“Film analysis has become an art without a future. … There are no longer, or should no longer be, any analyses of films. There are just gestures.” — Raymond Bellour, 2006. This year being the 70 th ...
Jeremy has more than 2700 published articles on Collider to his name, and has been writing for the site since February 2022. He's an omnivore when it comes to his movie-watching diet, so will gladly ...
Luc Haasbroek is a writer and videographer from Durban, South Africa. He has been writing professionally about pop culture for eight years. Luc's areas of interest are broad: he's just as passionate ...
The pathos of bombed-out post-war daily life, its gradual revival, and attempts to restore the identity of people consigned to the dustbin of history: what Polish and Italian neorealism have in common ...
Post-World War II Italy was a place of abject societal decay. Everywhere, there was unthinkable poverty and brokenness — and the added shame of having been on the wrong side of the war, which meant ...
For all the ways Italian neorealism brought a new socially conscious, unforgiving directness to cinema in the 1940s, Gianni Bozzacchi’s documentary “We Weren’t Just Bicycle Thieves. Neorealism” is as ...
Your institution does not have access to this book on JSTOR. Try searching on JSTOR for other items related to this book. https://www.jstor.org/stable/10.7312 ...
A new video essay compares two 1952 films that resulted from the collaboration of two renowned filmmakers, Vittorio De Sica, a master of Italian neorealism, and David O. Selznick, a Hollywood producer ...
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