Poesie / Ferdinando Russo ; edizione definitiva a cura di Pasquale Ruocco ; con prefazione di Carlo Nazzaro

• Record Nr.: UNISALENTO991001200069707536
• Autore: Russo, Ferdinando
• Pubbl/distr/stampa: Napoli : Editrice Ciccarelli, 1949
• Descrizione fisica: 458 p. ; 24 cm
• Altri autori (Persone): Nazzaro, Carlo; Ruocco, Pasquale
• Lingua di pubblicazione: Italiano
• Formato: Materiale a stampa
• Livello bibliografico: Monografia

Postsocialist cinema in post-Mao China : the cultural revolution after the Cultural Revolution / / Chris Berry

• Record Nr.: UNINA9910783842103321
• Autore: Berry Chris.
• Pubbl/distr/stampa: New York ; ; London : , : Routledge, , 2004
• ISBN: 1-135-93647-1; 1-135-93648-X; 1-280-16833-1; 0-203-50247-7
• Descrizione fisica: 1 online resource (224 p.)
• Collana: East Asia : history, politics, sociology, culture
• Disciplina: 791.43/0951
• Soggetti: Motion pictures - China - History; Motion pictures - Political aspects - China
• Lingua di pubblicazione: Inglese
• Formato: Materiale a stampa
• Livello bibliografico: Monografia
• Note generali: Description based upon print version of record.
• Nota di bibliografia: Includes bibliographical references (p. 191-205) and index.; Filmography: p. (207-208).
• Nota di contenuto: Cover; POSTSOCIALIST CINEMA IN POST-MAO CHINA: The Culture Revolution after the Cultural Revolution; Copyright; Contents; Acknowledgments; CHAPTER 1 INTRODUCTION: TOWARD A POSTSOCIALIST CINEMA?; CHAPTER 2 WRITING ON BLANK PAPER: PEDAGOGICAL CINEMA 1949-1976; CHAPTER 3 ENTERING FORBIDDEN ZONES AND EXPOSING WOUNDS: REWRITING SOCIALIST HISTORY; CHAPTER 4 POSTSOCIALISM AND THE DECLINE OF THE HERO; CHAPTER 5 A FAMILY AFFAIR: SEPARATION AND SUBJECTIVITY; CHAPTER 6 ENDING IT ALL: BITTER LOVE; CHAPTER 7 AFTERWORD: FOREIGNER WITHIN, FOREIGNER WITHOUT; Notes; Bibliography; FILMOGRAPHY; Appendix; Index
• Sommario/riassunto: This book argues that the fundamental shift in Chinese Cinema away from Socialism and towards Post-Socialism can be located earlier than the emergence of the ""Fifth Generation"" in the mid-eighties when it is usually assumed to have occured. By close analysis of films from the 1949-1976 Maoist era in comparison with 1976-81 films representing the Cultural Revolution, it demonstrates that the latter already breaks away from Socialism.