By Joseph Luzzi
A Cinema of Poetry brings Italian movie reports into discussion with fields open air its traditional purview by way of displaying 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, specifically the cinematic edition of literary assets and, extra commonly, the fields of rhetoric, media stories, and smooth Italian culture.
The ebook balances theoretical inquiry with shut readings of movies by way 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 an important aesthetic matters 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 referred to as the "cinema of poetry."
While Luzzi establishes how sure characteristics of movie, its hyperlink with technological strategies, potential for mass distribution, artificial virtues (and vices) because the so-called overall artwork, have reshaped centuries-long debates, A Cinema of Poetry additionally explores what's particular to the Italian artwork movie and, extra largely, Italian cinematic heritage. In different phrases, what makes this model of the paintings movie recognizably "Italian"?
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Extra resources for A Cinema of Poetry: Aesthetics of the Italian Art Film
15 The Chorus of Neorealism 25 Figure 6 Don Pietro cradles the murdered partisan heroine Pina in Rossellini’s homage to Michelangelo’s Pietà, to underscore the breakdown of chorality during her fatal sprint (Rome, Open City). Although less political in scope than Roma, città aperta, Rossellini’s Stromboli (1950) also registers choral moments, such as the villagers waiting in prayerful ritual for the appearance of the tuna during the annual mattanza, a bloody harvest in the local waters. During the sequence Ingrid Bergman’s character, Karin, stands apart, filmed in one anguished close-up after another in a visual allegory of her inability to transcend her individuality and join in the elemental activity that ensures the survival of the villagers and deepens their connection to their harsh landscape.
In failing to respect what he calls the “chiacchiere senza sugo” (“insipid talk”) of the old, ’Ntoni shatters the linguistic covenant binding him to earlier generations of Malavoglia (Malavoglia 322; Medlar Tree 165). His quest for personal identity—he shares his grandfather padron ’Ntoni’s name but not his worldview—becomes a linguistic struggle against the proverbs of his elders (gli antichi) and the family dead (i morti). He dares to interpret where interpretation is forbidden, and his hermeneutic transgression transforms the epic narrative surrounding his family for centuries into the tragic, discursive openness of his failed bildungsroman.
If I look back, however, on my films, I undoubtedly encounter elements that are a constant in them, and that are repeated not programmatically but, I would stress, naturally. Above all, I find a chorality. The realist film per se is choral”) (Il mio metodo 88). 1 Indeed, this concept emerges as one of the most illuminating rubrics for fathoming the nexus between aesthetics and sociopolitical engagement during the neorealist period, as varying notions of the chorus rallied seemingly disjoined creative minds in a common struggle.