A Cinema Of Poetry: Aesthetics Of The Italian Art Film Project Muse Upcc Books

A Cinema Of Poetry Brings Italian Film Studies Into Dialogue With Fields Outside Its Usual Purview By Showing How Films Can Contribute To Our Understanding Of Aesthetic Questions That Stretch Back To Homer. Joseph Luzzi Considers The Relationship Between Film And Literature, Such As The Cinematic Adaptation Of Literary Sources, And More Generally The Fields Of Rhetoric, Media Studies, And Modern Italian Culture. The Book Balances Theoretical Inquiry With Close Readings Of Films By The Masters Of Italian Cinema: Roberto Rossellini, Vittorio De Sica, Luchino Visconti, Michelangelo Antonioni, Federico Fellini, Pier Paolo Pasolini, Bernardo Bertolucci, And Others. Luzzi's Study Is The First To Show How Italian Filmmakers Address Such Crucial Aesthetic Issues As The Nature Of The Chorus, The Relationship Between Symbol And Allegory, The Literary Prehistory Of Montage, And The Place Of Poetry In Cinematic Expression--what Pasolini Called The Cinema Of Poetry. While Luzzi Establishes How Certain Qualities Of Film--its Link With Technological Processes, Capacity For Mass Distribution, Synthetic Virtues (and Vices) As The So-called Total Art--have Reshaped Centuries-long Debates, A Cinema Of Poetry Also Explores What Is Specific To The Italian Art Film And, More Broadly, Italian Cinematic History, Which Lends To This National Cinema Its Unique Aesthetic Perspectives. In Other Words, What Makes This Version Of The Art Film Recognizably Italian? --provided By Publisher. Part 1. Neorealist Rhetoric And National Identity -- The Chorus Of Neorealism -- Beyond Beauty: Cinematic Allegory And The Question Of Italy -- Part 2. Cinemas Of Poetry -- Rossellini's Cinema Of Poetry: Voyage To Italy -- Poesis In Pasolini: Theory And Practice -- Part 3. Aesthetic Corsi And Ricorsi -- Threat Of The Real: Fact And Image In Antonioni -- Chiasmus, Italian Style: Rhetoric And Ideology In The Leopard And The Conformist -- Verbal Montage And Visual Apostrophe: Zanzotto's Filo And Fellini's Voice Of The Moon -- Epilogue: Art Film Redux: Cine-poetics In The New Millennium. Joseph Luzzi. Includes Bibliographical References And Index. Explores the poetics and aesthetics of the Italian art film in Rossellini, Antonioni, Fellini, and other groundbreaking directors. A Cinema of Poetry brings Italian film studies into dialogue with fields outside its usual purview by showing how films can contribute to our understanding of aesthetic questions that stretch back to Homer. Joseph Luzzi considers the relation between film and literature, especially the cinematic adaptation of literary sources and, more generally, the fields of rhetoric, media studies, and modern Italian culture. The book balances theoretical inquiry with close readings of films by the masters of Italian cinema: Roberto Rossellini, Vittorio De Sica, Luchino Visconti, Michelangelo Antonioni, Federico Fellini, Pier Paolo Pasolini, Bernardo Bertolucci, and others. Luzzi's study is the first to show how Italian filmmakers address such crucial aesthetic issues as the nature of the chorus, the relation between symbol and allegory, the literary prehistory of montage, and the place of poetry in cinematic expression—what Pasolini called the "cinema of poetry." While Luzzi establishes how certain qualities of film—its link with technological processes, capacity for mass distribution, synthetic virtues (and vices) as the so-called total art—have reshaped centuries-long debates, A Cinema of Poetry also explores what is specific to the Italian art film and, more broadly, Italian cinematic history. In other words, what makes this version of the art film recognizably "Italian"?

A Cinema of Poetry brings Italian film studies into dialogue with fields outside its usual purview by showing how films can contribute to our understanding of aesthetic questions that stretch back to Homer. Joseph Luzzi considers the relation between film and literature, especially the cinematic adaptation of literary sources and, more generally, the fields of rhetoric, media studies, and modern Italian culture.

The book balances theoretical inquiry with close readings of films by the masters of Italian cinema: Roberto Rossellini, Vittorio De Sica, Luchino Visconti, Michelangelo Antonioni, Federico Fellini, Pier Paolo Pasolini, Bernardo Bertolucci, and others. Luzzi's study is the first to show how Italian filmmakers address such crucial aesthetic issues as the nature of the chorus, the relation between symbol and allegory, the literary prehistory of montage, and the place of poetry in cinematic expression—what Pasolini called the "cinema of poetry."

While Luzzi establishes how certain qualities of film—its link with technological processes, capacity for mass distribution, synthetic virtues (and vices) as the so-called total art—have reshaped centuries-long debates, A Cinema of Poetry also explores what is specific to the Italian art film and, more broadly, Italian cinematic history. In other words, what makes this version of the art film recognizably "Italian"?

__A Cinema of Poetry__The book balances theoretical inquiry with close readings of films by the masters of Italian cinema: Roberto Rossellini, Vittorio De Sica, Luchino Visconti, Michelangelo Antonioni, Federico Fellini, Pier Paolo Pasolini, Bernardo Bertolucci, and others. Luzzi's study is the first to show how Italian filmmakers address such crucial aesthetic issues as the nature of the chorus, the relationship between symbol and allegory, the literary prehistory of montage, and the place of poetry in cinematic expression—what Pasolini called the "cinema of poetry."While Luzzi establishes how certain qualities of film—its link with technological processes, capacity for mass distribution, synthetic virtues (and vices) as the so-called total art—have reshaped centuries-long debates,also explores what is specific to the Italian art film and, more broadly, Italian cinematic history, which lends to this national cinema its unique aesthetic perspectives. In other words, what makes this version of the art film recognizably "Italian"? Cover......Page 1 Contents......Page 10 Preface......Page 12 Introduction: Toward a Poetics of the Italian Art Film......Page 18 PART ONE: NEOREALIST RHETORIC AND NATIONAL IDENTITY......Page 34 1 The Chorus of Neorealism......Page 36 2 Beyond Beauty: Cinematic Allegory and the Question of Italy......Page 53 PART TWO: CINEMAS OF POETRY......Page 68 3 Rossellini’s Cinema of Poetry: Voyage to Italy......Page 70 4 Poesis in Pasolini: Theory and Practice......Page 87 PART THREE: AESTHETIC CORSI AND RICORSI......Page 104 5 Threat of the Real: Fact and Image in Antonioni......Page 106 6 Chiasmus, Italian Style: Rhetoric and Ideology in The Leopard and The Conformist......Page 124 7 Verbal Montage and Visual Apostrophe: Zanzotto’s “Filò” and Fellini’s Voice of the Moon......Page 141 Epilogue: Art Film Redux: Cinepoetics in the New Millennium......Page 160 Notes......Page 178 Works Cited......Page 206 B......Page 222 D......Page 223 I......Page 224 L......Page 225 P......Page 226 T......Page 227 Z......Page 228