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Wagstaff, Christopher

ISBN 10: 0802095208 / ISBN 13: 9780802095206
Editorial: University of Toronto Press, Toronto & Buffalo & London, 2007
Usado Condición: Near Fine Encuadernación de tapa blanda
Librería: Augustine Funnell Books (Fredericton, NB, Canada)

Librería en AbeBooks desde: 8 de febrero de 1998

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Wagstaff "shows a deep knowledge of the films he discusses, the historical contexts in which they were made, and their critical reception, and offers many brilliant insights and observations about individual films as well as wider patterns in postwar Italian cinema." 504 pages (including notes, bibliography, index), illustrated. An unread copy, internally tight and clean, w/only light general wear. Size: Octavo -- from 7.75" to 9.75" Tall. N° de ref. de la librería 017865

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Editorial: University of Toronto Press, Toronto & Buffalo & London

Año de publicación: 2007

Encuadernación: Stiff Card Wraps

Condición del libro:Near Fine

Edición: First Edition.

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The end of the Second World War saw the emergence of neorealist film in Italy. In Italian Neorealist Cinema, Christopher Wagstaff analyses three neorealist films that have had significant influence on filmmakers around the world. Wagstaff treats these films as assemblies of sounds and images rather than as representations of historical reality. If Roberto Rossellini's Roma citt aperta and Pais , and Vittorio De Sica's Ladri di biciclette are still, half a century after they were made, among the most highly valued artefacts in the history of cinema, Wagstaff suggests that this could be due to the aesthetic and rhetorical qualities of their assembled narratives, performances, locations, lighting, sound, mise en sc ne, and montage. This volume begins by situating neorealist cinema in its historical, industrial, commercial and cultural context, and makes available for the first time a large amount of data on post-war Italian cinema. Wagstaff offers a theoretical discussion of what it means to treat realist films as aesthetic artefacts before moving on to the core of the book, which consists of three studies of the films under discussion. Italian Neorealist Cinema not only offers readers in Film Studies and Italian Studies a radically new perspective on neorealist cinema and the Italian art cinema that followed it, but theorises and applies a method of close analysis of film texts for those interested in aesthetics and rhetoric, as well as cinema in general.

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