By Carlo Testa
The heritage of cinema, and significantly that of post-war Italian cinema, can merely be understood accurately within the context of alternative contiguous cultural disciplines. international literature, together with that of France, Germany, and Russia, performed a key position within the improvement of post-war Italian movie and the cinematic method it has come to embrace. relocating clear of the standard modes of defining this period―a trajectory that starts off with neorealism and ends with Bertolucci―author Carlo Testa deals evidence that coming to phrases with literary texts is a vital step towards realizing the movies they influenced.
The technique of recreating literature for the monitor has replaced significantly over the past half-century, as has the influence of other nationwide traditions on Italian cinema. Testa's paintings is the 1st to explicitly and intentionally hyperlink postwar Italian cinema to normal highbrow matters equivalent to the connection among literary authors and cinematic auteurs. furthermore, his research of the effect of French, German, and Russian cultures on Italy brings forth a brand new analyzing of Italian cinema, a brand new paradigm for exploring advanced problems with authorship, tradition, and art.
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Extra resources for Italian Cinema and Modern European Literatures: 1945-2000
1 of Dizionarìo del cinema italiano (Rome: Gremese, 1993), pp. 284–85. 7. At this time, none of the films here mentioned is available on the Italian market or in public video libraries. While it seems impossible today to view Freda’s Black Eagle, we fortunately have a reasonable amount of information on it in French and Italian books. See Stefano Della Casa, Riccardo Freda (Rome: Bulzoni, 1999), pp. , 1935–1959, pp. 103–04, 149, 151, 181; Riccardo Freda, Divoratori di celluloide: Cinquanta anni di memorie, cinematografiche e non (Milan: Emme Edizioni/Edizioni del Mystfest, 1981), pp.
Only eleven years after Camerini’s black-and-white Pushkin, the Italians who viewed Lattuada’s The Storm lived in a different world than they used to; even when the same prototext was re-created for them in a film, they watched a different world on the screens of their cinemas. 21 In the 1940s and 1950s, Roberto Rossellini, one of the most important directors in the history of Italian cinema, repeatedly drew on European literary traditions for his filmmaking. He made three such works in the period under scrutiny: A Human Voice, Joan of Arc Burned at the Stake, and Fear.
Princeton University Press, 1970), p. 239. “Le sujet d’un ouvrage est à quoi se réduit un mauvais ouvrage” (Paul Valéry, “Autres rhumbs,” in his Tel Quel [Paris: Gallimard, 1943], vol. 2, p. 159). 2. “Calligraphism” was by no means synonymous with a pro-Fascist outlook; in fact, for a number of auteurs, the cultivation of l’art pour l’art formal perfection was a primary way of avoiding any explicit endorsement of the regime. , Freda, on whom see more below) had no qualms of this nature, such was indeed Soldati’s problem—and, as prominently, Lattuada’s.
Italian Cinema and Modern European Literatures: 1945-2000 by Carlo Testa