By Joseph Luzzi
A Cinema of Poetry brings Italian movie stories into discussion with fields open air its traditional purview by way of exhibiting how movies can give a contribution to our figuring out of aesthetic questions that extend again to Homer. Joseph Luzzi considers the relation among movie and literature, particularly the cinematic variation of literary resources and, extra typically, the fields of rhetoric, media experiences, and smooth Italian culture.
The ebook balances theoretical inquiry with shut readings of movies by means of the masters of Italian cinema: Roberto Rossellini, Vittorio De Sica, Luchino Visconti, Michelangelo Antonioni, Federico Fellini, Pier Paolo Pasolini, Bernardo Bertolucci, and others. Luzzi's learn is the 1st to teach how Italian filmmakers deal with such the most important aesthetic concerns because the nature of the refrain, the relation among image and allegory, the literary prehistory of montage, and where of poetry in cinematic expression, what Pasolini known as the "cinema of poetry."
While Luzzi establishes how yes characteristics of movie, its hyperlink with technological procedures, means for mass distribution, man made virtues (and vices) because the so-called overall paintings, have reshaped centuries-long debates, A Cinema of Poetry additionally explores what's particular to the Italian artwork movie and, extra widely, Italian cinematic heritage. In different phrases, what makes this model of the artwork movie recognizably "Italian"?
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Additional info for A Cinema of Poetry: Aesthetics of the Italian Art Film
Bakhtin called the “heteroglossia” of a detached fictional world. Like Bakhtin’s archetypal prose author, Verga “does not express himself in [his characters]. . Rather, he exhibits them as a unique speech-thing, [and] they function for him as something completely reified” (Bakhtin, “Discourse in the Novel” 299). Verga’s novel conveys this process through the dialect speech patterns and proverbializing of the inhabitants of Aci Trezza, orchestrating what Bakhtin labels the “stratification of language” to express the worldviews of his characters and, more implicitly, the author’s own “intentional theme” (“Discourse in the Novel” 299).
Late in the film Claudia spends a sleepless night waiting for Sandro to return from a party. After a desperate search through their luxury hotel, she finds him in the arms of a prostitute. The couple then shed copious tears, emblems of a sad love story now contaminated by betrayal. Figuratively speaking, their grief relates to the film’s larger message about the loss of the ideals associated with neorealism. The ending of L’avventura may have been “announced,” to quote Bertolucci’s epigraph, nearly a decade earlier in the enigmatic conclusion to Rossellini’s Voyage to Italy.
Though cinema had been central to constructing italianità before World War II—Mussolini had created Cinecittà in 1937 amid great fanfare10—during the reconstruction the phrase “rifare l’Italia” (“remake Italy”) became a popular refrain for directors who vowed to reject the false optimism and escapism of the Fascist era. Most famously, the new realism or neorealism, many believed, should promote sober story lines anchored in Italy’s difficult postwar realities, which filmmakers could represent through natural lighting, lengthy shots, dialect-based Beyond Beauty 39 speech, the use of nonprofessional actors, urban and unadorned sets, and ideological (often communist-inspired) incisiveness.
A Cinema of Poetry: Aesthetics of the Italian Art Film by Joseph Luzzi