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"Visionary Realism" in the New Itali...

Rabissi, Francesco.

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"Visionary Realism" in the New Italian Political Cinema.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	"Visionary Realism" in the New Italian Political Cinema./
作者:	Rabissi, Francesco.
面頁冊數:	207 p.
附註:	Source: Dissertation Abstracts International, Volume: 75-09(E), Section: A.
Contained By:	Dissertation Abstracts International75-09A(E).
標題:	Cinema. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3580836
ISBN:	9781321056525

"Visionary Realism" in the New Italian Political Cinema.
Rabissi, Francesco.

"Visionary Realism" in the New Italian Political Cinema. - 207 p.

Source: Dissertation Abstracts International, Volume: 75-09(E), Section: A.

Thesis (Ph.D.)--Yale University, 2014.

This item must not be sold to any third party vendors.

My dissertation, directed by Professor Millicent Marcus and entitled "Realismo Visionario" nel nuovo cinema d'impegno italiano , focuses on the connection between the visionary and the representation of History in contemporary Italian films.

ISBN: 9781321056525Subjects--Topical Terms:

854529
Cinema.

"Visionary Realism" in the New Italian Political Cinema.
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245 1 0 $a "Visionary Realism" in the New Italian Political Cinema.
300 $a 207 p.
500 $a Source: Dissertation Abstracts International, Volume: 75-09(E), Section: A.
500 $a Adviser: Millicent Marcus.
502 $a Thesis (Ph.D.)--Yale University, 2014.
506 $a This item must not be sold to any third party vendors.
506 $a This item must not be added to any third party search indexes.
520 $a My dissertation, directed by Professor Millicent Marcus and entitled "Realismo Visionario" nel nuovo cinema d'impegno italiano , focuses on the connection between the visionary and the representation of History in contemporary Italian films.
520 $a Italian Neorealist cinema originated from the need to narrate in real time the vicissitudes of the war and the Resistance to the Nazi-fascists. This intent lead to the emergence of an 'aesthetic of reality' that set the rules for the following developments in Italian cinema in its willingness to deal with the representation of the historical past. Rossellini's Paisan is the most famous example of the documentary-like style that originated from the neorealist ethos. However, this 'aesthetic of reality' was not the only choice available to Italian directors willing to deal with the representation of historical events. As a matter of fact, many Italian films have built their narratives on visionary elements such as the visualization of dreams, dream-like states, or hallucinations. By calling for an aesthetic antithetical to that of Neorealism, the films I analyze propose an 'aesthetic of the visionary' as a means to negotiate the representation of history and individual subjectivity.
520 $a Although present-day Italian filmmakers do not see themselves involved in any specific movement, I have been able to identify a corpus of films distinguished by what I call a "visionary realism." By this I mean a cinematic style deriving from the combination of two of Italian Cinema's most prominent characteristics, namely the documentary/realistic approach and the adoption of an oneiric/visionary gaze. My corpus of films include: Marco Bellocchio's Buongiorno, notte (2003), Bernardo Bertolucci's The Dreamers (2003), Paolo Sorrentino's Il divo (2008), Nanni Moretti's Il caimano (2006) and Emanuele Crialese's Nuovomondo (2006). Every chapter of the dissertation is dedicated to a close reading of each film. On the one hand, I have considered these films as "works of social interest," because they offer a critical and moral vision of Italian society and its history in general. On the other hand, I have interpreted their strong metacinematic component as a threefold attempt to deal primarily with the issues of cinema's reproductive aspects -- that is, to take on the problematic relationship between the camera and the 'real' by staging 'real' historical episodes and characters; to consequently problematize the ethical notion of gaze , that is, the way in which the eye of the camera formalizes the world; to finally tie this problematization into the more general question of the formativity of seeing, experiencing and knowing.
520 $a My research adopts a global and local perspective at once. I then connect my corpus of films both to the general discourse on the modernity of cinema that began in the middle of the Twentieth Century and to the national tradition of political cinema, addressed by the most recent scholarship in terms of Postmodern Impegno..
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