By André Bazin
André Bazin and Italian Neorealism provides a brand new choice of André Bazin's writings on Vittorio De Sica, Roberto Rossellini, and Federico Fellini; lesser recognized yet vital neorealist works resembling The Roof, Forbidden Christ, and Love within the urban; and important issues like realism as opposed to truth, neorealism's eclipse amid postwar Italy's financial prosperity, and the connection among neorealism and propaganda. There also are essays on artwork and politics, movie and comedy, and cinema and the avant-garde.
The booklet additionally contains a sizeable scholarly equipment together with explanatory notes, an intensive index, a contextual creation to Bazin's lifestyles and paintings, a finished Bazin bibliography, and credit of the movies mentioned. This quantity therefore represents an enormous contribution to the self-discipline of cinema stories, in addition to a testomony to the ongoing impression of 1 of film's pre-eminent serious thinkers.
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Additional info for André Bazin and Italian Neorealism
It is not the absence of professional actors that is, historically, the hallmark of social realism or of the Italian film. Rather, it is specifically the rejection of the star concept and the casual mixing of professionals and of those who just act occasionally. It is important to avoid casting the professional in the role for which he is known. The public should not be burdened with any preconceptions. It is significant that the peasant in L’Espoir was a theater comedian, Anna Magnani a singer of popular songs, and Fabrizi a music-hall clown.
I am not merely referring to the tone or the subject, but in a profound way to the style. Unfortunately, one cannot put a film sequence in quotation marks like a paragraph, and hence any literary description of one must of necessity be incomplete. However, what follows is an episode from the final story which reminds me now of Hemingway, now of Faulkner. Paisan, “Rome episode,” dir. Roberto Rossellini, 1946. A small group of Italian partisans and Allied soldiers have been given a supply of food by a family of fisher folk living in an isolated farmhouse in the heart of the marshlands of the Po delta.
It starts with a long slide, then it comes almost to a halt, slowly studying the burned and shattered walls with the same rhythm of the man’s watching eye, as if directly impelled by his concentration. ” A shot of this kind by virtue of its dynamism belongs with the movement of a hand drawing a sketch, leaving a space here, filling in there, here sketching round the subject, and there bringing it into relief. I am thinking of the slow motion in the documentary on Matisse which allows us to observe, beneath the continuous and uniform arabesques of the stroke, the varying hesitations of the artist’s hand.
André Bazin and Italian Neorealism by André Bazin