By André Bazin
André Bazin and Italian Neorealism offers, for the 1st time in English, 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 similar to The Roof, Forbidden Christ, and Love within the urban; and important subject matters like realism as opposed to truth, neorealism’s eclipse amid postwar Italy’s financial prosperity, and the connection among neorealism and propaganda. . There also are essays on artwork and politics, movie and comedy, and cinema and the avant-garde.
The ebook additionally contains a great scholarly equipment together with explanatory notes, an in depth index, a contextual creation to Bazin’s lifestyles and paintings, a finished Bazin bibliography, and credit of the movies mentioned. This quantity hence represents an incredible contribution to the self-discipline of cinema reviews, in addition to a testomony to the ongoing impression of 1 of film’s pre-eminent severe thinkers.
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34 André Bazin and Italian Neorealism Love and Rejection of Reality The recent Italian films are at least prerevolutionary. They all reject implicitly or explicitly, with humor, satire, or poetry, the reality they are using, but they know better, no matter how clear the stand taken, than to treat this reality as a medium or a means to an end. To condemn it does not of necessity mean to be in bad faith. They never forget that the world is, quite simply, before it is something to be condemned. It is silly and perhaps as naïve as Beaumarchais’s praise of the tears induced by melodrama.
2 (Univ. of California Press, 1971), pp. 16–40, and edited below by Bert Cardullo. The historical importance of Rossellini’s film Paisà (1946) has been rightly compared with that of a number of classical screen masterpieces. Georges Sadoul has not hesitated to mention it alongside Murnau’s Nosferatu (1922), Lang’s Die Nibelungen (1924), or von Stroheim’s Greed (1924). I subscribe wholeheartedly to this high praise as long as the allusion to German expressionism is understood to refer to the level of greatness of the film but not to the profound nature of the aesthetics involved.
The Italian camera retains something of the human quality of the Bell and Howell newsreel camera, a projection of hand and eye, almost a living part of the operator, instantly in tune with his awareness. As for the photography itself, the lighting plays only a minor expressive role. First, because lighting calls for a studio, and the greater part of the filming is done on exteriors or in real-life settings. Second, because documentary camera work is identified in our minds with the gray tones of newsreels.