02651nam 2200589Ia 450 991080957880332120230801224347.01-4529-4756-20-8166-8024-8(CKB)2670000000241825(EBL)1025589(OCoLC)811507044(SSID)ssj0000720121(PQKBManifestationID)11479665(PQKBTitleCode)TC0000720121(PQKBWorkID)10660534(PQKB)11429157(StDuBDS)EDZ0001177277(MiAaPQ)EBC1025589(MdBmJHUP)muse29930(Au-PeEL)EBL1025589(CaPaEBR)ebr10602340(CaONFJC)MIL525783(EXLCZ)99267000000024182520111118d2012 uy 0engur|n|---|||||txtccrBrutal vision[electronic resource] the neorealist body in postwar Italian cinema /Karl SchoonoverMinneapolis University of Minnesota Press20121 online resource (320 p.)Description based upon print version of record.0-8166-7555-4 0-8166-7554-6 Includes bibliographical references and index.Introduction -- An inevitably obscene cinema: Bazin and neorealism -- The North Atlantic ballyhoo of liberal humanism -- Rossellini's exemplary corpse and the sovereign bystander -- Spectacular suffering: De Sica's bodies and charity's gaze -- Neorealism undone: the resistant physicalities of the second generation -- Conclusion.Film history identifies Italian neorealism as the exemplar of national cinema, a specifically domestic response to wartime atrocities. Brutal Vision challenges this orthodoxy by arguing that neorealist films-including such classics as Rome, Open City; Paisan; Shoeshine; and Bicycle Thieves -should be understood less as national products and more as complex agents of a postwar reorganization of global politics. For these films, cinema facilitates the liberal humanist sympathy required to usher in a new era of world stability. In his readings of crucial films and newly discovered documents from Motion picturesItalyRealism in motion picturesMotion picturesRealism in motion pictures.791.43/612Schoonover Karl1116229MiAaPQMiAaPQMiAaPQBOOK9910809578803321Brutal vision2643438UNINA