By André Bazin
André Bazin and Italian Neorealism provides a brand new collection of André Bazin's writings on Vittorio De Sica, Roberto Rossellini, and Federico Fellini; lesser identified yet very important neorealist works equivalent to 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 publication additionally includes a extensive scholarly equipment together with explanatory notes, an intensive index, a contextual advent to Bazin's existence and paintings, a entire Bazin bibliography, and credit of the movies mentioned. This quantity hence represents a huge contribution to the self-discipline of cinema reviews, 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
S. 103 (1941) or La nave bianca (1941) of Rossellini might have caught our attention more. In addition, even when capitalist or political stupidity controlled commercial production completely, intelligence, culture, and experimental research took refuge in publications, in film archive congresses, and in making short films. In 1941, Lattuada, the director of Il bandito (1946) and, at the time, the head of the Milan archive, barely escaped jail for showing the complete version of La grande illusion (1937).
Roberto Rossellini, 1946. A small group of Italian partisans and Allied soldiers have been given a supply of food by a family of fisher folk living in an isolated farmhouse in the heart of the marshlands of the Po delta. Having been handed a basket of eels, they take off. Some while later, a German patrol discovers this, and executes the inhabitants of the farm. 2. An American officer and a partisan are wandering at twilight in the marshes. There is a burst of gunfire in the distance. From a highly elliptical conversation we gather that the Germans have shot the fishermen.
It is the same today with the Italian cinema. There is nothing aesthetically retrogressive about its neorealism; on the contrary, there is progress in expression, a triumphant evolution of the language of cinema, an extension of its stylistics. Let us first take a good look at the cinema to see where it stands today. Since the expressionist heresy came to an end, particularly after the arrival of sound, one may take it that the general trend of cinema has been toward realism. Let us agree, by and large, that film sought to give the spectator as perfect an illusion of reality as possible within the limits of the logical demands of cinematographic narrative and of the current limits of technique.