This book explores Rome as a site for the making of films and its changing role as a setting for cinematic narrative. A particularly rich case study of a city and its cinema, the book will reach beyond Film Studies and be of interest to readers and students in Art History, Historical and Cultural Geography, Urban History, and Classics. The essays range from early cinema to the present, and discuss both Italian cinema and the work of the many international directors who have used Rome for their films. A diverse set of cinematic representations - from little-known films of the fascist era to Roman Holiday - are placed within the context of the evolving architectural, social and politial fabric of Rome in a period of rapid and often traumatic historical change.
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the Fascist Adventure Film
Fascist and Postfascist SpatioVisual Culture
Imagined and Built Spaces in the Rome of Neorealism
Home or Away? Words and Things in Quo Vadis 1951
How Rome Saved Hollywood
Towards an Iconology of LEclisse
Rome as a New Wave City?
Images of Italy in the Shockumentary Tradition?
the Cinematic City in Fellinis Satyricon and Roma
The Consistency of Location Ferzan Ozpeteks Le Fate Ignoranti 2001 and La Finestra di Fronte 2003
Glauber Rochas Claro or the Tragic Legibility of Chaos
Peter Greenaways Mapping of Rome in The Belly of an Architect
Notes on Contributors
aesthetic ancient Rome antiquity Antonioni architect architecture artistic audience Belly Bernardo Bertolucci Boullée Boullée’s space Bruno building camera Caspasian centre characters Cinecittà Cinema Novo Cinematic City city’s Claro construction contemporary culture depiction director documentary Dolce Vita epic fascist Fellini FIGURE film’s filmmakers fragmented frame gaze genre Ghetto Glauber Rocha Greenaway’s Grim Reaper Henigson Hollywood Ibid idea images Italian cinema Italy Kracklite Kracklite’s L’Avventura L’Eclisse Le Fate Ignoranti London Louisa Luciano Serra pilota Marcello Michelangelo Antonioni Milan modern mondo films monuments Mussolini narrative navel neorealism neorealist neorealist films omphalos Özpetek painting Pantheon Pasolini past Peter Greenaway Piazza Piero political postcard postwar present production protagonist Quo Vadis representation represents Roma Roman Holiday Rome’s Rossellini ruins Satyricon scene sense sequence shooting shot social spatio-visual Specklers’space spectacle St Peter’s story streets studio suggest symbol Umberto Umberto D University Press urban space vision visual Vittoria Vittoriano Wyler