LEADER 04001nam 2200709 a 450 001 9910456636503321 005 20210430003443.0 010 $a1-4426-8567-0 024 7 $a10.3138/9781442685673 035 $a(CKB)2550000000004550 035 $a(OCoLC)646523843 035 $a(CaPaEBR)ebrary10292802 035 $a(SSID)ssj0000432057 035 $a(PQKBManifestationID)11965445 035 $a(PQKBTitleCode)TC0000432057 035 $a(PQKBWorkID)10493538 035 $a(PQKB)10655998 035 $a(CaBNvSL)slc00222531 035 $a(CaPaEBR)424848 035 $a(MiAaPQ)EBC3262938 035 $a(DE-B1597)497024 035 $a(OCoLC)1078918449 035 $a(DE-B1597)9781442685673 035 $a(MiAaPQ)EBC4634704 035 $a(Au-PeEL)EBL4634704 035 $a(CaPaEBR)ebr10295298 035 $a(OCoLC)958572098 035 $a(EXLCZ)992550000000004550 100 $a20080326d2007 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aItalian neorealist cinema$b[electronic resource] $ean aesthetic approach /$fChristopher Wagstaff 210 $aToronto ;$aBuffalo, N.Y. $cUniversity of Toronto Press$dc2007 215 $a1 online resource (ix, 504 pages, 16 unnumbered pages of plates) $cillustrations, map, digital file 225 1 $aToronto Italian studies 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-8020-9520-8 311 $a0-8020-9761-8 320 $aIncludes bibliographical references (p. [473]-492) and index. 327 $tFront matter --$tContents --$tAcknowledgments --$tIntroduction --$t1. Overview --$t2. Realism --$t3. Roma cittą aperta --$t4. Paisą --$t5. Ladri di biciclette --$tConcluding Remarks --$tAppendices --$tNotes --$tBibliography --$tIndex 330 $aThe end of the Second World War saw the emergence of neorealist film in Italy. In Italian Neorealist Cinema, Christopher Wagstaff analyses three neorealist films that have had significant influence on filmmakers around the world. Wagstaff treats these films as assemblies of sounds and images rather than as representations of historical reality. If Roberto Rossellini's Roma cittą aperta and Paisą, and Vittorio De Sica's Ladri di biciclette are still, half a century after they were made, among the most highly valued artefacts in the history of cinema, Wagstaff suggests that this could be due to the aesthetic and rhetorical qualities of their assembled narratives, performances, locations, lighting, sound, mise en scčne, and montage. This volume begins by situating neorealist cinema in its historical, industrial, commercial and cultural context, and makes available for the first time a large amount of data on post-war Italian cinema. Wagstaff offers a theoretical discussion of what it means to treat realist films as aesthetic artefacts before moving on to the core of the book, which consists of three studies of the films under discussion. Italian Neorealist Cinema not only offers readers in Film Studies and Italian Studies a radically new perspective on neorealist cinema and the Italian art cinema that followed it, but theorises and applies a method of close analysis of film texts for those interested in aesthetics and rhetoric, as well as cinema in general. 410 0$aToronto Italian studies. 606 $aMotion pictures$zItaly$xAesthetics 606 $aMotion pictures$zItaly$xHistory 606 $aRealism in motion pictures 608 $aElectronic books. 615 0$aMotion pictures$xAesthetics. 615 0$aMotion pictures$xHistory. 615 0$aRealism in motion pictures. 676 $a791.4301 700 $aWagstaff$b Christopher$f1946-$0964666 712 02$aScholars Portal. 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910456636503321 996 $aItalian neorealist cinema$92188653 997 $aUNINA