Contemporary Italian Filmmaking: Strategies of Subversion: Pirandello, Fellini, Scola, and the Directors of the New Generation
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Toronto
University of Toronto Press
[2016]
|
| Schriftenreihe: | Toronto Italian Studies
|
| Schlagworte: | |
| Online-Zugang: | DE-859 DE-860 DE-473 DE-Aug4 DE-739 DE-1046 DE-1043 DE-858 Volltext |
| Beschreibung: | Description based on online resource; title from PDF title page (publisher’s Web site, viewed Jan. 06, 2016) |
| Beschreibung: | 1 online resource |
| ISBN: | 9781442673359 |
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| 505 | 8 | |a Contemporary Italian Filmmaking is an innovative critique of Italian filmmaking in the aftermath of World War II - as it moves beyond traditional categories such as genre film and auteur cinema. Manuela Gieri demonstrates that Luigi Pirandello's revolutionary concept of humour was integral to the development of a counter-tradition in Italian filmmaking that she defines 'humoristic'. She delineates a 'Pirandellian genealogy' in Italian cinema, literature, and culture through her examination of the works of Federico Fellini, Ettore Scola, and many directors of the 'new generation,' such as Nanni Moretti, Gabriele Salvatores, Maurizio Nichetti, and Giuseppe Tornatore.A celebrated figure of the theatrical world, Luigi Pirandello (1867-1936) is little known beyond Italy for his critical and theoretical writings on cinema and for his screenplays. Gieri brings to her reading of Pirandello's work the critical parameters offered by psychoanalysis, poststructuralism, and postmodernism to develop a syncretic and transcultural vision of the history of Italian cinema. She identifies two fundamental trends of development in this tradition: the 'melodramatic imagination' and the 'humoristic,' or comic, imagination. With her focus on the humoristic imagination, Gieri describes a 'Pirandellian mode' derived from his revolutionary utterances on the cinema and narrative, and specifically, from his essay on humour, L'umorismo (On Humour, 1908). She traces a history of the Pirandellian mode in cinema and investigates its characteristics, demonstrating the original nature of Italian filmmaking that is particularly indebted to Pirandello's interpretation of humour | |
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Datensatz im Suchindex
| _version_ | 1820172540931211264 |
|---|---|
| adam_text | |
| any_adam_object | |
| author | Gieri, Manuela |
| author_facet | Gieri, Manuela |
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| contents | Contemporary Italian Filmmaking is an innovative critique of Italian filmmaking in the aftermath of World War II - as it moves beyond traditional categories such as genre film and auteur cinema. Manuela Gieri demonstrates that Luigi Pirandello's revolutionary concept of humour was integral to the development of a counter-tradition in Italian filmmaking that she defines 'humoristic'. She delineates a 'Pirandellian genealogy' in Italian cinema, literature, and culture through her examination of the works of Federico Fellini, Ettore Scola, and many directors of the 'new generation,' such as Nanni Moretti, Gabriele Salvatores, Maurizio Nichetti, and Giuseppe Tornatore.A celebrated figure of the theatrical world, Luigi Pirandello (1867-1936) is little known beyond Italy for his critical and theoretical writings on cinema and for his screenplays. Gieri brings to her reading of Pirandello's work the critical parameters offered by psychoanalysis, poststructuralism, and postmodernism to develop a syncretic and transcultural vision of the history of Italian cinema. She identifies two fundamental trends of development in this tradition: the 'melodramatic imagination' and the 'humoristic,' or comic, imagination. With her focus on the humoristic imagination, Gieri describes a 'Pirandellian mode' derived from his revolutionary utterances on the cinema and narrative, and specifically, from his essay on humour, L'umorismo (On Humour, 1908). She traces a history of the Pirandellian mode in cinema and investigates its characteristics, demonstrating the original nature of Italian filmmaking that is particularly indebted to Pirandello's interpretation of humour |
| ctrlnum | (ZDB-23-DGG)9781442673359 (OCoLC)1165530662 (DE-599)BVBBV043492493 |
| dewey-full | 791.43/0945 |
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| dewey-ones | 791 - Public performances |
| dewey-raw | 791.43/0945 |
| dewey-search | 791.43/0945 |
| dewey-sort | 3791.43 3945 |
| dewey-tens | 790 - Recreational and performing arts |
| discipline | Allgemeines |
| era | Geschichte 1950-1995 gnd |
| era_facet | Geschichte 1950-1995 |
| format | Electronic eBook |
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| spelling | Gieri, Manuela Verfasser aut Contemporary Italian Filmmaking Strategies of Subversion: Pirandello, Fellini, Scola, and the Directors of the New Generation Manuela Gieri Toronto University of Toronto Press [2016] © 1995 1 online resource txt rdacontent c rdamedia cr rdacarrier Toronto Italian Studies Description based on online resource; title from PDF title page (publisher’s Web site, viewed Jan. 06, 2016) Contemporary Italian Filmmaking is an innovative critique of Italian filmmaking in the aftermath of World War II - as it moves beyond traditional categories such as genre film and auteur cinema. Manuela Gieri demonstrates that Luigi Pirandello's revolutionary concept of humour was integral to the development of a counter-tradition in Italian filmmaking that she defines 'humoristic'. She delineates a 'Pirandellian genealogy' in Italian cinema, literature, and culture through her examination of the works of Federico Fellini, Ettore Scola, and many directors of the 'new generation,' such as Nanni Moretti, Gabriele Salvatores, Maurizio Nichetti, and Giuseppe Tornatore.A celebrated figure of the theatrical world, Luigi Pirandello (1867-1936) is little known beyond Italy for his critical and theoretical writings on cinema and for his screenplays. Gieri brings to her reading of Pirandello's work the critical parameters offered by psychoanalysis, poststructuralism, and postmodernism to develop a syncretic and transcultural vision of the history of Italian cinema. She identifies two fundamental trends of development in this tradition: the 'melodramatic imagination' and the 'humoristic,' or comic, imagination. With her focus on the humoristic imagination, Gieri describes a 'Pirandellian mode' derived from his revolutionary utterances on the cinema and narrative, and specifically, from his essay on humour, L'umorismo (On Humour, 1908). She traces a history of the Pirandellian mode in cinema and investigates its characteristics, demonstrating the original nature of Italian filmmaking that is particularly indebted to Pirandello's interpretation of humour Geschichte 1950-1995 gnd rswk-swf Film Motion pictures Italy Film (DE-588)4017102-4 gnd rswk-swf Italien Italien (DE-588)4027833-5 gnd rswk-swf Italien (DE-588)4027833-5 g Film (DE-588)4017102-4 s Geschichte 1950-1995 z 1\p DE-604 http://www.degruyter.com/doi/book/10.3138/9781442673359 Verlag URL des Erstveröffentlichers Volltext 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk |
| spellingShingle | Gieri, Manuela Contemporary Italian Filmmaking Strategies of Subversion: Pirandello, Fellini, Scola, and the Directors of the New Generation Contemporary Italian Filmmaking is an innovative critique of Italian filmmaking in the aftermath of World War II - as it moves beyond traditional categories such as genre film and auteur cinema. Manuela Gieri demonstrates that Luigi Pirandello's revolutionary concept of humour was integral to the development of a counter-tradition in Italian filmmaking that she defines 'humoristic'. She delineates a 'Pirandellian genealogy' in Italian cinema, literature, and culture through her examination of the works of Federico Fellini, Ettore Scola, and many directors of the 'new generation,' such as Nanni Moretti, Gabriele Salvatores, Maurizio Nichetti, and Giuseppe Tornatore.A celebrated figure of the theatrical world, Luigi Pirandello (1867-1936) is little known beyond Italy for his critical and theoretical writings on cinema and for his screenplays. Gieri brings to her reading of Pirandello's work the critical parameters offered by psychoanalysis, poststructuralism, and postmodernism to develop a syncretic and transcultural vision of the history of Italian cinema. She identifies two fundamental trends of development in this tradition: the 'melodramatic imagination' and the 'humoristic,' or comic, imagination. With her focus on the humoristic imagination, Gieri describes a 'Pirandellian mode' derived from his revolutionary utterances on the cinema and narrative, and specifically, from his essay on humour, L'umorismo (On Humour, 1908). She traces a history of the Pirandellian mode in cinema and investigates its characteristics, demonstrating the original nature of Italian filmmaking that is particularly indebted to Pirandello's interpretation of humour Film Motion pictures Italy Film (DE-588)4017102-4 gnd |
| subject_GND | (DE-588)4017102-4 (DE-588)4027833-5 |
| title | Contemporary Italian Filmmaking Strategies of Subversion: Pirandello, Fellini, Scola, and the Directors of the New Generation |
| title_auth | Contemporary Italian Filmmaking Strategies of Subversion: Pirandello, Fellini, Scola, and the Directors of the New Generation |
| title_exact_search | Contemporary Italian Filmmaking Strategies of Subversion: Pirandello, Fellini, Scola, and the Directors of the New Generation |
| title_full | Contemporary Italian Filmmaking Strategies of Subversion: Pirandello, Fellini, Scola, and the Directors of the New Generation Manuela Gieri |
| title_fullStr | Contemporary Italian Filmmaking Strategies of Subversion: Pirandello, Fellini, Scola, and the Directors of the New Generation Manuela Gieri |
| title_full_unstemmed | Contemporary Italian Filmmaking Strategies of Subversion: Pirandello, Fellini, Scola, and the Directors of the New Generation Manuela Gieri |
| title_short | Contemporary Italian Filmmaking |
| title_sort | contemporary italian filmmaking strategies of subversion pirandello fellini scola and the directors of the new generation |
| title_sub | Strategies of Subversion: Pirandello, Fellini, Scola, and the Directors of the New Generation |
| topic | Film Motion pictures Italy Film (DE-588)4017102-4 gnd |
| topic_facet | Film Motion pictures Italy Italien |
| url | http://www.degruyter.com/doi/book/10.3138/9781442673359 |
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