By André Bazin
André Bazin and Italian Neorealism offers, for the 1st time in English, a brand new collection of André Bazin’s writings on Vittorio De Sica, Roberto Rossellini, and Federico Fellini; lesser identified yet vital neorealist works reminiscent of The Roof, Forbidden Christ, and Love within the urban; and important issues like realism as opposed to truth, neorealism’s eclipse amid postwar Italy’s financial prosperity, and the connection among neorealism and propaganda. . There also are essays on artwork and politics, movie and comedy, and cinema and the avant-garde.
The ebook additionally contains a sizeable scholarly gear together with explanatory notes, an in depth index, a contextual advent to Bazin’s existence and paintings, a entire Bazin bibliography, and credit of the flicks mentioned. This quantity hence represents a huge contribution to the self-discipline of cinema stories, in addition to a testomony to the ongoing effect of 1 of film’s pre-eminent severe thinkers.
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Additional info for André Bazin and Italian Neorealism
9–37; in Qu’est-ce que le cinéma? (Cerf, 1975 [single-volume version]), pp. 257–281; translated into English by Hugh Gray in What Is Cinema? Vol. 2 (Univ. of California Press, 1971), pp. 16–40, and edited below by Bert Cardullo. The historical importance of Rossellini’s film Paisà (1946) has been rightly compared with that of a number of classical screen masterpieces. Georges Sadoul has not hesitated to mention it alongside Murnau’s Nosferatu (1922), Lang’s Die Nibelungen (1924), or von Stroheim’s Greed (1924).
In La corona di ferro the style seems to parody itself. Rossellini, Lattuada, and Blasetti were striving toward a realism of international importance. Nevertheless, it is the Liberation that set these aesthetic trends so completely free as to allow them to develop under new conditions that were destined to have their share in inducing a noticeable change in direction and meaning. The Liberation: Rupture and Renaissance Some components of the new Italian school existed before the Liberation: personnel, techniques, aesthetic trends.
Actually, everything that is happening in a Florence in the throes of the Liberation is of a similar importance. The personal adventures of the two individuals blend into the mass of other adventures, just as one attempts to elbow one’s way into a crowd to recover something one has lost. In the course of making one’s way one sees in the eyes of those who stand aside the reflections of other concerns, other passions, other dangers alongside which one’s own may well be merely laughable. Ultimately and by chance, the woman learns, from a wounded partisan, that the man she is looking for is dead.