By Joseph Luzzi
A Cinema of Poetry brings Italian movie stories into discussion with fields open air its traditional purview through displaying how motion pictures can give a contribution to our figuring out of aesthetic questions that reach again to Homer. Joseph Luzzi considers the relation among movie and literature, particularly the cinematic variation of literary assets and, extra usually, the fields of rhetoric, media stories, and glossy Italian culture.
The publication balances theoretical inquiry with shut readings of flicks 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 examine is the 1st to teach how Italian filmmakers handle such the most 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 known as the "cinema of poetry."
While Luzzi establishes how sure characteristics of movie, its hyperlink with technological strategies, skill for mass distribution, man made 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 paintings movie and, extra greatly, Italian cinematic background. In different phrases, what makes this model of the artwork movie recognizably "Italian"?
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The women’s broad generational composite suggests the recurrent nature of the deathwatch, a sad fact of life for the female villagers. The ancient accents of the mise-en-scène find further expression in the Homeric landscape bounded by the omnipresent faraglioni, the legendary rocks that separate Aci Trezza from the modern world. By remaining visually fixed in the domain of legend, the film’s pictorial 42 Neorealist Rhetoric and National Identity Figure 8 The Valastros women look out to sea for their men as Visconti combines mythic and naturalist elements (La terra trema).
9 Such crowds, Gian Piero Brunetta argues, “spell out an ideal 22 Neorealist Rhetoric and National Identity image of an orderly body politic that does not exist,” by presenting “circumscribed, exhilarating moments of unification within an overall pattern of quasi-anarchic behavior” (qtd. in Dalle Vacche, Body 39). In contrast to the Fascist and proto-Fascist “crowd,” in neorealist film the chorus remains peripheral, in the etymological sense of this word, “of the circumference,” away from the center.
29 But this hint of a neorealist landscape dramatically gives way to the awkward planar dispositions of the weeping Sandro and Claudia placed midand fore-frame (figure 3), a blocking that would have been inconceivable in the naturalist idiom of engaged postwar film. As in the reconciliation scene in Rossellini’s Voyage to Italy, Antonioni’s final sequence in L’avventura shows how private dramas and emotional intricacies overwhelm any matter of communal and public consequence. The crepuscular light from Voyage to Italy that Bertolucci saw refracted in L’avventura heralded the birth of a new cinematic poetics born from the passing of neorealism.