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[null,"1.","Record Nr.",null,"UNINA9910462557503321"]
[null,null,"Autore",null,"Schoonover Karl"]
[null,null,"Titolo",null,"Brutal vision [[electronic resource] ] : the neorealist body in postwar Italian cinema / / Karl Schoonover"]
[null,null,"Pubbl/distr/stampa",null,"Minneapolis, : University of Minnesota Press, 2012"]
[null,null,"ISBN",null,"1-4529-4756-2"]
[{"$nulls":4},"0-8166-8024-8"]
[null,null,"Descrizione fisica",null,"1 online resource (320 p.)"]
[null,null,"Disciplina",null,"791.43/612"]
[null,null,"Soggetti",null,"Motion pictures - Italy"]
[{"$nulls":4},"Realism in motion pictures"]
[{"$nulls":4},"Electronic books."]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Note generali","Description based upon print version of record."]
[null,null,null,"Nota di bibliografia","Includes bibliographical references and index."]
[null,null,"Nota di contenuto",null,"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."]
[null,null,null,"Sommario/riassunto","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"]