Including work on psychoanalysis, politics, film production, autobiography, and the relationship between film tradition and contemporary culture, Marco Bellocchio touches on fundamental issues in film analysis.
Including work on psychoanalysis, politics, film production, autobiography, and the relationship between film tradition and contemporary culture, Marco Bellocchio touches on fundamental issues in film analysis.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Clodagh J. Brook is associate professor and Head of Italian at Trinity College, Dublin.
Inhaltsangabe
TABLE OF CONTENTS Table of Contents Note on the Text Acknowledgements Chapter One. Auteur and Autobiograpy Constructing an Auteur Collaboration and Production The Zigzagging Path Bobbio and My Mother's Smile: Autobiography in Bellocchio's Cinema Conclusion Chapter Two. Bellocchio's Political Cinema in the Sixties and Seventies The Problems of Impegno in the Era of Postmodernism The Nature of Bellocchio's Impegno La Cina è vicina, "Discutiamo, discutiamo", and Pre-Contestation Impegno The Militant Documentaries, Nel nome del padre, Marcia trionfale: Contestation, Impegno, Collectivity Conclusion Chapter Three. The Dreaming "I": Interiority and Massimo Fagioli's "Model" of the Unconscious Massimo Fagioli and Group Therapy Massimo Fagioli's "Model" of the Unconscious The Calm Sea and Inner Child: Salto nel vuoto and Il sogno della farfalla Sex, Women, and Irrationality: La visione del Sabba and La condanna Screening the "I": Styles of Interiority The Oneiric and States of Hesitation Space and the Unconscious, or the House as Psyche: Salto nel vuoto and Diavolo in corpo Temporality and the Unconscious: Enrico IV and the Chronotrap Conclusion Chapter Four. Bellocchio's Political Cinema from the Eighties to the Present Italian Terrorism: Buongiorno, notte Chapter Five. The Rebel "I": Patriarchy and Parents The Woman as Rebel: Politics and Patriarchy Rebellion in the Name of the Father and Family: I pugni in tasca, Il Principe di Homburg, L'ora di religione Conclusion Chapter Six. Tradition and its Discontents Adaptations and Citations: Pirandello, Manzoni, and the Overturning of the Father-Text Conclusions. Private Cinema in a Public Sphere Bibliography Index
TABLE OF CONTENTS Table of Contents Note on the Text Acknowledgements Chapter One. Auteur and Autobiograpy Constructing an Auteur Collaboration and Production The Zigzagging Path Bobbio and My Mother's Smile: Autobiography in Bellocchio's Cinema Conclusion Chapter Two. Bellocchio's Political Cinema in the Sixties and Seventies The Problems of Impegno in the Era of Postmodernism The Nature of Bellocchio's Impegno La Cina è vicina, "Discutiamo, discutiamo", and Pre-Contestation Impegno The Militant Documentaries, Nel nome del padre, Marcia trionfale: Contestation, Impegno, Collectivity Conclusion Chapter Three. The Dreaming "I": Interiority and Massimo Fagioli's "Model" of the Unconscious Massimo Fagioli and Group Therapy Massimo Fagioli's "Model" of the Unconscious The Calm Sea and Inner Child: Salto nel vuoto and Il sogno della farfalla Sex, Women, and Irrationality: La visione del Sabba and La condanna Screening the "I": Styles of Interiority The Oneiric and States of Hesitation Space and the Unconscious, or the House as Psyche: Salto nel vuoto and Diavolo in corpo Temporality and the Unconscious: Enrico IV and the Chronotrap Conclusion Chapter Four. Bellocchio's Political Cinema from the Eighties to the Present Italian Terrorism: Buongiorno, notte Chapter Five. The Rebel "I": Patriarchy and Parents The Woman as Rebel: Politics and Patriarchy Rebellion in the Name of the Father and Family: I pugni in tasca, Il Principe di Homburg, L'ora di religione Conclusion Chapter Six. Tradition and its Discontents Adaptations and Citations: Pirandello, Manzoni, and the Overturning of the Father-Text Conclusions. Private Cinema in a Public Sphere Bibliography Index
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