| Description |
1 online resource (xxxiii, 283 pages) : illustrations |
| Series |
JSTOR EBA
|
| Contents |
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 |
| Summary |
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 |
| Bibliography |
Includes bibliographical references and index |
| Subject |
Motion pictures -- Italy.
|
|
Realism in motion pictures.
|
|
ART -- Film & Video.
|
|
PERFORMING ARTS -- Film & Video -- Reference.
|
|
Motion pictures
|
|
Realism in motion pictures
|
|
Italy
|
| Form |
Electronic book
|
| LC no. |
2011047053 |
| ISBN |
9780816680245 |
|
0816675546 |
|
9780816675548 |
|
0816675554 |
|
9780816675555 |
|
0816680248 |
|
9780816680245 |
|
9781452947563 |
|
1452947562 |
|
