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 identified yet very important neorealist works reminiscent of The Roof, Forbidden Christ, and Love within the urban; and very important subject matters like realism as opposed to fact, neorealism's eclipse amid postwar Italy's fiscal 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 includes a tremendous scholarly gear together with explanatory notes, an intensive index, a contextual creation to Bazin's existence and paintings, a accomplished Bazin bibliography, and credit of the flicks mentioned. This quantity hence represents an immense contribution to the self-discipline of cinema experiences, in addition to a testomony to the ongoing impression of 1 of film's pre-eminent serious thinkers.
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Extra info for André Bazin and Italian Neorealism
What matters “Cinematic Realism and the Italian School of the Liberation” 43 is the creative surge, the special way in which the situations are brought to life. The necessity inherent in the narrative is biological rather than dramatic. It burgeons and grows with all the verisimilitude of life. One must not conclude that this method, on the face of it, is less aesthetic than a slow and meticulous preplanning. But the old prejudice that time, money, and resources have a value of their own is so rooted that people forget to relate them to the work and to the artist.
The mind has to leap from one event to the other as one leaps from stone to stone in crossing a river. It may happen that one’s foot hesitates between two rocks, or that one misses one’s footing and slips. The mind does likewise. Actually it is not of the essence of a stone to allow people to cross rivers without wetting their feet any more than the divisions of a melon exist to allow the head of the family to divide it equally. Facts are facts and our imagination makes use of them, but they do not exist inherently for this purpose.
Roberto Rossellini, 1945. The Precursors Confronted with the originality of the Italian output, and in the enthusiasm engendered by the surprise that this has caused, we have perhaps neglected to go deeply into the origins of this renaissance, preferring to see it rather as something spontaneously generated, issuing like a swarm of bees from the decaying corpses of fascism and the war. There is no question that the Liberation and the social, moral, and economic forms that it assumed in Italy have played a decisive role in film production.