image and explores the implications of Bazinand#8217;s and#147;cosmology of filmand#8221; for our understanding of contemporary media culture.
About the Author
Vinzenz Hediger is professor of film at Goethe Universität Frankfurt in Germany.
Table of Contents
"Defining the Real: The Film Theory and Criticism of André Bazin," by Bert Cardullo
"What Is Neorealism?" by Bert Cardullo
"An Aesthetic of Reality: Cinematic Realism and the Italian School of the Liberation." (Jan. 1948)
La Terra Trema (Visconti, 1948). (1948)
Germany, Year Zero (Rossellini, 1947). (1949)
Bicycle Thieves (De Sica, 1948). (Nov. 1949)
"Vittorio De Sica: Metteur en Scène." (1951)
Heaven over the Marshes (Genina, 1949). (May 1951)
"Neorealism, Opera, and Propaganda: Forbidden Christ" (Malaparte, 1950). (July-Aug. 1951)
The Road to Hope (Germi, 1950). (Feb. 1952)
Two Cents' Worth of Hope (Castellani, 1951). (July 1952)
Umberto D. (De Sica, 1952). (Oct. 1952)
"In Italy." (1953)
Europe '51 (Rossellini, 1952). (1953)
"Will the Italian Cinema Betray Itself?" (Dec. 1954)
La Strada (Fellini, 1954). (May 1955)
Gold of Naples (De Sica, 1954). (June 1955)
"In Defense of Rossellini." (Aug. 1955)
"De Sica and Rossellini." (Sept. 1955)
Senso (Visconti, 1954). (Feb. 1956)
Il Bidone (Fellini, 1955). (March 1956)
The Roof (De Sica, 1956). (Dec. 1956)
"Neorealism Returns: Love in the City" (Fellini et alia, 1953). (March 1957)
I Vitelloni (Fellini, 1953). (Oct. 1957)
"Fellini's Voyage to the End of Neorealism: The Nights of Cabiria [1957]." (Nov. 1957)
+CREDITS OF THE FILMS OF ITALIAN NEOREALISM (INCLUDING PRECURSORS AND SELECT BIBLIOGRAPHY OF ITALIAN NEOREALISM
+BAZIN BIBLIOGRAPHY
+INDEX.