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Reviews
Reviews
Detailed and persuasive, this book makes an important contribution to the study of contemporary Italian film.
Marcus is always at her best in the description and analysis of the characters in the films she explores... The Italian cinema, in her master project, is a human comedy of characters. Typically she will tease out the intricate relationship, say, of the three brothers of Rosi's film to each other, to their parents, and to their wives and lovers. In doing so, she will invariably keep one eye on the cinematic deployment of shots and another on the nuances of difference the same characters present in a source text.
Scholars of film as well as those who enjoy Italian cinema will welcome this fine survey by Marcus.
Millicent Marcus's book offers new conclusions about continuities and changes in the mapping of cinematic landscapes. Nothing in English rivals her interpretations of Visconti's Bellissima, Rosi's Three Brothers and The Truce, Amelio's Stolen Children, Benigni's Life Is Beautiful, and Moretti's Caro diario. After Fellini will become the benchmark for any further study of contemporary Italian cinema.
Millicent Marcus's After Fellini: National Cinema in the Postmodern Age makes a highly original contribution to the study of Italian cinema. Through close analysis of a series of individual recent films, she sets the record straight about Italian cinema's contributions to the medium during the last two decades of the twentieth century and demonstrates that the new Italian cinema following in Fellini's footsteps promises a bright future in the new millennium.
To open this book is to walk into Marcus' own Cinema Paradiso where the present and the past of Italian cinema deliciously mingle. Anyone disappointed with what the movies have become will be restored by her acuity, her erudition, and by the warmth of her prose as she fondly evokes what remains the most marvelously human of national cinemas.
About
Book Details
Publication Date
Status
Available
Trim Size
6
x 9
Pages
392
ISBN
9780801868474
Illustration Description
34 halftones
Table of Contents
Acknowledgments
Introduction
Part I. Looking Back
Chapter 1. National Identity by Means of Montage in Roberto Rossellini's Paisan
Chapter 2. Luchino Visconti's Bellissima: The Diva, the Mirror, and the
Acknowledgments
Introduction
Part I. Looking Back
Chapter 1. National Identity by Means of Montage in Roberto Rossellini's Paisan
Chapter 2. Luchino Visconti's Bellissima: The Diva, the Mirror, and the Screen
Part II. Italy by Displacement
Chapter 3. Bernardo Bertolucci's The Last Emperor : Powerless in Peking
Chapter 4. Mediterraneo and the "Minimal Utopias" of Gabriele Salvatores
Chapter 5. From Salazar's Lisbon to Mussolini's Rome by Way of France in Roberto Faenza's Pereira Declares
Part III. Family as Political Allegory
Chapter 6. Francesco Rosi's Three Brothers: After the Diaspora
Chapter 7. The Alternative Family of Ricky Tognazzi's La scorta
Chapter 8. The Gaze of Innocence: Lost and Found in Gianni Amelio's Stolen Children
Part IV. Postmodernism; or, the Death of Cinema?
Chapter 9. Ginger and Fred: Fellini after Fellini
Chapter 10. Giuseppe Tornatore's Cinema Paradiso and the Art of Nostalgia
Chapter 11. From Conscience to Hyperconsciousness in Maurizio Nichetti's The Icicle Thief
Chapter 12. Postmodern Pastiche, the Sceneggiata, and the View of the Mafia from Below in Roberta Torre's To Die for Tano
Part V. The Return of the Referent
Chapter 13. Filming the Text of Witness: Francesco Rosi's The Truce
Chapter 14. The Seriousness of Humor in Roberto Benigni's Life is Beautiful
Chapter 15. Caro diaro and the Cinematic Body of Nanni Moretti
Appendix: Plot Summaries and Credits
Notes
Bibliography
Videography
Index
