Giuseppe De Santis /

Giuseppe De Santis / / Antonio Vitti.

One of the founding fathers of the Neo-realist movement and a Communist dedicated to populist filmmaking, Guiseppe De Santis (b. 1917) has been a significant force in Italian cinema. In spite of his crucial contribution De Santis has received little critical recognition and his work has been largely...

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Bibliographic Details
Superior document:Title is part of eBook package: De Gruyter University of Toronto Press eBook-Package Archive 1933-1999
VerfasserIn:
Vitti, Antonio,
MitwirkendeR:
Lawton, Ben,
Place / Publishing House:Toronto : : University of Toronto Press, , [2016]
©1996
Year of Publication:2016
Language:English
Online Access:
Physical Description:1 online resource (220 p.)
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Table of Contents:
  • Frontmatter
  • Contents
  • FOREWORD: Giuseppe De Santis: An Introduction
  • PREFACE
  • ACKNOWLEDGMENTS
  • Part I: A Biographical Profile
  • 1. De Santis's Early Years: From Fondi to Rome
  • 2. A Member of the Cinema Circle
  • 3. A Dream Comes True: From Cinema to Ossessione
  • Part II: The Filmmaker and His Film Stories
  • 4. De Santis behind the Camera
  • 5. And Then Came Silvana: Riso amaro (1949)
  • 6. Myth and Reality among the Shepherds of Ciociaria: Non c'è pace tra gli ulivi (1950)
  • 7. The Stairway of Dreams and Illusions: Roma, Ore 11 (1952)
  • 8. Could an Italian Male Marry an Everyman's Woman? Un marito per Anna Zaccheo (1953)
  • 9. Honeymoon on a Bicycle: Giorni d'amore (1954)
  • 10. A Fable of 'I Lupari,' a Vanished Breed: Uomini e lupi (1957)
  • 11. De Santis's Conception of Cinematic Realism: Cesta Duga Godinu Dana/La strada lunga un anno (1958)
  • 12. The End of the Bourgeois Family or Repugnance for a Transformed Society? La Garçonnière (1960)
  • 13. March On or Die: Haliani brava gente (1964)
  • 14. Impotence as a Metaphor of the 19705' Baffling Reality: Un apprezzato professionista di sicuro avvenire (1972)
  • Part III: The Working Classes Declassed
  • 15. On the Margin: Some Reasons for a Long, Unbroken Silence
  • 16. From the Specific to the General: Some Concluding Considerations
  • NOTES
  • BIBLIOGRAPHY
  • FILMOGRAPHY
  • INDEX

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