By Joseph Luzzi
A Cinema of Poetry brings Italian movie stories into discussion with fields open air its ordinary purview by means of displaying how motion pictures can give a contribution to our figuring out of aesthetic questions that extend again to Homer. Joseph Luzzi considers the relation among movie and literature, in particular the cinematic variation of literary resources and, extra in general, the fields of rhetoric, media stories, and sleek Italian culture.
The publication balances theoretical inquiry with shut readings of movies through the masters of Italian cinema: Roberto Rossellini, Vittorio De Sica, Luchino Visconti, Michelangelo Antonioni, Federico Fellini, Pier Paolo Pasolini, Bernardo Bertolucci, and others. Luzzi's examine is the 1st to teach how Italian filmmakers tackle such an important aesthetic concerns because the nature of the refrain, the relation among image and allegory, the literary prehistory of montage, and where of poetry in cinematic expression, what Pasolini known as the "cinema of poetry."
While Luzzi establishes how convinced characteristics of movie, its hyperlink with technological strategies, ability for mass distribution, man made virtues (and vices) because the so-called overall artwork, have reshaped centuries-long debates, A Cinema of Poetry additionally explores what's particular to the Italian paintings movie and, extra commonly, Italian cinematic background. In different phrases, what makes this model of the paintings movie recognizably "Italian"?
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Additional info for A Cinema of Poetry: Aesthetics of the Italian Art Film
Giuseppe De Santis “Non ho formule e preconcetti,” Roberto Rossellini claimed when asked to look back on his fabled postwar cinema; “ma se guardo a ritroso i miei film, indubbiamente vi riscontro degli elementi che sono in essi costanti, e che vi sono ripetuti non programmaticamente, ma, ripeto, naturalmente. Anzitutto la coralità. Il film realistico, in sé, è corale” (“I do not have formulas or preconceptions. If I look back, however, on my films, I undoubtedly encounter elements that are a constant in them, and that are repeated not programmatically but, I would stress, naturally.
8 Angela Dalle Vacche writes that the representation of crowds in Cabiria influenced the mise-en-scène of such officially Fascist films as Carmine Gallone’s Scipione l’africano (Scipio Africanus ), which Mussolini’s regime backed because of its celebration of Italian imperialist actions in Ethiopia (Body 39). 9 Such crowds, Gian Piero Brunetta argues, “spell out an ideal 22 Neorealist Rhetoric and National Identity image of an orderly body politic that does not exist,” by presenting “circumscribed, exhilarating moments of unification within an overall pattern of quasi-anarchic behavior” (qtd.
Neorealist chorality, however, remained just as political as that of its Fascist predecessors: whereas the images of collectivity in films sympathetic to Mussolini in the 1930s evoked the corporatist principles of his regime, those of class solidarity in works by directors including Visconti and De Sica sought to express the age’s popular Marxist tenets. But the difference in neorealist chorality rests in a quality that Nietzsche diagnosed in his writings on the Greek tragic stage: the capacity of the chorus for bearing witness.