Contemporary Italian cinema. From "La Dolce Vita" to "Centtociodi"

The most recurrent word in all attempts to observe the set of Italian cinema since the end of the sixties to today is "crisis". In fact a great cinema, which had reached a production of hundreds of securities capable of exercising real international competition with American production, since the mid-seventies suffers a series of structural changes that profoundly modify economy, market, ways of production, narrative models, thematic and autorial poetics. The look at the present of many Italian directors is blurred and the interpretative keys and the certainties who had supported the common path from neorealism to the economic boom were missing. At the same time, with a irreversible movement, the thriving film industry is phagocyed by public and private televisions. The most important consequences are the disappearance of gender cinema, the closure of thousands of second and third vision rooms, the passage of many directors to television. In the midst of the "crisis", however, some identity characters of our cinema survive and produce positive carries out. Authors such as Olmi, Bertolucci, the Taviani brothers, Ferreri, Scola, Leo, silver reach a definitive international consecration; A new wave of comedians emerges, from Verdone to Troisi to Benigni; The generational replacement of the actors is completed.

  • Author: Gian Piero Brunetta
  • Format: Paperback, 14 x 21 cm
  • Pages: 826
  • Publisher: Laterza
  • Necklace: The Robinson. Readings
  • Year: 2007

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