Brutal Vision: The Neorealist Body in Postwar Italian Cinema
Author: Karl Schoonover
Date: 2012-01-01 05:00:00+00:00
Keywords: Art; Performing Arts; History & Criticism; Film
Description: Film history identifies Italian neorealism as the exemplar of national cinema, a specifically domestic response to wartime atrocities. Brutal Vision challenges this orthodoxy by arguing that neorealist films—including such classics as Rome, Open City; Paisan; Shoeshine; and Bicycle Thieves —should be understood less as national products and more as complex agents of a postwar reorganization of global politics. For these films, cinema facilitates the liberal humanist sympathy required to usher in a new era of world stability. In his readings of crucial films and newly discovered documents from
Publisher: U of Minnesota Press

Document Outline

- Copyright
- Contents
- Acknowledgments
- Introduction
- 1. An Inevitably Obscene Cinema

- 2. The North Atlantic Ballyhoo of Liberal humanism

- 3. Rossellini's Exemplary Corpse and the Sovereign Bystander

- 4. Spectacular Suffering. De Sica's Bodies and Charity's Gaze

- 5. Neorealism Undone. The Resistant Physicalities of the Second Generation

- Conclusion
- Notes
- Index

Table of Contents

- Copyright
- Contents
- Acknowledgments
- Introduction
- 1. An Inevitably Obscene Cinema

- 2. The North Atlantic Ballyhoo of Liberal humanism

- 3. Rossellini's Exemplary Corpse and the Sovereign Bystander

- 4. Spectacular Suffering. De Sica's Bodies and Charity's Gaze

- 5. Neorealism Undone. The Resistant Physicalities of the Second Generation

- Conclusion
- Notes
- Index