LEADER 04270nam 2200613Ia 450 001 9910814061603321 005 20240418053831.0 010 $a1-282-76594-9 010 $a9786612765940 010 $a0-299-24793-7 035 $a(CKB)2560000000050269 035 $a(SSID)ssj0000417927 035 $a(PQKBManifestationID)11288000 035 $a(PQKBTitleCode)TC0000417927 035 $a(PQKBWorkID)10364565 035 $a(PQKB)10125216 035 $a(MiAaPQ)EBC3445073 035 $a(OCoLC)673437865 035 $a(MdBmJHUP)muse12023 035 $a(Au-PeEL)EBL3445073 035 $a(CaPaEBR)ebr10413367 035 $a(CaONFJC)MIL276594 035 $a(OCoLC)927483630 035 $a(EXLCZ)992560000000050269 100 $a20100322d2010 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 14$aThe foreign film renaissance on American screens, 1946-1973$b[electronic resource] /$fTino Balio 205 $a1st ed. 210 $aMadison, Wis. $cUniversity of Wisconsin Press$dc2010 215 $axi, 367 p. $cill 225 1 $aWisconsin film studies 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-299-24794-5 320 $aIncludes bibliographical reference (p. 343-345) and index. 327 $aIntro -- Contents -- Illustrations -- Acknowledgments -- Introduction -- Part One: Emergence -- 1. Antecedents -- 2. Italian Neorealism -- 3. British Film Renaissance -- Part Two: Import Trends -- 4. Market Dynamics -- 5. French Films of the 1950s -- 6. Japanese Films of the 1950s -- 7. Ingmar Bergman: The Brand -- 8. The French New Wave -- 9. Angry Young Men: British New Cinema -- 10. The Second Italian Renaissance -- 11. Auteurs from Outside the Epicenter -- Part Three: Changing Dynamics -- 12. Enter Hollywood -- 13. The Aura of the New York Film Festival -- 14. Collapse -- Epilogue -- Appendix: Variety's All-Time Foreign Language Films to 2000 -- Notes -- Select Bibliography -- Index. 330 $aLargely shut out of American theaters since the 1920s, foreign films such as Open City, Bicycle Thief, Rashomon, The Seventh Seal, Breathless, La Dolce Vita and L'Avventura played after World War II in a growing number of art houses around the country and created a small but influential art film market devoted to the acquisition, distribution, and exhibition of foreign-language and English-language films produced abroad. Nurtured by successive waves of imports from Italy, Great Britain, France, Sweden, Japan, and the Soviet Bloc, the renaissance was kick-started by independent distributors working out of New York; by the 1960s, however, the market had been subsumed by Hollywood. From Roberto Rossellini's Open City in 1946 to Bernardo Bertolucci's Last Tango in Paris in 1973, Tino Balio tracks the critical reception in the press of such filmmakers as François Truffaut, Jean-Luc Godard, Federico Fellini, Michelangelo Antonioni, Tony Richardson, Ingmar Bergman, Akira Kurosawa, Luis Buñuel, Satyajit Ray, and Milos Forman. Their releases paled in comparison to Hollywood fare at the box office, but their impact on American film culture was enormous. The reception accorded to art house cinema attacked motion picture censorship, promoted the director as auteur, and celebrated film as an international art. Championing the cause was the new "cinephile" generation, which was mostly made up of college students under thirty. The fashion for foreign films depended in part on their frankness about sex. When Hollywood abolished the Production Code in the late 1960s, American-made films began to treat adult themes with maturity and candor. In this new environment, foreign films lost their cachet and the art film market went into decline. 410 0$aWisconsin film studies. 606 $aForeign films$zUnited States 606 $aForeign films$zUnited States$vReviews 615 0$aForeign films 615 0$aForeign films 676 $a791.43/75 700 $aBalio$b Tino$0780395 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910814061603321 996 $aThe foreign film renaissance on American screens, 1946-1973$93987990 997 $aUNINA