By André Bazin
André Bazin and Italian Neorealism provides, 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 similar to The Roof, Forbidden Christ, and Love within the urban; and very important subject matters like realism as opposed to truth, neorealism’s eclipse amid postwar Italy’s monetary 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 publication additionally encompasses a large scholarly gear together with explanatory notes, an in depth index, a contextual advent to Bazin’s existence and paintings, a finished Bazin bibliography, and credit of the flicks mentioned. This quantity hence represents a massive contribution to the self-discipline of cinema reports, in addition to a testomony to the ongoing effect of 1 of film’s pre-eminent serious thinkers.
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Extra resources for André Bazin and Italian Neorealism
The Children Are Watching Us, dir. Vittorio De Sica, 1943. Unfortunately, this was the cinematic style that the Italian public continued to demand after the war, despite the fact that during it such precursors of neorealism as Visconti’s Ossessione and De Sica’s own fifth film, The Children Are Watching Us (1943), had offered a serious alternative. Indeed, it was as early as 1942, when Ossessione and The Children Are Watching Us were either being made or released, that the idea of the cinema was being transformed in Italy.
The Liberation: Rupture and Renaissance Some components of the new Italian school existed before the Liberation: personnel, techniques, aesthetic trends. But it was their historical, social, and economic combination that suddenly created a synthesis in which new elements also made themselves manifest. Over the past two years, Resistance and Liberation have furnished the principal themes, but unlike the French, and indeed one might say unlike the European cinema as a whole, Italian films have not been limited to themes of the Resistance.
In November 1955 the “Manifesto of Italian Cinema” was published in response to Andreotti’s Libertas letter by the French journal Positif—a manifesto that spoke out against movie censorship and was signed by the leaders of Italian neorealism, with the names of De Sica and Zavattini prominent among the signatures. By this time, however, postwar neorealism was rapidly waning as the burning social and political causes that had stimulated the movement were to some extent alleviated or glossed over by increasing prosperity.
André Bazin and Italian Neorealism by André Bazin