scholarly journals Roteiro coletivo: a ideia do cinema neorrealista

2021 ◽  
Author(s):  
Ana Luiza Cavalcanti Fatorelli Carneiro ◽  
Luiz Roberto Pinto Nazario
Keyword(s):  
Italian Cinema ◽  
Main Aspect ◽  
Foreign Literature ◽  
Film Directors ◽  
The Creation ◽  
Italian Film ◽  
Andre Bazin ◽  
Poetic Realism ◽  
Luchino Visconti

Fascism had brought hunger and destruction to Italy. Italian film makers gathered to reconstruct cinema pursuing another ideal. Neorealist films had as their main aspect the fact of being social, not only in the theme but also in their way of production. The movement, according to André Bazin, followed formal and aesthetic criteria, features that had been accomplished by film makers since the creation of Cinecittà by Mussolini. However, even during this regime, some artists already resisted the fascist view, a fact that can be observed in films like Ossessione, by Luchino Visconti; I bambini ci guardano, by Vittorio De Sica and Quattro passi tra le nuvole, by Alessandro Blasetti. Inspired by the studies in Centro Sperimentale di Cinematografia, by Umberto Barbaro’s translation of Pudovkin, by foreign literature, besides the collaboration of the French Poetic Realism film directors, a creative dynamic was produced centered in the collective writing of scripts which played an important role in the resistance to fascism in Italian cinema. This study, in particular, analyzes Luchino Visconti’s Ossessione.

Luchino Visconti and the Italian Cinema

1960 ◽  
Vol 13 (3) ◽  
pp. 11-22 ◽  
Author(s):  
Gianfranco Poggi
Keyword(s):  
Italian Cinema ◽  
Luchino Visconti

About the so-called. tendovaginitis crepitans in metalworkers

1930 ◽  
Vol 26 (3) ◽  
pp. 274-278
Author(s):  
A. I. Ivanchenko
Keyword(s):  
Occupational Health ◽  
Complete Resolution ◽  
Occupational Diseases ◽  
Living Conditions ◽  
Necessary Condition ◽  
Social Pathology ◽  
Foreign Literature ◽  
The Creation ◽  
Working And Living Conditions

Occupational diseases play a fairly prominent role in the morbidity of workers in various sectors of our economy. Therefore, the study of etiological and contributing moments is a necessary condition for their prevention and the creation of the correct working and living conditions. Diseases of the tendon sheaths constitute one of the important chapters of occupational health and social pathology, however, our knowledge of the origin and nature of tendovaginitis is still far from complete resolution, and numerous works on this issue, which have appeared recently both in foreign literature (Frisch, Sattler, Hauck), and in Russian (Shugaev, Israilson, Golyanitsky and Obolenskaya, Konshin, etc.) they convincingly emphasize this position.

Avanti a lui tremava tutta Roma: opera, melodrama and the Resistance

Modern Italy ◽  
2012 ◽  
Vol 17 (2) ◽  
pp. 185-196 ◽  
Author(s):  
Catherine O'Rawe
Keyword(s):  
Historical Context ◽  
Film History ◽  
Second World War ◽  
Vocal Performance ◽  
Italian Cinema ◽  
World War ◽  
Full Picture ◽  
Italian Film ◽  
Post War ◽  
Second World

Italian neorealism is conventionally read as the authoritative cinematic chronicle of Italy's experience of the Second World War and the Resistance, through canonical films such as Rossellini'sRoma città aperta(Rome, Open City, 1945). It is important, however, to restore a full picture of the array of genres which narrated and refracted the Resistance experience in the post-war period. To this end, this article looks at a key genre that has been overlooked by scholarship, the opera film ormelodramma. In examiningAvanti a lui tremava tutta Roma(Before Him All Rome Trembled, Gallone, 1946), the article considers Mary Wood's contention (inItalian cinema. Oxford: Berg, 2005, 109) that in this period ‘realist cinematic conventions were insufficient for the maximum perception of the historical context’, and that the ‘affective charge’ of melodrama was essential for restoring this complexity. It assesses the appeal to the emotions produced by the film, and the ways in which this is constructed through the bodily and vocal performance of the operadivo, and questions the critical division between emotion (always viewed as excessive) and authenticity (seen in neorealism, the mode of seriousness) which has seen the opera film relegated to the margins of post-war Italian film history.

scholarly journals The Commercialisation of Polish Socialist Heritage – Tourist, Entertainment and Collectable Products and Souvenirs in the Vintage Style

2020 ◽  
Vol 16 (1) ◽  
Author(s):  
Monika Płaziak
Keyword(s):  
Online Auction ◽  
Main Question ◽  
Tourist Destination ◽  
Foreign Literature ◽  
The Creation ◽  
Entertainment Products ◽  
Domestic Tourist

On the Polish market, original and stylised products referring to the era of socialism are becoming popular. These are mainly cultural and entertainment products with both everyday and artistic items being offered and purchased on online auction portals while the production of sentimental memorabilia from the period of the Polish People’s Republic is also being developed. At the same time, the growing interest in Poland as a tourist destination among both domestic and foreign tourists is the reason for the increasing curiosity of its socialist past. Therefore, tourist offers based on relics of that era are increasingly being created on the domestic tourist market, however, the quality of these products and services sometimes raises concerns over the quality of the message that they carry. The main question is whether this is only a simplified message based on stereotypes which give the recipient only a truncated and shallow picture of Poland’s difficult past. This article discusses the main trends and the conditions necessary for the creation of services and products based on relics of socialism in Poland and is based on sources from Polish and foreign literature, both academic and professional, as well as the websites of businesses and institutions creating such market offers.

Intimacy and Hedonism: The Aesthetics of the Terrazza in Italian Cinema

2019 ◽  
Vol 23 (4) ◽  
pp. 394-408
Author(s):  
Nicoletta Asciuto
Keyword(s):  
Italian Cinema ◽  
Historical Approach ◽  
Aesthetic Development ◽  
Architectural Space ◽  
Cinematic Space ◽  
Italian Film ◽  
Post War ◽  
Film Aesthetics

This article discusses the developments of the terrazza (“roof terrace”) as a cinematic space in post-war and contemporary Italian films. By taking a historical approach, I show how the terrazza has evolved, from the post-war years to the present, to become an architecture of intimacy and hedonism. In Italian film aesthetics, the terrazza replaces the piazza (“square”), the space normally assumed to represent quintessential Italian life. This article considers the cinematic and aesthetic development of elevated architectural space in five key films, ranging from the post-war classics Mario Monicelli’s I soliti ignoti ( Big Deal on Madonna Street, 1958) and Michelangelo Antonioni’s L’avventura ( The Adventure, 1960), through Una giornata particolare ( A Special Day, 1977) and La terrazza ( The Terrace, 1980) by Ettore Scola, to Paolo Sorrentino’s very contemporary La grande bellezza ( The Great Beauty, 2013), a film clearly indebted to the aesthetics of its ground-breaking predecessors.

Popular Front Activism and Vichy

2017 ◽  
Author(s):  
Tami Williams
Keyword(s):  
Film Industry ◽  
Labor Union ◽  
Popular Front ◽  
French Film ◽  
Political Position ◽  
Vichy Regime ◽  
Film Directors ◽  
The Future ◽  
The Creation ◽  
Cultural Movement

This chapter details the evolution of Dulac's socialist humanist politics under the Popular Front, from her activism and syndicalism or labor union work within the context of the vast cultural movement of Mai '36, to a rather controversial shift that led to her complex political position under the Vichy regime. During this era, from 1936 to 1938, Dulac's activism for the cinema and by way of the cinema blossomed. She undertook several Socialist film projects, and played a major role in restructuring the French film industry and in cultivating a propitious environment for the future of the medium. Her role was central on several fronts, from the nationalization of the industry to the creation of a French cinematheque and a film directors' union.

Vampires in Italian Cinema, 1956-1975

2020 ◽  
Author(s):  
Michael Guarneri
Keyword(s):  
Film History ◽  
Original Research ◽  
Film Production ◽  
Italian Cinema ◽  
Film Censorship ◽  
Award Winning ◽  
Show Business ◽  
International Distribution ◽  
Italian Film ◽  
Post War

The book takes as its subject a corpus of thirty-three vampire movies made, distributed and exhibited during the peak years of film production in Italy, and certified to be of Italian nationality by state institutions such as the Italian Show Business Bureau and the Italian Film Censorship Office. Positioning itself at the intersection of Italian film history, horror studies and cultural studies, the book asks: why, and how, is the protean, transnational and transmedial figure of the vampire appropriated by Italian cinema practitioners between 1956 and 1975? Or, more concisely, what do the vampires of post-war Italian cinema mean? The aim is to show that – in spite of Italian vampire cinema’s imported and derivative nature, and its great reliance on profits coming from distribution on the international market – Italian cinematic vampires reflect their national zeitgeist from the economic miracle of the late 1950s to the mid-1970s austerity, twenty years of large political and socio-economic change in which gender politics were also in relative flux. The result of an original research into film production data, film censorship files, screenplays, trade papers, film magazines and vampire-themed paraliterature, the book leaves the well-trod track of award-winning art films to shed light on some of the so-called ‘lower forms’ of cinematic culture, looking for the economic backbone and cultural instrumentality of post-war Italian cinema in the run-of-the-mill genre movies rushed through a cheap production and into domestic and international distribution to parasitically (vampirically?) exploit a given commercially successful film.

Cecilia Mangini

2016 ◽  
Vol 2 (3) ◽  
pp. 54-72
Author(s):  
Dalila Missero
Keyword(s):  
Italian Cinema ◽  
Political Struggle ◽  
Nonfiction Film ◽  
Personal Approach ◽  
Italian Film ◽  
Male Dominated ◽  
Organic Intellectual ◽  
Access To Knowledge ◽  
Archaeological Approach

This essay offers a feminist reading of the work of Italian film director Cecilia Mangini. Drawing on an archaeological approach, it focuses on Mangini's experience as a woman in Italian cinema and her contribution to the realization of three movies—To Arms! We're Fascists! (codirected with Lino Del Fra and Lino Micciché, 1961–62), Stalin (directed with Lino Del Fra and Franco Fortini, 1962–63), and Being Women (1963–65)—all clear examples of the counterhegemonic cinema that Mangini developed in the fissures of mainstream, male-dominated practices. In her view, nonfiction film is a tool for cultural and political struggle, and it must affect the present in order to provide democratic access to knowledge. Following the Gramscian notion of the organic intellectual, Mangini has built a specific aesthetic and a personal approach to film direction, which aims to reach the broadest audience possible and, at the same time, to develop a coherent feminist militant discourse.

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