223 pages

English

Découvre YouScribe en t'inscrivant gratuitement

Je m'inscris

Cinema of Economic Miracles , livre ebook

Duke University Press - Restivo Angelo Restivo

Découvre YouScribe en t'inscrivant gratuitement

Je m'inscris

Obtenez un accès à la bibliothèque pour le consulter en ligne
En savoir plus

223 pages

English

Obtenez un accès à la bibliothèque pour le consulter en ligne
En savoir plus

A propos
Informations
Extrait

Description

The Italian art cinema of the 1960s is known worldwide for its brilliance and vitality. Yet rarely has this cinema been considered in relation to the profound economic and cultural changes that transformed Italy during the sixties--described as the "economic miracle." Angelo Restivo argues for a completely new understanding of that cinema as a negotiation between a national aesthetic tradition of realism and a nascent postmodern image culture.Restivo studies numerous films of the period, focusing mainly on the works of Pier Paolo Pasolini and Michelangelo Antonioni. He finds that these auteurs' films reworked the neorealist aesthetic developed in the 1940s and 1950s, explored issues brought to the fore by the subsequent consumer boom, and presaged developments central to both critical theory and the visual arts in the 1980s and 1990s. Drawing on the theories of Lacan, Zizek, Benjamin, Foucault, Jameson, and Deleuze, he shines new light on such films as Pasolini's Accattone and Teorema, and Antonioni's Red Desert and Blow-Up. Restivo's model for understanding the relationship of the 1960s Italian art film to its cultural contexts also has implications that extend to the developing national cinemas of countries such as Brazil and Taiwan.The Cinema of Economic Miracles will interest scholars and students in all areas of film studies, especially those studying theories of the image, national cinema theory, and Italian cinema, and to those engaged in poststructuralist theory, philosophy, and comparative literature.

Sujets

Sociologie, société et politique

Cultural studies

Italy

My Last Duchess

Film

Informations

Publié par	Duke University Press
Date de parution	26 février 2002
Nombre de lectures	1
EAN13	9780822383680
Langue	English
Poids de l'ouvrage	1 Mo

Informations légales : prix de location à la page 0,1348€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

T H E C I N E M A O F E C O N O M I C M I R AC L E S

P O S T  C O N T E M P O R A R Y I N T E R V E N T I O N S

Series Editors: Stanley Fish and Fredric Jameson

T H E

C I N E M A

O F

angelo restivo

E C O N O M I C

M I R A C L E S

Visuality and Modernization in the Italian Art Film

D U K E U N I V E R S I T Y P R E S S

D U R H A M A N D L O N D O N

2 0 0 2

2002 Duke University Press

Printed in the United States of

Americaonacid-freepaper

DesignedbyAmyRuthBuchanan

Typeset in Carter & Cone Galliard

by G&S Typesetters, Inc.

Library of Congress Cataloging-in-

Publication Data appear on the last

printed page of this book.

Acknowledgments, vii

P A R T I : N E O R E A L I S M A N D N AT I O N

1. Writing the National Cinema, 3

2. Neorealism and the Stain, 22

P A R T I I : T H E N AT I O N , T H E B O D Y, A N D P A S O L I N I

3. Tropes of Modernization: The Bandit and the Road, 45

4. Spatial Transformations: Mapping the New Italy, 61

5. Pasolini and the Limits of Resistance, 77

C O N T E N T S

P A R T I I I : A N T O N I O N I A N D T H E P O S T M O D E R N S U B L I M E

6. The Object Antonioni, 95

7. The Sublime and the Disaster, 124

P A R T I V : B O U N D A R I E S

8. The Erotics of the Periphery, 147

Notes, 175

Bibliography, 195

Index, 203

A C K N O W L E D G M E N T S

The idea of undertaking this study came about after I read, in manu-script form, Marsha Kinder’s study of Spanish cinema,Blood Cinema. Thus, I am most indebted to her; her enthusiasm for my project, her patient reading of the chapters as they progressed, and her always astute comments were invaluable. Lynn Spigel was especially helpful in work-ing through issues of urban space. It was she who introduced me to Michael Dear, who generously gave of his time to introduce me to the geographer’s point of view on postmodern space. I would also like to thank Michael Renov for our many long discussions of theory, and es-pecially for the summer spent working through Lacan’s Seminar VII. James Hay has been supportive of my work ever since we ﬁrst met at the Ohio Conference in 1994. I would also like to thank Peter Brunette for his enthusiastic support of this book, as well as for his sharp editorial comments. At the University of Iowa, Dudley Andrew, Rick Altman, and Lauren Rabinowitz brought me in as a visiting faculty speciﬁcally to teach the ideas I was developing in this book, and I am grateful for their having given me that opportunity. Working with the graduate stu-dents at Iowa was truly a wonderful experience, and their sharpness, seriousness, and commitment to theory helped reﬁne my thinking on many of the issues raised in this book. At the University of Michigan, Phillip Hallman went out of his way to track down videotapes unavailable in the United States. Abe Marcus Nornes also provided me with tapes of hard-to-ﬁnd Taiwanese ﬁlms. I also want to thank Alan Young, who set up a stand where I could make frame enlargements. Additional frame enlargements were made at the

Film Studies Center of the University of Chicago. I would like to thank Tom Gunning, Julia Gibbs, and the technicians at the center. At Duke University Press, I must thank Ken Wissoker for his conﬁ-dence in this project, Katie Courtland for her enthusiasm in overseeing the production, and Maura High for her perceptive and intelligent copyediting of the manuscript. Finally, I would like to thank friends who—though we are now scat-tered in various institutions across the country—have always followed my intellectual development with interest: Cesare Casarino, Bhaskar Sarkar, Bishnu Ghosh, Amy Villarejo, and Virginia Wexman. Lastly, I must single out my friend, colleague, and collaborator Richard Cante. The eight years that have passed since we met have been an ongoing intellectual adventure of the rarest sort, one in which ‘‘life’’ and ‘‘theory’’ come to coincide.

Portions of part 2 of this manuscript appeared, in different form, inFilm QuarterlyandThe Road Movie Book.

part I

N E O R E A L I S M A N D N AT I O N

Univers
Ebooks
Livres audio
Presse
Podcasts
BD
Documents

Cinema of Economic Miracles , livre ebook

Sociologie, société et politique

Cultural studies

Italy

My Last Duchess

Film

YouScribe

Le catalogue

Le service

Les conditions