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Informationen zum Autor Dr Luca Barattoni is an Assistant Professor of Italian at Clemson University (US). Klappentext Traditions in World Cinema General Editors: Linda Badley and R. Barton Palmer Founding Editor: Steven Jay Schneider This series introduces diverse and fascinating movements in world cinema. Each volume concentrates on a set of films from a different national, regional or, in some cases, cross-cultural cinema which constitute a particular tradition. Italian Post-Neorealist Cinema Luca Barattoni Italian Post-Neorealist Cinema establishes twenty-five years of Italian pictures as a formal and aesthetic continuum characterized by an explicitly modernist sensitivity. The book links the emergence of Neorealism with a broader reflection on and negotiation of modernity, one in which cinema emerges as a medium capable of granting a different experience of reality, with the intention of plugging cultural and identitarian gaps. Previously distinct categories such as 'the heroic phase of Neorealism', 'the Internationalist auteurs', 'the New Italian Wave' and 'comedy Italian style' are reconfigured through Barattoni's innovative approach, underscoring the realist-modernist dialogue in the hierarchy of the image and the foundational nature of the new cinema. Essential reading for all students of Italian film, this book will also appeal to undergraduate and postgraduate students in Film Studies. Luca Barattoni is Assistant Professor of Italian at Clemson University. Cover design: Cover image: Io La Conosceno Bene, Antonio Pietrangeli, 1965 (c) Reporters Associati/Archivio Storico del Cinema/AFE. [EUP logo] www.euppublishing.com Inhaltsverzeichnis Introduction; 1. Historic, Economic, and Cultural Background; 2. The New Wave Proper/Italian Style Debate and the Explosion of National Cinemas; 3. The Aesthetics Emerging After the War; 4. Ideological Perimeters: The Catholic-Marxist Protocol; 5. Negotiating Modernity: The Ethics of Disorientation and Entrenchment; 6. Reimagining National Identity; 7. Behavioral Codes and Sexual Mores; Conclusion: The Missing Italy and Its Missing Cinema Today...
