Download Italian National Cinema 1896-1996 (National Cinemas) by Pierre Sorlin PDF

By Pierre Sorlin

From such motion pictures as los angeles Dolce Vita and Bicycle Thieves to Cinema Paradiso and expensive Diary, Italian cinema has supplied amazing photos of Italy as a kingdom and a humans. within the first accomplished learn of Italian cinema from 1886-1996, Pierre Sorlin explores the altering courting of Italian cinema and Italian society and asks even if the nationwide cinema particularly does symbolize Italian pursuits and tradition.

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Additional info for Italian National Cinema 1896-1996 (National Cinemas)

Sample text

Or was this picture used to denounce what was perceived as a destructive reality? We cannot answer these queries. But we must not forget that, if viewers participated in the characters’ passions, they were also accustomed to the genre with its rules and tricks. The flow of the narrative was interrupted by incidents, trivial happenings or details too insignificant to qualify as events but likely to trigger surprising mental associations as when, for instance, the hidden past of a pirate ancestor made a wedding impossible.

28 I have already described the clever succession of calm and conflicting sequences which structures the movie. Even in the former, new events continue. We see, for instance, the market in Carthage: exotic people in strange costumes, bizarre animals crossing the street. We witness this endless to-ing and fro-ing, together with the selling of Cabiria to the high priest. Pastrone was not too preoccupied with historical accuracy but was intent on pleasing and astonishing his audience, which he unexpectedly took from a crowded square to an empty beach, and from long shot to close-up.

28 I have already described the clever succession of calm and conflicting sequences which structures the movie. Even in the former, new events continue. We see, for instance, the market in Carthage: exotic people in strange costumes, bizarre animals crossing the street. We witness this endless to-ing and fro-ing, together with the selling of Cabiria to the high priest. Pastrone was not too preoccupied with historical accuracy but was intent on pleasing and astonishing his audience, which he unexpectedly took from a crowded square to an empty beach, and from long shot to close-up.

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