Italian Cinema and Modern European Literatures: 1945-2000Bloomsbury Academic, 30 Mar 2002 - 288 sayfa The history of cinema, and notably that of post-war Italian cinema, can only be understood adequately in the context of other contiguous cultural disciplines. World literature, including that of France, Germany, and Russia, played a key role in the development of post-war Italian film and the cinematic technique it has come to embody. Moving away from the usual modes of defining this period—a trajectory that begins with neorealism and ends with Bertolucci—author Carlo Testa offers proof that coming to terms with literary texts is an essential step toward understanding the motion pictures they influenced. |
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... Schnitzler's hero by way of contrast with his more famous alter ego . Both protagonists are educated male bourgeois ; but while Mann's Aschenbach is an intellectual great - bourgeois , Gräsler is a business - conscious petty - bourgeois ...
... Schnitzler's story , costumes and decors with great accuracy too much accuracy , perhaps . The transition from Schnitzler's words to Fa- enza's images and dialogue retains almost every twist and turn in the plot , but it neglects the ...
... Schnitzler's Gräsler ( on which see more below ) , Italo Svevo's Confessions of Zeno ( La coscienza di Zeno , 1923 ) , and , of course , Thomas Mann's The Magic Mountain ( Der Zauberberg , 1924 ) . That Soldini relishes literary ...
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