Italian Neorealist CinemaEdinburgh University Press, 2012 M06 29 - 224 pages Torunn Haaland argues that neorealism was a cultural moment and accounts for the tradition's coherence in terms of its moral commitment to creating critical viewing experiences around underrepresented realities and marginalised people. By examining both acclaimed masterpieces and lesser known works, parallels are drawn to realist theories and to past and present cinematic traditions. The ways in which successive generations of directors have readopted, negotiated and broken with the themes and aesthetics of neorealist film are discussed and evaluated, along with neorealist tendencies in other arts, such as literature. |
Contents
| 1 | |
2 REALISM AND NEOREALISM | 33 |
NARRATION AND TESTIMONY | 62 |
4 ROSSELLINIS CITIES OF WAR AND RESISTANCE | 91 |
SHOESHINERS BICYCLE THIEVES MIRACULOUS OUTCASTS AND A MAN WITH A DOG | 123 |
BETWEEN TRADITION AND INVENTION FROM COUNTRY TO CITY | 146 |
FROM DYSTOPIAN CITIES TO UTOPIAN COUNTRIES | 169 |
STREETWALKERS POLITICAL REBELS ANTIMAFIA RESISTERS STOLEN CHILDREN AND UNWANTED CITIZENS | 193 |
FILMOGRAPHY | 219 |
| 222 | |
| 233 | |
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