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Home > Art, Film & Photography > General > Performing arts > Films, cinema > After Fellini: National Cinema in the Postmodern Age
After Fellini: National Cinema in the Postmodern Age

After Fellini: National Cinema in the Postmodern Age


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Awards Winning
2003 | Premio Flaiano per l'italianistica
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About the Book

During the last two decades of the 20th century, the perception of Italian cinema's prominence within the film industry waned. This decline, in part due to the loss of its great directors, was also influenced by the legalization of private television networks. These networks glutted the airwaves with films and contributed to a shift from attendance at public theatres to private home-viewing that eventually altered the way media culture was produced and consumed in Italy. In this work, Millicent Marcus interprets, in detail, a body of work that manages to transcend these obstacles and establish an independent profile for the Italian cinema of the 1980s and 1990s. Marcus applies the concept of postmodernism to characterize video culture, then examines the cinematic path that developed in opposition to it. Throughout, she frames her study of the films with an examination of Italy's shifting social and political identity over the second half of the 20th century - an identity which Italian filmmakers have sought both to represent and resist.

Table of Contents:
Contents: Acknowledgments Introduction Looking Back 1 National Identity by Means of Montage in Roberto Rossellini's Paisan 2 Luchino Visconti's Bellissima: The Diva, the Mirror, and the Screen Italy by Displacement 3 Bernardo Bertolucci's The Last Emperor : Powerless in Peking 4 Mediterraneo and the "Minimal Utopias" of Gabriele Salvatores 5 From Salazar's Lisbon to Mussolini's Rome by Way of France in Roberto Faenza's Pereira Declares Family as Political Allegory 6 Francesco Rosi's Three Brothers: After the Diaspora 7 The Alternative Family of Ricky Tognazzi's La scorta 8 The Gaze of Innocence: Lost and Found in Gianni Amelio's Stolen Children Postmodernism; or, the Death of Cinema? 9 Ginger and Fred: Fellini after Fellini 10 Giuseppe Tornatore's Cinema Paradiso and the Art of Nostalgia 11 From Conscience to Hyperconsciousness in Maurizio Nichetti's The Icicle Thief 12 Postmodern Pastiche, the Sceneggiata, and the View of the Mafia from Below in Roberta Torre's To Die for Tano The Return of the Referent 13 Filming the Text of Witness: Francesco Rosi's The Truce 14 The Seriousness of Humor in Roberto Benigni's Life is Beautiful 15 Caro diaro and the Cinematic Body of Nanni Moretti Appendix: Plot Summaries and Credits Notes Bibliography Videography Index

About the Author :
Millicent Marcus is Mariano DiVito Professor of Italian Studies in the Department of Romance Languages and Director of the Center of Italian Studies at the University of Pennsylvania.

Review :
Marcus is always at her best in the description and analysis of the characters in the films she explores... The Italian cinema, in her master project, is a human comedy of characters. Typically she will tease out the intricate relationship, say, of the three brothers of Rosi's film to each other, to their parents, and to their wives and lovers. In doing so, she will invariably keep one eye on the cinematic deployment of shots and another on the nuances of difference the same characters present in a source text. -- P. Adams Sitney Cineaste Detailed and persuasive, this book makes an important contribution to the study of contemporary Italian film. Choice Scholars of film as well as those who enjoy Italian cinema will welcome this fine survey by Marcus. Book News


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Product Details
  • ISBN-13: 9780801868474
  • Publisher: Johns Hopkins University Press
  • Publisher Imprint: Johns Hopkins University Press
  • Height: 229 mm
  • No of Pages: 392
  • Spine Width: 22 mm
  • Weight: 658 gr
  • ISBN-10: 0801868475
  • Publisher Date: 31 Jul 2002
  • Binding: Paperback
  • Language: English
  • Returnable: 01
  • Sub Title: National Cinema in the Postmodern Age
  • Width: 152 mm


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