By Joseph Luzzi

ISBN-10: 1421411660

ISBN-13: 9781421411668

A Cinema of Poetry brings Italian movie experiences into discussion with fields open air its traditional purview by way of displaying how movies can give a contribution to our knowing of aesthetic questions that reach again to Homer. Joseph Luzzi considers the relation among movie and literature, particularly the cinematic variation of literary assets and, extra often, the fields of rhetoric, media reviews, and smooth Italian culture.

The publication balances theoretical inquiry with shut readings of movies by means of 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 the most 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 referred to as the "cinema of poetry."

While Luzzi establishes how yes features of movie, its hyperlink with technological methods, means 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 artwork movie and, extra extensively, Italian cinematic historical past. In different phrases, what makes this model of the artwork movie recognizably "Italian"?

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The couple then shed copious tears, emblems of a sad love story now contaminated by betrayal. Figuratively speaking, their grief relates to the film’s larger message about the loss of the ideals associated with neorealism. The ending of L’avventura may have been “announced,” to quote Bertolucci’s epigraph, nearly a decade earlier in the enigmatic conclusion to Rossellini’s Voyage to Italy. After that film’s main characters, Alex and Katherine Joyce, encounter the lovers ensconced in the lava of Vesuvius and decide to divorce, they drive into the middle of a Neapolitan religious procession, where they will have an unexpected reconciliation at film’s end.

The film’s opening sequence tracks the mondine (women rice workers) as they take to the fields to start the day’s labor, in a massive grouping according to economic function that recalls the predawn rituals of Visconti’s fishermen in La terra trema, another film that uses the dialectic between choral units and their natural landscape to convey a sociopolitical message predicated on leftist ideology. 19 The notion of chorality was not limited to cinema: the poet and Nobel laureate Salvatore Quasimodo joined his neorealist contemporaries in linking coralità and italianità.

Meanwhile, the Christian believer Don Pietro sits alone in his thoughts and prayers (figure 5). In its solemnity his death occasions none of the fury or hysteria of Nietzsche’s chorus; it inspires instead the resigned and melancholic funereal march of the young witnesses toward a Rome that must be rebuilt. Despite its despair, this unified troop serves as a stark contrast to the failure earlier in the film of the Italian people to act in unison against their German oppressors, especially in the pivotal scene where the Nazis gun down the partisan heroine Pina as she runs after her 24 Neorealist Rhetoric and National Identity Figure 5 Rossellini’s Don Pietro filmed alone in prayerful disposition as a visual counterpoint to the choral imagery in figure 4 (Rome, Open City).

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A Cinema of Poetry: Aesthetics of the Italian Art Film by Joseph Luzzi

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