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Italian National Cinema 1896-1996

Italian National Cinema 1896-1996

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Published by Branka Telenta

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Published by: Branka Telenta on Sep 05, 2012
Copyright:Attribution Non-commercial


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Italian National Cinema 1896–1996
From such films as
 La dolce vita
 Bicycle Thieves
Cinema Paradiso
 Dear  Diary
, Italian cinema has provided striking images of Italy as a nation and a people.In the first comprehensive study of Italian cinema from 1896 to the present, PierreSorlin explores the changing relationship of Italian cinema and Italian society andasks whether the national cinema really does represent Italian interests and culture.Sorlin discusses the work of major filmmakers such as de Sica, Visconti, Fellini,Antonioni and Moretti in the context of national film output, considering both filmswhich became internationally acclaimed and those which, though popular with thedomestic audience, were never released outside Italy. Beginning with the evolutionof the cinema audience and the development of domestic production, Sorlinexamines Italian cinema from the dark years of Fascism through to postwar  Neorealism and big-budget commercial films. In the final section he discusses the place of cinema in the context of the rise of television, contemporary political crisesin Italy, and Berlusconi’s attempts to dominate the media landscape.
 Italian National Cinema
 provides a challenging vision of national cinema, not justas a reflection of Italian culture but for the crucial part it played in the transformationof contemporary Italy. It includes a filmography and bibliography of Italian cinema.
Pierre Sorlin
is Professor of Sociology of the Audiovisual Media at the UniversitéParis III and Fellow of the audiovisual department of the Institute of ContemporaryHistory in Bologna. He is the author of 
The Film in
 History, European Cinemas, European Societies
National Cinemas seriesGeneral Editor: Susan Hayward
Reflecting growing interest in cinema as a national cultural institution, the newRoutledge
 National Cinemas
series brings together the most recent developmentsin cultural studies and film history. Its purpose is to deepen our understanding of filmdirectors and movements by placing them within the context of national cinematic production and global culture and exploring the traditions and cultural valuesexpressed within each. Each book provides students with a thorough and accessibleintroduction to a different national cinema.
French National Cinema
Susan Hayward 
Australian National Cinema
Tom O’Regan

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