Title: Tempo e spazio : cinema e identità nazionale
Source document: Études romanes de Brno. 2009, vol. 30, iss. 1, pp. [171]-179
Extent
[171]-179
-
ISSN1803-7399 (print)2336-4416 (online)
Stable URL (handle): https://hdl.handle.net/11222.digilib/114824
Type: Article
Language
License: Not specified license
Notice: These citations are automatically created and might not follow citation rules properly.
Abstract(s)
The aim of this study is to investigate the categories of space and time in Italian neo-realist films. Italy entered badly damaged and fragmented into the post war period where it was necessary to reconstruct the jumbled social realities by focusing on the city space, which was still half-covered by the war ruins. In this way, the Italian neo-realist directors, such as Rossellini and De Sica were attempting to witness the new relationships between the people and the space in which they interacted, in the desire to rediscover a fresh national identity. The refusal of conventional techniques on the part of the neo-realist directors, such as, for example, a linear narrative, a closed film ending, and the use of flashbacks, make neo-realist films an art form of the present, of reality as it is, and they are conceived as an ensemble of time-images cast in what Gilles Deleuze calls the espace quelconque.
eng
References
[1] Bordwell, David; Kristin Thompson, Film Art. An Introduction, 3ª ed., New York, McGraw-Hill Publishing Company 1990.
[2] Brunetta, Gian Piero, Cent'anni di cinema italiano. 2. Dal 1945 ai giorni nostri, Bari, Edizioni Laterza 1995.
[3] Chatman, Seymour, Michelangelo Antonioni. L'indagine, a cura di Paul Duncan, Köln, Taschen GmbH 2004.
[4] De Sica, Vittorio, Ladri di biciclette, 1948.
[5] Deleuze, Gilles, Cinéma I. L'image-mouvement, Paris, Ed. du Minuit 1983 [trad. it. Cinema 1. L'immagine-movimento, Milano, Ubulibri 1984].
[6] Deleuze, Gilles, Cinéma 2. L'image-temps, Paris, Ed. du Minuit 1985 [trad. ingl. Cinema 2. The time-image, Minneapolis, University of Minnesota Press 1989]
[7] Farassino, Alberto, "Neorealismo, storia e geografia" in Neorealismo. Cinema Italiano 1945–1949, a cura di Alberto Farassino, Torino, E.D.T. 1989, pp. 21–36
[8] Fisher, Jaimey, "On the Ruins of Masculinity: The Figure of the Child in Italian Neorealism and the German Rubble-Film", in Italian Neorealism and Global Cinema, a cura di Laura E. Ruberto, Kristi M. Wilson, Detroit, Wayne State University Press 2007, pp. 25–53
[9] Higson , Andrew, "The Limiting Imagination of National Cinema", in Cinema and Nation, a cura di Hjort Mette, Scott Mackenzie, London and New York, Routledge 2000, pp.63–74
[10] Lughi , Paolo, "Il neorealismo in sala. Anteprima di gala e teniture di massa", in Neorealismo. Cinema Italiano 1945–1949, Neorealismo. Cinema Italiano 1945–1949, a cura di Farassino, Alberto, Torino, E.D.T. 1989, pp. 53–60
[11] Marinese, Lorenzo, "Tornare all'aperto", in Film d'oggi, 1 giugno 1946, [ripubblicato in Neorealismo. Cinema Italiano 1945–1949, Neorealismo. Cinema Italiano 1945–1949, a cura di Alberto Farassino, Torino, E.D.T. 1989]
[12] Perry , Edward S., "Post-War Cinema-The Italian War Bride", in The American Cinema, a cura di Donald E. Staples , 3ª edizione, Filippine, Forum Reader Series 1991, pp. 301–310
[13] Rossellini, Roberto, Roma città aperta, 1945
[14] Stubblefield,Thomas, "Re-creating the Witness: Elephant, Postmodernism, and the Neorealist Inheritance", in Italian Neorealism and Global Cinema, a cura di Laura E. Ruberto , Kristi M. Wilson , Detroit, Wayne State University Press 2007, pp. 226–241
[2] Brunetta, Gian Piero, Cent'anni di cinema italiano. 2. Dal 1945 ai giorni nostri, Bari, Edizioni Laterza 1995.
[3] Chatman, Seymour, Michelangelo Antonioni. L'indagine, a cura di Paul Duncan, Köln, Taschen GmbH 2004.
[4] De Sica, Vittorio, Ladri di biciclette, 1948.
[5] Deleuze, Gilles, Cinéma I. L'image-mouvement, Paris, Ed. du Minuit 1983 [trad. it. Cinema 1. L'immagine-movimento, Milano, Ubulibri 1984].
[6] Deleuze, Gilles, Cinéma 2. L'image-temps, Paris, Ed. du Minuit 1985 [trad. ingl. Cinema 2. The time-image, Minneapolis, University of Minnesota Press 1989]
[7] Farassino, Alberto, "Neorealismo, storia e geografia" in Neorealismo. Cinema Italiano 1945–1949, a cura di Alberto Farassino, Torino, E.D.T. 1989, pp. 21–36
[8] Fisher, Jaimey, "On the Ruins of Masculinity: The Figure of the Child in Italian Neorealism and the German Rubble-Film", in Italian Neorealism and Global Cinema, a cura di Laura E. Ruberto, Kristi M. Wilson, Detroit, Wayne State University Press 2007, pp. 25–53
[9] Higson , Andrew, "The Limiting Imagination of National Cinema", in Cinema and Nation, a cura di Hjort Mette, Scott Mackenzie, London and New York, Routledge 2000, pp.63–74
[10] Lughi , Paolo, "Il neorealismo in sala. Anteprima di gala e teniture di massa", in Neorealismo. Cinema Italiano 1945–1949, Neorealismo. Cinema Italiano 1945–1949, a cura di Farassino, Alberto, Torino, E.D.T. 1989, pp. 53–60
[11] Marinese, Lorenzo, "Tornare all'aperto", in Film d'oggi, 1 giugno 1946, [ripubblicato in Neorealismo. Cinema Italiano 1945–1949, Neorealismo. Cinema Italiano 1945–1949, a cura di Alberto Farassino, Torino, E.D.T. 1989]
[12] Perry , Edward S., "Post-War Cinema-The Italian War Bride", in The American Cinema, a cura di Donald E. Staples , 3ª edizione, Filippine, Forum Reader Series 1991, pp. 301–310
[13] Rossellini, Roberto, Roma città aperta, 1945
[14] Stubblefield,Thomas, "Re-creating the Witness: Elephant, Postmodernism, and the Neorealist Inheritance", in Italian Neorealism and Global Cinema, a cura di Laura E. Ruberto , Kristi M. Wilson , Detroit, Wayne State University Press 2007, pp. 226–241