By André Bazin
André Bazin and Italian Neorealism offers a brand new choice of André Bazin's writings on Vittorio De Sica, Roberto Rossellini, and Federico Fellini; lesser recognized yet very important neorealist works akin to The Roof, Forbidden Christ, and Love within the urban; and very important themes like realism as opposed to truth, neorealism's eclipse amid postwar Italy's fiscal 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 sizeable scholarly equipment together with explanatory notes, an in depth index, a contextual creation to Bazin's existence and paintings, a finished 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 continued impression of 1 of film's pre-eminent serious thinkers.
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Additional info for André Bazin and Italian Neorealism
It was this atmosphere of interventionist government criticism that hampered the exportation of neorealist films during the 1950s; the “Andreotti What Is Neorealism? ” 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.
Let us pass over the first purely descriptive fragment. The second event is conveyed to us by something only the partisans can know—distant gunfire. The third is presented to us independently of the presence of the partisans. It is not even certain that there were any witnesses to the scene. A baby cries besides its dead parents. There is a fact. How did the Germans discover that the parents were guilty? How is it that the child is still alive? That is not the film’s concern, and yet a whole train of connected events led to this particular outcome.
But let us not go from one extreme to the other and conclude that there is no such thing as a new Italian school. The realist trend, the domestic, satirical, and social descriptions of everyday life, the sensitive and poetic verism, were, before the war, minor qualities, modest violets flowering at the feet of the giant sequoias of production. It appears that from the beginning of the war, a light began to be shed on the papier-mâché forests. In La corona di ferro the style seems to parody itself.