By Luca Barattoni
Not like nations like France, the Czech Republic or Brazil, Italy didn't have a brand new wave competently understood as a stream. although, whereas new creative colleges have been rising in lots of different international locations, Italy used to be present process its so much dramatic social and monetary differences. these violent alterations, including the perceived necessity of renewing the classy historical past of Neorealism, sparked a drastic regeneration of the cinematic language and marked the main memorable interval of Italian movie history.Italian Post-Neorealist Cinema explores the ferments of Italian cinema from the mid-50s to the top of the 60s, situating its wealth within the context of different nationwide cinemas rising while. Olmi, Pasolini, Antonioni, Fellini, Visconti, the Taviani Brothers, Cavani, Rosi, Ferreri etc all made their debut or directed their so much consultant works throughout the interval. The publication brings to the outside the traces of experimentation and creative renewal showing after the exhaustion of Neorealism, mapping complicated parts of curiosity resembling the emergence of moral matters, the connection among ideology and illustration, and the function of Italian counter-culture.
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Extra info for Italian Post-Neorealist Cinema
An embarrassed state of shame and regret for a ‘train’ that was not boarded and that will never again stop lingers in Dino Risi’s Il gaucho (1964), about a troupe of Italian actresses and script-writers coming to terms with their own failures during a trip to Argentina for a film festival. Il gaucho stars Vittorio Gassman as Marco Ravicchio, the PR of the film company. During the troupe’s drive through Buenos Aires, previously introduced by aerial shots highlighting its linear architecture and harmonious proportions, Marco rebukes an Italian immigrant who dares call him ‘paesano,’ implying that the cumbersome heritage of Italy’s peasant culture is a painful reminder of the emergency situation Marco and Italy are trying to put behind them.
In Pietrangeli’s La visita (1963), the story of a man and a woman meeting through a ‘lonely hearts’ ad, the male protagonist receives first-hand information about the woman’s ‘morality’ from the maresciallo of the carabinieri stationed in her town. The casellario politico centrale would cease to exist in 1968, one year before adultery and concubinage would be expunged from the list of felonies. Workers, students, enlisted soldiers, and candidates to public posts who simply did not fit the description appreciated by a political power committed to marginalize those who could be loosely associated with the Left or the Resistance were discriminated against by a paternalist culture and overbearing ethical organisms acting outside of the Constitution.
One could almost pinpoint the homology between the economic deresponsabilization characterizing state organs and beneficiaries and the socio-ideological carelessness of the italiano medio (average Italian), trying to replicate on a smaller, individual scale the sterile and unproductive favoritism rampant at every level of the state administration. Along the lines of inconclusive reforms, one could also argue that the Concilio Vaticano II of 1962 turned out to be a tactical adjustment and not a substantial change in the practices and policies of the Church.
Italian Post-Neorealist Cinema by Luca Barattoni