Italian National Cinema 1896–1996
From such films as
La dolce vita
, 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.
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