By André Bazin
André Bazin and Italian Neorealism offers, for the 1st time in English, a brand new number of André Bazin’s writings on Vittorio De Sica, Roberto Rossellini, and Federico Fellini; lesser recognized yet very important neorealist works corresponding to The Roof, Forbidden Christ, and Love within the urban; and important themes like realism as opposed to fact, neorealism’s eclipse amid postwar Italy’s monetary prosperity, and the connection among neorealism and propaganda. . There also are essays on paintings and politics, movie and comedy, and cinema and the avant-garde.
The e-book additionally contains a huge scholarly equipment together with explanatory notes, an intensive index, a contextual advent to Bazin’s lifestyles and paintings, a complete Bazin bibliography, and credit of the movies mentioned. This quantity therefore represents an important contribution to the self-discipline of cinema reports, in addition to a testomony to the continued impression of 1 of film’s pre-eminent serious thinkers.
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Extra info for André Bazin and Italian Neorealism
There is a burst of gunfire in the distance. From a highly elliptical conversation we gather that the Germans have shot the fishermen. 46 André Bazin and Italian Neorealism 3. The dead bodies of the men and women lie stretched out in front of the little farmhouse. In the twilight, a half-naked baby cries endlessly. Even with such a succinct description, this fragment of the story reveals enormous ellipses—or rather, great holes. A complex train of action is reduced to three or four brief fragments, in themselves already elliptical enough in comparison with the reality they are unfolding.
In the admirable final episode of the partisans surrounded in the marshlands, the muddy waters of the Po delta, the reeds stretching away to the horizon, just sufficiently tall to hide the man crouching down in the little flatbottomed boat, the lapping of the waves against the wood, all occupy a place of equal importance with the men. This dramatic role played by the marsh is due in great measure to deliberately intended qualities in the photography. This is why the horizon is always at the same height.
But from other points of view, it is also evident that it has moved away from reality or at least that it gets no nearer to it than does the classical aesthetic. In ruling out, because of the complexity of his techniques, all recourse to nature in the raw, natural settings, exteriors, sunlight, and nonprofessional actors, Orson Welles rejects those qualities of the authentic document for which there is no substitute and which, being likewise a part of reality, can themselves establish a form of realism.