By André Bazin
André Bazin and Italian Neorealism offers a brand new collection of André Bazin's writings on Vittorio De Sica, Roberto Rossellini, and Federico Fellini; lesser recognized yet very important neorealist works akin to The Roof, Forbidden Christ, and Love within the urban; and important subject matters like realism as opposed to fact, neorealism's eclipse amid postwar Italy's financial 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 booklet additionally encompasses a extensive scholarly gear together with explanatory notes, an intensive index, a contextual creation to Bazin's lifestyles and paintings, a complete Bazin bibliography, and credit of the flicks mentioned. This quantity therefore represents an incredible contribution to the self-discipline of cinema experiences, in addition to a testomony to the ongoing effect of 1 of film's pre-eminent serious thinkers.
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Extra info for André Bazin and Italian Neorealism
In my view, one merit of the Italian film will be that it has demonstrated that every realism in art was first profoundly aesthetic. One always felt it was so, but in the reverberations of the accusations of witchcraft that some people today are making against actors suspected of a pact with the demon of art for art’s sake, one has tended to forget it. The real like the imaginary in art is the concern of the artist alone. The flesh and blood of reality are no easier to capture in the net of literature or cinema than are gratuitous flights of the imagination.
Reality is not to be taken quantitatively. The same event, the same object, can be represented in various ways. Each “Cinematic Realism and the Italian School of the Liberation” 39 representation discards or retains various of the qualities that permit us to recognize the object on the screen. Each introduces, for didactic or aesthetic reasons, abstractions that operate more or less corrosively and thus do not permit the original to subsist in its entirety. At the conclusion of this inevitable and necessary “chemical” action, for the initial reality there has been substituted an illusion of reality composed of a complex of abstraction (black and white, plane surface), of conventions (the rules of montage, for example), and of authentic reality.
Neorealism’s influence on French New Wave directors like Truffaut is a matter of record, but its impact on the American cinema has generally been ignored. , 1947), Jules Dassin (The Naked City, 1948), Joseph Losey (The Lawless, 1950), Robert Rossen (Body and Soul, 1947), and Edward Dymytryk (Crossfire, 1947), stylistic elements of neorealism can be found together with neorealism’s thematic concern with social and political problems. The Italian movement has even had a profound impact on filmmakers in countries that once lacked strong national cinemas of their own, such as India, where Satyajit Ray adopted a typically neorealist stance in his Apu trilogy, outstanding among whose three films is Pather Panchali (1955).