By Carlo Celli, Marga Cottino-Jones (auth.)
This e-book is a whole remodeling and replace of Marga Cottino-Jones' well known A Student's consultant to Italian movie (1983, 1993) . This consultant keeps previous versions' curiosity in popular motion pictures and administrators yet can be aware of the preferred motion pictures which completed field place of work luck one of the public.
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Extra info for A New Guide to Italian Cinema
The ruling elite allowed and even encouraged Mussolini to enter into the government who was viewed as a milder, more controllable alternative to D’Annunzio, fresh from his Fiume adventure. Italian films depicting rise of Fascism include films made under the regime such as Giovacchino Forzano’s Camicia nera (1933), Alessandro Blasetti’s Vecchia guardia/Old Guard (1934), or postwar studies such as Dino Risi’s Marcia su Roma/March on Rome (1962) and Bernardo Bertolucci’s 1900 (1976). The idea of violence for political ends sprang directly from the audacity of D’Annunzio’s volunteers at Fiume and former arditi, shock troop veterans, as did THE FASCIST YEARS 21 the Fascist wearing of black shirts, brandishing of clubs, and forced public feeding of cod liver oil as means of political intimidation.
The first president of CSC was the noted film theorist Luigi Chiarini, who would later direct features such as Via delle cinque lune/Five Moons street (1941). Joining him in lecturing were Umberto Barbaro (1902–59), Alessandro Blasetti (1900–87), and Francesco Pasinetti (1911–49). The CSC numbered future directors among its students, including Giuseppe De Santis (1917–97), Luigi Zampa (1905–91), Pietro Germi (1914–74), Roberto Rossellini (1906–77), and Michelangelo Antonioni (1912–). In 1937, the CSC began publishing a film journal Bianco e Nero (White and Black).
He also made the first widely distributed Italian film of the period with a female nude (actress Clara Calamai) La cena delle beffe (1941) as well as Quattro passi fra le nuvole/Four Steps in the Clouds (1942), a seemingly light comedy written with Cesare Zavattini, which challenged the regime’s models of family structure. In 1932 filmmakers were invited by the Fascist regime to commemorate the decennale, the tenth anniversary of Mussolini’s accession to power with the 1922 March on Rome. The regime also commissioned an artistic exposition at the EUR (Roman Universal Exposition) set for 1940, which recalled the style and language of pre-WWI Futurist movement.
A New Guide to Italian Cinema by Carlo Celli, Marga Cottino-Jones (auth.)