Contemporary Italian filmmaking : strategies of subversion ; Pirandello, Fellini, Scola, and the directors of the new generation / Manuela Gieri.

By:

Gieri, Manuela

Material type: Text

TextPublication details: Toronto : University of Toronto Press, c1995.Description: x, 301 p. : ill. ; 23 cmISBN:

080200556X (bound)
0802069797 (pbk.)

Subject(s):

DDC classification:

791.430945

LOC classification:

PN 1993.5 G454c 1995

Contents:

""CONTENTS""; ""ACKNOWLEDGMENTS""; ""Introduction: Why Pirandello and the Cinema?""; ""1 He Lost It at the Movies: A Love-Hate Relationship of Over Thirty Years""; ""2 Pirandello and the Theory of the Cinema""; ""3 The Origins of the Myths: From Pirandello to Fellini""; ""4 Character and Discourse from Pirandello to Fellini: Defining a Countertradition in an Italian Context""; ""5 Ettore Scola: A Cinematic and Social Metadiscourse""; ""6 The New Italian Cinema: Restoration or Subversion?

Summary: Contemporary Italian Filmmaking is an innovative critique of Italian filmmaking in the aftermath of World War II - as it moves beyond traditional categories such as genre film and auteur cinema. Manuela Gieri demonstrates that Luigi Pirandello's revolutionary concept of humour was integral to the development of a counter-tradition in Italian filmmaking that she defines 'humoristic'. She delineates a 'Pirandellian genealogy' in Italian cinema, literature, and culture through her examination of the works of Federico Fellini, Ettore Scola, and many directors of the 'new generation, ' such as Nanni Moretti, Gabriele Salvatores, Maurizio Nichetti, and Giuseppe Tornatore. A celebrated figure of the theatrical world, Luigi Pirandello (1867-1936) is little known beyond Italy for his critical and theoretical writings on cinema and for his screenplays. Gieri brings to her reading of Pirandello's work the critical parameters offered by psychoanalysis, poststructuralism, and postmodernism to develop a syncretic and transcultural vision of the history of Italian cinema. She identifies two fundamental trends of development in this tradition: the 'melodramatic imagination' and the 'humoristic, ' or comic, imagination. With her focus on the humoristic imagination, Gieri describes a 'Pirandellian mode' derived from his revolutionary utterances on the cinema and narrative, and specifically, from his essay on humour, L'umorismo (On Humour, 1908). She traces a history of the Pirandellian mode in cinema and investigates its characteristics, demonstrating the original nature of Italian filmmaking that is particularly indebted to Pirandello's interpretation of humour

Tags from this library: No tags from this library for this title. Log in to add tags.

Average rating: 0.0 (0 votes)

Holdings
Item type	Current library	Home library	Collection	Shelving location	Call number	Vol info	Copy number	Status	Date due	Barcode
Libro	Biblioteca Juan Bosch	Biblioteca Juan Bosch	Humanidades	Humanidades (4to. Piso)	PN 1993.5 G454c 1995 (Browse shelf(Opens below))	1	1	Available		00000116053

Browsing Biblioteca Juan Bosch shelves, Shelving location: Humanidades (4to. Piso), Collection: Humanidades Close shelf browser (Hides shelf browser)

Previous								Next
Previous	PN 1993.5 G384p 2008 Palestinian cinema : landscape, trauma and memory /	PN 1993.5 G394c 1998 Cine y televisión en América Latina : producción y mercados /	PN 1993.5 G394c 2006 Cine iberoamericano : los desafíos del próximo siglo /	PN 1993.5 G454c 1995 Contemporary Italian filmmaking : strategies of subversion ; Pirandello, Fellini, Scola, and the directors of the new generation /	PN 1993.5 G463c 2009 Cine y liberación : el nuevo cine latinamericano (1954-1973) : fuentes para un lenguaje /	PN 1993.5 G524h 1998 Hollywood renaissance : the cinema of democracy in the era of Ford, Capra, and Kazan /	PN 1993.5 G562 2008 Global Bollywood /	Next

Includes bibliographical references (p. [269]-290) and index.

Contemporary Italian Filmmaking is an innovative critique of Italian filmmaking in the aftermath of World War II - as it moves beyond traditional categories such as genre film and auteur cinema. Manuela Gieri demonstrates that Luigi Pirandello's revolutionary concept of humour was integral to the development of a counter-tradition in Italian filmmaking that she defines 'humoristic'. She delineates a 'Pirandellian genealogy' in Italian cinema, literature, and culture through her examination of the works of Federico Fellini, Ettore Scola, and many directors of the 'new generation, ' such as Nanni Moretti, Gabriele Salvatores, Maurizio Nichetti, and Giuseppe Tornatore. A celebrated figure of the theatrical world, Luigi Pirandello (1867-1936) is little known beyond Italy for his critical and theoretical writings on cinema and for his screenplays. Gieri brings to her reading of Pirandello's work the critical parameters offered by psychoanalysis, poststructuralism, and postmodernism to develop a syncretic and transcultural vision of the history of Italian cinema. She identifies two fundamental trends of development in this tradition: the 'melodramatic imagination' and the 'humoristic, ' or comic, imagination. With her focus on the humoristic imagination, Gieri describes a 'Pirandellian mode' derived from his revolutionary utterances on the cinema and narrative, and specifically, from his essay on humour, L'umorismo (On Humour, 1908). She traces a history of the Pirandellian mode in cinema and investigates its characteristics, demonstrating the original nature of Italian filmmaking that is particularly indebted to Pirandello's interpretation of humour

There are no comments on this title.

to post a comment.