The movement known as neorealism lasted seven years, generated only twenty-one films, failed at the box office, and fell short of its didactic and aesthetic aspirations. Yet it exerted such a profound influence on Italian cinema that all the best postwar directors had to come to terms with it, whether in seeming imitation (the early Olmi), in commercial exploitation (the middle Comencini) or in ostensible rejection (the recent Tavianis). Despite the reactionary pressures of the marketplace and the highly personalized visions of Fellini, Antonioni. And Visconti, Italian cinema has maintained its moral commitment to use the medium in socially responsible ways--if not to change the world, as the first neorealists hoped, then at least to move filmgoers to face the pressing economic, political, and human problems in their midst. From Rossellini's Open City (1945) to the Taviani brothers' Night of the Shooting Stars (1982). The author does close readings of seventeen films that tell the story of neorealism's evolving influence on Italian postwar cinematic expression. Other films discussed are De Sica's Bicycle Thief and Umberto D. De Santis's Bitter Rice, Comencini's Bread, Love, and Fantasy, Fellini's La strada, Visconti's Senso, Antonioni's Red Desert, Olmi's Il Posto, Germi's Seduced and Abandoned, Pasolini's Teorema, Petri's Investigation of a Citizen above Suspicion, Bertolucci's The Conformist, Rosi's Christ Stopped at Eboli, and Wertmuller's Love and Anarchy, Scola's We All Loved Each Other So Much provides the occasion for the author's own retrospective consideration of how Italian cinema has fulfilled, or disappointed, the promise of neorealism.
In this work, Marcus interprets a body of work that managed to transcend the decline of Italian cinema's prominence within the industry during the last two decades of the 20th-century.
Explores the impulse to transform literary narrative into cinematic discourse through the work of several postwar Italian film-makers - Visconti, De Sica, Pasolini, Fellini and the Taviani brothers.
Throughout the book, Marcus brings a variety of perspectives to bear on the question of how Italian filmmakers are confronting the Holocaust, and why now given the sparse output of Holocaust films produced in Italy from 1945 to the early 1990s.
Explores the impulse to transform literary narrative into cinematic discourse through the work of several postwar Italian film-makers - Visconti, De Sica, Pasolini, Fellini and the Taviani brothers.
The movement known as neorealism lasted seven years, generated only twenty-one films, failed at the box office, and fell short of its didactic and aesthetic aspirations. Yet it exerted such a profound influence on Italian cinema that all the best postwar directors had to come to terms with it, whether in seeming imitation (the early Olmi), in commercial exploitation (the middle Comencini) or in ostensible rejection (the recent Tavianis). Despite the reactionary pressures of the marketplace and the highly personalized visions of Fellini, Antonioni. And Visconti, Italian cinema has maintained its moral commitment to use the medium in socially responsible ways--if not to change the world, as the first neorealists hoped, then at least to move filmgoers to face the pressing economic, political, and human problems in their midst. From Rossellini's Open City (1945) to the Taviani brothers' Night of the Shooting Stars (1982). The author does close readings of seventeen films that tell the story of neorealism's evolving influence on Italian postwar cinematic expression. Other films discussed are De Sica's Bicycle Thief and Umberto D. De Santis's Bitter Rice, Comencini's Bread, Love, and Fantasy, Fellini's La strada, Visconti's Senso, Antonioni's Red Desert, Olmi's Il Posto, Germi's Seduced and Abandoned, Pasolini's Teorema, Petri's Investigation of a Citizen above Suspicion, Bertolucci's The Conformist, Rosi's Christ Stopped at Eboli, and Wertmuller's Love and Anarchy, Scola's We All Loved Each Other So Much provides the occasion for the author's own retrospective consideration of how Italian cinema has fulfilled, or disappointed, the promise of neorealism.
Recent decades have been decisive for Russia not only politically but culturally as well. The end of the Cold War has enabled Russia to take part in the global rise and crystallization of postmodernism. This volume investigates the manifestations of this crucial trend in Russian fiction, poetry, art, and spirituality, demonstrating how Russian postmodernism is its own unique entity. It offers a point of departure and valuable guide to an area of contemporary literary-cultural studies insufficiently represented in English-language scholarship. This second edition includes additional essays on the topic and a new introduction examining the most recent developments.
International bestsellers are the ideal sites for examining the complicated relationship between literary culture and national identity. Despite the transnational turns in both literary studies and book history, place is still an important configurer of twenty-first-century book reception. Books are crucial to national identity and catalysts of nationalist movements. On an individual level, books enable readers to shape and maintain their own national identities. This Element explores how contemporary readers' understandings of nation, race/ethnicity, gender, and class continue to shape their reading, using as case studies the online reception of three bestseller titles-Liane Moriarty's Big Little Lies (Australia), Zadie Smith's NW (UK), and Kevin Kwan's Crazy Rich Asians (USA). In doing so, this Element demonstrates the need for and articulates a transnational conceptualisation of the relationship between reader identity and reception.
Including 6 Volume History of Women's Suffrage (Elizabeth Cady Stanton, Susan B. Anthony, Emmeline Pankhurst, Anna Howard Shaw, Millicent G. Fawcett, Jane Addams, Lucy Stone, Carrie Catt, Alice Paul)
Including 6 Volume History of Women's Suffrage (Elizabeth Cady Stanton, Susan B. Anthony, Emmeline Pankhurst, Anna Howard Shaw, Millicent G. Fawcett, Jane Addams, Lucy Stone, Carrie Catt, Alice Paul)
This meticulously edited collection presents the most prominent figures of the Women's suffrage movement in the United States of America and the United Kingdom: Elizabeth Cady Stanton, Susan B. Anthony, Emmeline Pankhurst, Anna Howard Shaw, Millicent Garrett Fawcett, Jane Addams, Lucy Stone, Carrie Chapman Catt, Alice Paul. This edition includes as well the complete 6 volume history of the movement - from its beginnings through the ratification of the Nineteenth Amendment to the U.S. Constitution, which enfranchised women in the U.S. in 1920. Elizabeth Cady Stanton (1815-1902) was an American suffragist, social activist, abolitionist, and leading figure of the early women's rights movement. Susan Brownell Anthony (1820-1906) was an American social reformer and women's rights activist who played a pivotal role in the women's suffrage movement. Emmeline Pankhurst (1858-1928) was a British political activist and leader of the British suffragette movement who helped women win the right to vote. Anna Howard Shaw (1847-1919) was a leader of the women's suffrage movement in the United States. She was also a physician and one of the first ordained female Methodist ministers in the United States. Dame Millicent Garrett Fawcett (1847-1929) was a British feminist, intellectual, political and union leader, and writer. Jane Addams (1860-1935), known as the "mother" of social work, was a pioneer American settlement activist, public philosopher, sociologist, protestor, author, and leader in women's suffrage and world peace. Lucy Stone (1818-1893) was a prominent U.S. orator, abolitionist, and suffragist, and a vocal advocate and organizer promoting rights for women. Carrie Chapman Catt (1859-1947) was an American women's suffrage leader who campaigned for the Nineteenth Amendment to the United States Constitution, which gave U.S. women the right to vote in 1920. Alice Stokes Paul (1885-1977) was an American suffragist, feminist, and women's rights activist.
Memories and insights of a lifetime fighting for Black freedom and social justice Millicent E. Brown's family home at 270 Ashley Avenue in Charleston, South Carolina, was a center of civil rights activity. There Brown gained intimate knowledge of the struggle for racial justice, and those experiences set her on a life course dedicated to the civil rights struggle. Best known as the named plaintiff in the federal court case that, in 1963, forced the initial desegregation of public schools in South Carolina, her experiences as an activist range across years and well beyond her native state. Another Sojourner Looking for Truth is Brown's insightful reflection on her search for freedom in a nation deeply mired in white supremacist beliefs and overt violence against people of color. In this revealing memoir, Brown writes about her fears and doubts, as well as the challenges of being a teenager expected to "represent the race" and combat negative stereotypes of African Americans. Readers also gain perspective on the interpersonal aspects of white backlash to civil rights progress and strategic machinations within the movement. Overall, Brown's words will inform, inspire, and challenge everyone to better understand the Black Freedom Struggle and confront its ongoing challenges.
This helpful guidebook for prospective journalists provides the skills needed to be a successful magazine or newspaper feature writer. The Essential Feature is a writing guide, a file of examples, and a style manual all in one book. The author concentrates on those aspects of nonfiction writing that editors find wanting in beginning journalists: research, accuracy, and the skills needed to tell a story, not just report news. This book tells novice writers what editors want them to know. The Essential Feature explains how to apply research and literary techniques to journalistic writing; provides eight examples of successful prize-winning published articles; combines approaches to writing with practical advice on working as a staff or freelance writer; and supplies publishing tips to give the beginning writer a better understanding of the market.
Throughout the book, Marcus brings a variety of perspectives to bear on the question of how Italian filmmakers are confronting the Holocaust, and why now given the sparse output of Holocaust films produced in Italy from 1945 to the early 1990s.
For observers of the European film scene, Federico Fellini’s death in 1993 came to stand for the demise of Italian cinema as a whole. Exploring an eclectic sampling of works from the new millennium, Italian Film in the Present Tense confronts this narrative of decline with strong evidence to the contrary. Millicent Marcus highlights Italian cinema’s new sources of industrial strength, its re-placement of the Rome-centred studio system with regional film commissions, its contemporary breakthroughs on the aesthetic front, and its vital engagement with the changing economic and socio-political circumstances in twenty-first-century Italian life. Examining works that stand out for their formal brilliance and their moral urgency, the book presents a series of fourteen case studies, featuring analyses of such renowned films as Il Divo, Gomorrah, The Great Beauty, We Have a Pope, The Mafia Only Kills in the Summer, and Fire at Sea, along with lesser-known works deserving of serious critical scrutiny. In doing so, Italian Film in the Present Tense contests the widely held perception of a medium languishing in its "post-Fellini" moment, and instead acknowledges the ethical persistence and forward-looking currents of Italian cinema in the present tense.
In this work, Marcus interprets a body of work that managed to transcend the decline of Italian cinema's prominence within the industry during the last two decades of the 20th-century.
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