By Pierre Sorlin
ISBN-10: 0203134664
ISBN-13: 9780203134665
ISBN-10: 041511697X
ISBN-13: 9780415116978
From such movies as l. a. Dolce Vita and Bicycle Thieves to Cinema Paradiso and costly Diary, Italian cinema has supplied remarkable photos of Italy as a country and a humans. within the first entire examine of Italian cinema from 1886-1996, Pierre Sorlin explores the altering dating of Italian cinema and Italian society and asks even if the nationwide cinema quite does signify Italian pursuits and tradition.
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Additional info for Italian National Cinema 1896-1996 (National Cinemas)
Example text
It is no accident that melodrama, filled with sex but never exhibiting it, fulfilling in images repressed impulses and at the same time warning against sexual drives, was immensely appreciated in Italy at a time when sexual issues could not be discussed publicly. However, melodrama must not be reduced to this aspect alone. It was effective inasmuch as it alluded to more specific concerns. Cinematic families were imaginary, magical circles. They were also groups of relatives and this must be borne in mind if we want to understand why audiences took an interest in them.
We must recall that, in striking contrast to Britain or France, Italy had no national newspaper published in Rome. Most dailies were printed in regional capitals and dealt extensively with local concerns. With the cinema, for the first time Italians living in different regions could watch almost simultaneously the pope, the king and his family, floods in Venice, parishioners coming out after mass in Florence, Etna erupting and also events filmed in America or in Asia. The landscapes or scenes presented in the first films, the way they were framed, had such an impact on spectators that many of them provided patterns for subsequent productions.
We may infer from this data that spectators, tired of seeing unidentified locations, asked for more precise information. The attention paid to the cinema by Italians was an expression of concern for the outer world as well as for their own country. We must recall that, in striking contrast to Britain or France, Italy had no national newspaper published in Rome. Most dailies were printed in regional capitals and dealt extensively with local concerns. With the cinema, for the first time Italians living in different regions could watch almost simultaneously the pope, the king and his family, floods in Venice, parishioners coming out after mass in Florence, Etna erupting and also events filmed in America or in Asia.
Italian National Cinema 1896-1996 (National Cinemas) by Pierre Sorlin
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