Global Neorealism: The Transnational History of a Film Style
Global Neorealism: The Transnational History of a Film Style
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Abstract
Intellectual, cultural, and film historians have long considered neorealism the founding block of post-World War II Italian cinema. Neorealism, the traditional story goes, was an Italian film style born in the second postwar period and aimed at recovering the reality of Italy after the sugarcoated moving images of Fascism. Lasting from 1945 to the early 1950s, it produced world-renowned masterpieces such as Roberto Rossellini’s Roma, città aperta (Rome, Open City, 1945) and Vittorio De Sica’s Ladri di biciclette (Bicycle Thieves, 1947). These films won some of the most prestigious film awards of the immediate postwar period. This collection brings together film scholars and cultural historians to complicate this nation-based approach to the history of neorealism. The traditional story notwithstanding, the meaning and the origins of the term are problematic. What does neorealism really mean, and how Italian is it? Italian filmmakers were wary of using the term and Rossellini preferred “realism.” Many filmmakers confessed to having greatly borrowed from other cinemas, including French, Soviet, and American. Divided into three sections, this book examines the history of this film style from the 1930s to the 1970s using a global and international perspective. The first section examines the origins of neorealism in the international debate about realist esthetics in the 1930s. The second section discusses how this debate about realism was “Italianized” and coalesced into Italian “neorealism,” and explores how critics and film distributors participated in coining the term. Finally, the third section looks at neorealism’s success outside of Italy.
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Front Matter
- Introduction: The Geography and History of Global Neorealism
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Part 1
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Part 2
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“The Exalted Spirit of the Actual”: James Agee, Critic and Filmmaker, and the U.S. Response to Neorealism
Robert Sklar
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Marketing Meaning, Branding Neorealism: Advertising and Promoting Italian Cinema in Postwar America
Nathaniel Brennan
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Neorealism: Another “Cinéma de Papa” for the French New Wave?
Caroline Eades
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“With an Incredible Realism that Beats the Best of the European Cinemas”: The Making of Barrio Gris and the Reception of Italian Neorealism in Argentina, 1947–1955
Paula Halperin
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Living in Peace after the Massacre: Neorealism, Colonialism, and Race
Saverio Giovacchini
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“The Exalted Spirit of the Actual”: James Agee, Critic and Filmmaker, and the U.S. Response to Neorealism
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Part 3
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From Italian Neorealism to New Latin American Cinema: Ruptures and Continuities during the 1960s
Mariano Mestman
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Importing Neorealism, Exporting Cinema: Indian Cinema and Film Festivals in the 1950s
Neepa Majumdar
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Neorealism and Nationalist African Cinema
Sada Niang
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Documenting the Social Reality of Brazil: Roberto Rossellini, the Paraíban Documentary School, and the Cinema Novistas
Sarah Sarzynski
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Neorealism Iranian Style
Hamid Naficy
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Epilogue: Neorealism, Cinema of Poetry, and Italian Contemporary Cinema
Silvia Carlorosi
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From Italian Neorealism to New Latin American Cinema: Ruptures and Continuities during the 1960s
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End Matter
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