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Relevant bibliographies by topics / Vita è bella (Motion picture : 1997)

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Academic literature on the topic 'Vita è bella (Motion picture : 1997)'

Author: Grafiati

Published: 29 July 2024

Last updated: 31 July 2025

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Books on the topic "Vita è bella (Motion picture : 1997)"

1

Villa-Sella, Nicoletta. La vita è bella (Life is beautiful): Film study program. Edizioni Farinelli, 2009.

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2

Trützschler, Jan. Authentizität und Fiktion - der Holocaust als Filmkomödie in "Das Leben ist schön" und "Zug des Lebens". Shaker Verlag, 2008.

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3

Niv, Kobi. Life is beautiful, but not for Jews: Another view of the film by Benigni. Scarecrow Press, 2004.

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4

Niv, Ḳobi. ha- Ḥayim yafim aval lo li-Yehudim: Mabaṭ aḥer ʻal ha-sereṭ shel Benini. N.B. Sefarim, 2000.

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5

Bendat, Aya. Ben humor li-ṭraʼumah, ben etiḳah le-esteṭiḳah: Maḥshavot ʻal "ha-Ḥayim yafim" shel Roberṭo Benini = From trauma to humor, ethics to esthetics : thoughts on Roberto Benigni's film "Life is beautiful". Resling, 2015.

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6

Niv, Kobi. Life Is Beautiful, but Not for Jews: Another View of the Film by Benigni. Scarecrow Press, Incorporated, 2003.

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7

Life is beautiful, but not for Jews: Another view of the film by Benigni. Scarecrow Press, 2003.

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8

Mediendidaktische Reflexionen Uber Erinnerungskonstruktionen in Walter Benjamins Baudelaire-Studien Und Roberto Benignis Film Das Leben Ist Schon: Zwi. Peter Lang Publishing, 2002.

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Conference papers on the topic "Vita è bella (Motion picture : 1997)"

1

Lisić, Dragana S. "CHILD AND AUSCHWITZ ON FILM: LA VITA È BELLA (1997) AND THE BOY IN THE STRIPED PYJAMAS (2008)." In The International Scientific Conference "Children, culture, education". University of Kragujevac, Faculty of Education in Užice, Serbia, 2024. http://dx.doi.org/10.46793/dko24.09dl.

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Abstract:

The paper deals with the films La vita è bella by R. Benigni and The Boy in the Striped Pyjamas by M. Herman, in which the main roles are played by children, and both deal with the Holocaust and Auschwitz. While Benigni's film follows the Jewish boy Giosué and his parents through the struggle for survival in the camp, Herman's film presents a contrasting picture – the Jewish boy Shmuel, separated by a wire from Bruno, the son of a Nazi, who is worried about the lack of friends in his new home next to the camp. The element that connects these two films, characteristic of children, is play – Gio

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