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Books on the topic 'Neorealismus (film)'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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1

Italian film in the light of neorealism. Princeton University Press, 1986.

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2

Giovacchini, Saverio. Global neorealism: The transnational history of a film style. University Press of Mississippi, 2011.

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3

Oltre il neorealismo: Documentari d'autore e realtà italiana del dopoguerra. Bulzoni, 2004.

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4

Ciné: Neorealismo, nouvelle vague, coproduzioni : cento anni di collaborazione cinematografica italo-francese = néo-réalisme, nouvelle vague, coproductions : cent ans de collaboration cinématographique franco-italienne. C. Gallucci, 2008.

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5

Lehmann, Courtney. Ontological Shivers. Edited by Michael Neill and David Schalkwyk. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198724193.013.34.

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This essay explores major movements in film history through the lens of Romeo and Juliet adaptations, including films by Irving Thalberg and George Cukor, Renato Castellani, Franco Zeffirelli, Baz Luhrmann, and Deepa Mehta. More specifically, the essay offers a critical examination of theoretical developments in the notion of realism—including classical realism, neorealism, realismo rosa, and post-realism.

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6

Global Neorealism: The Transnational History of a Film Style. University Press of Mississippi, 2013.

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7

Luigi, Miccichè, ed. Pane, amore e fantasia: Un film di Luigi Comencini : neorealismo in commedia. Lindau, 2002.

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8

Bert, Cardullo, ed. After neorealism: Italian filmmakers and their films : essays and interviews. Cambridge Scholars, 2009.

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9

Bert, Cardullo, ed. After neorealism: Italian filmmakers and their films : essays and interviews. Cambridge Scholars, 2009.

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10

(Editor), Laura E. Ruberto, and Kristi M. Wilson (Editor), eds. Italian Neorealism and Global Cinema (Contemporary Approaches to Film and Television Series) (Contemporary Approaches to Film and Television Series). Wayne State Univ Pr, 2007.

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11

Dalle Vacche, Angela. André Bazin's Film Theory. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190067298.001.0001.

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The best way to understand Bazin’s film theory is to pay attention to art, science, and religion, since spectatorship depends on perception, cognition, and hallucination. By arguing that this dissident Catholic’s worldview is anti-anthropocentric, Angela Dalle Vacche concludes that cinema recapitulates the history of evolution and technology inside our consciousness, so that we may better understand how we overlap with, but also differ from, animals, plants, objects, and machines. Whereas in “Art,” the author explains the difference between painting as a static object and the moving image as a

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12

Making Waves: New Wave, Neorealism, and the New Cinemas of the 1960s. Continuum International Publishing Group, 2007.

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13

Valerio, Caprara, and Associazione Philip Morris progetto cinema., eds. Il segno di Venere: Un film di Dino Risi, quando il neorealismo si trasforma in commedia. Lindau, 2007.

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14

Buovolo, Marisa, ed. Ettore Scola. edition text + kritik im Richard Boorberg Verlag, 2011. http://dx.doi.org/10.5771/9783869168869.

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In seiner vielfältigen Reflexion über die nationale Identität und ihre kulturellen und historischen Wurzeln hat der italienische Regisseur Ettore Scola immer wieder große Geschichten von kleinen Leuten erzählt. Hierbei richtet sich sein Blick auf Menschen voller Sehnsucht, die sich auf ihrer Suche nach Glück in Rollenspielen verlieren - wenn die "Maske" abgelegt wird, ist es meistens zu spät. Ettore Scola, 1931 in Süditalien geboren, steht für die große Tradition des italienischen Films. Sein Werk markiert die Schnittstelle von Neorealismus und Commedia all’italiana. Er erlernte sein Handwerk

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15

Margulies, Ivone. In Person. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190496821.001.0001.

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In Person: Reenactment in Postwar and Contemporary Cinema delineates a new performative genre based on replay and self-awareness. The book argues that in-person reenactment, an actual person reenacting her past on camera, departs radically from other modes of mimetic reconstruction. In Person theorizes this figure’s protean temporality and revisionist capabilities, and it considers its import in terms of social representativity and exemplarity. Close readings of select, historicized examples define an alternate, confessional-performative vein to understand the self-reflexive nature of postwar

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