Suchergebnisse

Djelovanje sterilne umjetnosti pod njegom fašizma počelo se povlačiti uoči rata da bi stalo čim je uspostavljen mir pod pritiskom dokumentarno obojenog realizma. Unutarnji glas savjesti navodio je talijanskog pisca da spasi književnost izmučenu dvadesetogodišnjim mistifikacijama i obmanama, da je izliječi od euforije i laži fino umotane u prazni estetizam ili u patriotsku pergamenu. Generacija talijanskih pisaca, koja je sazrijevala između dva rata, opredijelila se za novu neorealističku koncepciju stvaralačkog čina i kreče u potragu za novim izvorima nadahnuća zaustavljajući pažnju na socijalnim motivima obilato prisutnim u ruralnoj sredini. U par decenija neorealizam je uhvatio duboke korijene što se odrazilo na mnoštvu knjiga koje su nosile u sebi nove, ljudske poruke. Veliki broj njih preveden je na hrvatskosrpski jezik već pedesetih godina. U ovom radu istraživanja su usmjerena na otkrivanje dodirnih niti Između djela neorealista koji su svoje kazivanje usredotočili na selo i nekih romana dalmatinskih pisaca — Vladana Desnice i Mirka Božića na primjer — koji su medu seljacima pronašli uzvišeni smisao pričanja. Uspoređujući Fontamaru I. Silonea, Krist, se zaustavio u Eboliju C. Levija, Zimsko Ijetovanje V. Desnice i Kurlane M. Božića autor dolazi do konstatacije da su se pomenuti pisci uputili na selo iz sličnih pobuda, da su preskočili ograde klasičnog načina izlaganja stvari, da su postavili sebi kao cilj očitovanje istine o jednom s vremenom mistificiranom ljudskom bitisanju. Njima se desetak godina kasnije pridružuje Fulvio Tomizza svojim prvijencem Materada (1960). Iz navedenih djela izbija težnja da se kroz povijesnu determinantnu predoči sudbina odbačenog svijeta, koji »životari na ivici ponora«, čiji je duh srastao sa zemljom i umrtvio, da književnu riječ stave u službu čovjeka koga od pamtivijeka pogađa nepravda, koji je najveća žrtva civilizatotskog procesa. Motivi sela našli su dostojno mjesto u književnom stvaralaštvu kome je otvorio put neorealizam, čiji je glas dopro i do dalmatinskih umjetnika.

One of the most remarkable developments in international film of recent memory is the emergence of a vibrant and creative film industry in Iran following the Islamic Revolution of 1979. In light of worldwide acclaim for the work of Iranian filmmakers, scholars have pointed to a strong similarity between the style of these films and those of post-war Italian Neorealist filmmakers. By analyzing the works of three of Iran's leading directors, Abbas Kiarostami, Mohsen Makhmalbaf and Majid Majidi and comparing them with the greatest Italian Neorealist film, The Bicycle Thief, this study will attempt to show how Iranians are working within the Neorealist tradition while at the same time making it distinctively their own.

Titelblatt, Danksagung, Inhaltsverzeichnis Einleitung Rezeption des Neorealismus 1946-1961 Faschistische Kulturpolitik Rezeption zeitgenössischer amerikanischer Literatur in Italien 1930-1950 Der faschistische Kriegsfilm Francesco De Robertis und Uomini sul fondo Roberto Rossellini La nave bianca Vom historischen Roman Walter Scotts zum italienischen Verismus Rosso Malpelo Raum-Figurenbeziehung in Rosso Malpelo und La nave bianca Die militärische und innenpolitische Entwicklung in Italien 1943-1944 Roma città aperta Giovanni Episcopo und Roma città aperta Manhattan Transfer Raum-Figurenbeziehung in Roma città aperta und Manhattan Transfer Schlussbetrachtung Anhang Literaturverzeichnis ; Die Dissertation gibt Antworten auf zwei leitende Fragestellungen: 1\. Welche Beziehungen existieren zwischen der veristischen Erzählung Rosso Malpelo (1878) von Giovanni Verga und La nave bianca (1941) einerseits, dem modernen Großstadtroman Manhattan Transfer (1925) von John Dos Passos und Roma città aperta (1945) andererseits? 2\. Welche ästhetische und ideologische Kontinuität besteht zwischen dem faschistischen Kriegsspielfilm La nave bianca und dem mutmaßlich antifaschistischen Initialwerk des italienischen filmischen Neorealismus Roma città aperta? Anhand der internationalen Rezeption vorrangig des filmischen, daneben des literarischen italienischen Neorealismus zwischen 1946 und 1961 werden die teils ethischen, teils ästhetischen Interpretationen beider Tendenzen dargestellt. Roberto Rossellini wirkt in wechselnden Stabfunktionen an La nave bianca und Roma città aperta mit. Aus der in- und ausländischen Wahrnehmung des Werkes von Rossellini zwischen 1946 und 1961 ergibt sich, dass er seit Roma città aperta als Begründer und wichtigster Vertreter des italienischen filmischen Neorealismus gerühmt, seit L'Amore (1947-48) jedoch für dessen Niedergang verantwortlich gemacht wird. Die Rezeptionsgeschichte basiert auf Artikeln aus Fiera letteraria, Cinema, Cinema nuovo, Positif, Sight and Sound und Filmkritik. Seit Ende des 2. ...

One of the themes at the heart of the collective debate in the years following the war was the question of responsibility. In Italy a publicly accepted version of past events was soon pieced together. This showed the desire within society and the political parties to remove Fascism as a significant component of the national identity. Cinema was to become one of the points of reference in the fabrication of this public narration. On the screen among 1945 and mid-Fifties a clear picture emerges of a fundamentally guilt-free Italy. Italian cinema pieces together a definition of new identity-creating perimeters, openly ratifying which side was which (the Italians pictured as a community) and who was to blame (the Fascists, an easily recognisable minority given their choices and behaviour). Only during the Sixties, films portrayed Blackshirts as a kind of "national" protagonist in Italy's evolution from dictatorship to the republic. The argument over fascism was brought to light again by leftish directors in an attempt to condemn events in the past, but more importantly those in the present. At the same time, there was an attempt by the commercial cinema of the "economic miracle" to call time on fascism as painlessly as possible, representing this as a collective experience for Italians in their moral journey from dictatorship to democracy. Both strains of thought demonstrate how Fascist characters at least had been definitively included within the nation's history and community.

The issue of understanding, empathy and the relationship to the poor, the socially and economically marginalized segments of most contemporary societies, represents one of the most challenging political socio-economic, humanist, and scientific problems of today. The paper compares two ways of understanding and representing the urban poor -anthropological and cinematographic. The theoretical and practical achievements of Oscar Lewis and his idea of the "culture of poverty" are given as an example of the anthropological study and understanding of the poor. On the other hand, an analysis of the representation of the poor in Vittorio De Sica's film Miracle in Milan (1951) is given as an example of the cinematographic treatment of the issue. The aim of this comparison is the confronting of two viewpoints - one which aims to get to the scientific truth about poverty and the other - which gives a subjective artistic interpretation of the "old and romantic story about the rich man and the pauper" and the consideration of their cognitive and interpretative effects and potential for an anthropological theory and practice on the issue which would be "better" and wider in scope.

Over the years, neorealism has influenced contemporary cinema after World War II and post-war. This cinema movement, born in Italy, has reflected political and social problems of its time. Many filmmakers have shown inclination towards neorealism in their films, such as Federico Fellini, who has a clear influence of this movement, especially in his first movies. ; A lo largo de los años, el neorrealismo ha influido en el cine contemporáneo tras la Segunda Guerra Mundial y la postguerra. Este movimiento cinematográfico, nacido en Italia, se ha caracterizado por reflejar en las películas las problemáticas políticas y sociales de la época. Muchos cineastas han mostrado inclinación hacia el neorrealismo en sus películas. Es el caso de Federico Fellini, en quien se puede notar una clara influencia de este movimiento sobre todo en sus primeros títulos.

Studies of the relationship between Italian Neorealism and Latin American cinema have often been limited to political analyses, or to superficial identification of formal similarities. This article aims to move beyond these approaches, proposing a comparative reading of Vittorio De Sica's Il tetto/The Roof (1956) and the Argentine film El hombre de al lado/The Man Next Door by Cohn and Duprat (2009) which takes as its focus debates around ideas of modernity and affect, melodrama and the interior, and the understanding of architecture as media (in Beatriz Colomina's terms). Where De Sica's film offers architectural modernity and its periphery as a source of escape and hope, The Man Next Door uses a historical project of modernity, a Le Corbusier house, to develop a sceptical reflection on the possibility of community. The Roof, a critically neglected Neorealist text, thus allows a fresh perspective on (post)modernity and social conflict in contemporary Argentine film.

Der italienische Neorealismus teilte mit deutschen Autoren der 1940er bis 1960er Jahre die Kriegserfahrung und die Auseinandersetzung mit Marxismus und Existentialismus. Der gemeinsame Erfahrungshintergrund hat bewirkt, dass sich ästhetische Spuren des italienischen Neorealismus in den Werken von Heinrich Böll, Hans Erich Nossack und Alfred Andersch nachweisen lassen, die über das in Deutschland etablierte Konzept des Kahlschlags hinausgehen. Der Vergleich mit Filmen und Romanen von Roberto Rossellini, Vittorio de Sica, Luchino Visconti und Michelangelo Antonioni sowie Elio Vittorini, Cesare Pavese und Vasco Pratolini zeigt, dass der italienische Neorealismus für die deutschen Autoren mit Blick auf die Tradition des Realismus eine wichtige Brückenfunktion übernimmt. Die der Ästhetik dieses Realismus inhärenten ethischen Standpunkte entstehen durch transmediale Neustrukturierungen von Bild- und Erzählprozessen. Gemeinsamkeiten und Unterschiede dieser spezifischen Wirklichkeitswahrnehmung zeigen sich an zeitlichen Phänomenen wie Anfang und Ende, Zu-spät, Augenblick und Dauer, Erinnerung und Amnesie sowie an räumlichen Phänomenen wie Ruine, Meer und Horizont, Reise, Landschaft und Leere, Fläche und Geometrie und urbanen Durchgangsorten. Wie Raum und Zeit brechen Erzählperspektiven auf. Diese ethisch-ästhetischen Auflösungsprozesse der ontologischen Grenzen der Realität (des Bildes) haben theoretisch André Bazin und Gilles Deleuze mit den Konzepten des "Cache" und des "Zeit-Bildes" beschrieben. Die ästhetische Krise der Repräsentation des Realismus und die Krise des in seiner Lebenswelt beschädigten Subjekts werden mit dem so gewonnenen Topos der Unmittelbarkeit und einer Demokratisierung des Sehens, d. h. gesellschaftlicher Wahrnehmungskonventionen, ethisch bewältigt. ; Italian neorealism shared the war experience with German authors from the 1940s to 1960s and the confrontation with Marxism and existentialism. The common background of the experience has led to the fact that in the works of Heinrich Böll, Hans Erich Nossack and Alfred Andersch aesthetic traces of Italian neorealism can be found that go beyond the concept of "Kahlschlag" established in Germany. A comparison with films and novels by Roberto Rossellini, Vittorio de Sica, Luchino Visconti and Michelangelo Antonioni as well as Elio Vittorini, Cesare Pavese and Vasco Pratolini shows that Italian neorealism is an important bridge for German authors in view of the tradition of realism. The ethical standpoints inherent in the aesthetics of this realism arise through transmedial restructuring of image and narrative processes. Similarities and differences in this specific perception of reality can be seen in temporal phenomena such as beginning and end, too late, moment and duration, memory and amnesia as well as in spatial phenomena such as ruins, sea and horizon, travel, landscape and emptiness, surface and geometry and urban transit locations. Like space and time, narrative perspectives also break out. André Bazin and Gilles Deleuze have theoretically described these ethical-aesthetic dissolution processes of the ontological limits of reality (the image) with the concepts of the "Cache" and the "Time Image". The aesthetic crisis of the representation of realism, which refers to its madeness, and the crisis of the subject damaged in its lifeworld, are combined with the resulting topos of immediacy and a democratization of seeing, i.e. social conventions of perception, mastered ethically. ; vorgelegt von Friederike Römhild, M.A. ; Erstgutachterin: Prof. Dr. Claudia Öhlschläger, Zweitgutachterin: Prof. Dr. Lucia Perrone Capano ; Tag der Verteidigung: 19.07.2017 ; Universität Paderborn, Dissertation, 2017

The Politics of Tragedy: An Introduction and Overview -- SECTION I: TRAGEDY AND POLITICAL AGENCY 2. Václav Havel: The Political Uses of Tragedy in the Aftermath of Communism ; 3. Italian Neorealism: Tragic Cinema in the Aftermath of Fascism ; 4. Cornel West: Tragedy and the Fulfillment of American Democracy -- SECTION II: TRAGEDY AND POLITICAL SOLIDARITY 5. Nelson Mandela: Tragedy in a Divided South Africa ; 6. 9/11: Tragedy and Theodicy as American Responses to Suffering -- SECTION III: TRAGEDY AND POLITICAL IDENTITY 7. Botho Strauss: Goatsong in a Democratic Key? ; 8. Christa Wolf: Greek Tragedy and German Democracy ; 9. Michael Schorr's Schultze Gets the Blues: German Borrowings from the New World African Tragic ; 10. Conclusion: Anticipating a Different Kind of Sixties Tragedy.

The problem of the diva/the divo within Italian cinematography has – just like that of the star – already been examined several times. But the appearance of the minute stars within the media culture of the past 20 years throws a completely new light on the problem of the divine – not only in Italy. Does this phenomenon come close to that of the amateur actor in Italian neorealism, the innovation that should ensure authenticity within the films? This question will be explored in the essay. It was Luchino Visconti (1906–1976) who made the film La terra trema (1947/48) exclusively with amateur actors, and then questioned the neo-realist filmmakers' approach with the film Bellissima (1951). Visconti settled with the star industry in 1967 in his film La strega brucciata viva. The question of amateur actors, divas, stars is discussed based on the two films and the theories of Gilles Deleuze ('crystal imageʻ) and Ernst H. Kantorowicz ('the king's two bodysʻ).

Este trabalho se utiliza de dois estudos de caso - Viagem to Italy (1953), de Roberto Rossellini e Sandra (1965), de Luchino Visconti para discutir questões políticas, historiográficas e estéticas [que interferem] no relacionamento entre o neo-realismo como cinema da nação italiana e o "cinema de arte europeu" como uma instituição desnacionalizada. ; This paper uses two case studies, Roberto Rossellini 's Voyage to Italy (1953) and Luchino Visconti 's Sandra (1965), to discuss the political, historiographic and aesthetic issues informing the relationship between neo-realism as the cinema ofthe Italian nation and "European art-cinema" as de-nationalized institution.

La Costa Smeralda nasce nei primi anni '60 nelle coste nordorientali della Sardegna, in un momento di grandi cambiamenti per il turismo. Mentre nel resto d'Europa il boom turistico del secondo dopoguerra signi cava la democratizzazione delle vacanze e la di usione del turismo di massa, la Costa Smeralda nasce in antitesi alle altre destinazioni turistiche di massa sorte nelle coste spagnole, italiane e francesi dello stesso periodo. La condizione insulare e la natura incontaminata diventano simbolo dell'esclusività, che attraggono in Costa Smeralda clienti d'elite alla ricerca di un enclave paradisiaco di lusso nel centro del Mediterraneo. La rinterpretazione dell'architettura vernacolare e l'immanenza del paesaggio naturale saranno gli strumenti utilizzati per la costruzione dello spazio turistico. ; Costa Smeralda was founded in the early 1960s in the north-eastern coast of Sardinia, at a time of great change for tourism. While for the rest of Europe the tourism boom after World War II meant the democratization of the holidays and the spread of mass tourism, Costa Smeralda was founded in opposition to the other mass tourism destinations fate in the Spanish, Italian and French coasts of the same period. The insular condition and the pristine nature of Costa Smeralda became a symbol of exclusivity, which attracted elite clients looking for a heavenly enclave of luxury tourism in the heart of the Mediterranean. The reinterpretation of vernacular architecture and the immanence of the natural landscape would have been the tools used for the construction of space tourism. ; Peer Reviewed