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"Rossellini, Roberto"
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Italian Neorealist Cinema
Italian Neorealist Cinema offers readers a radically new perspective on neorealist cinema and the Italian art cinema that followed it, and theorises and applies a method of close analysis of film texts for those interested in aesthetics and rhetoric, as well as cinema in general.
eBook
Stardom and the Aesthetics of Neorealism
In this exciting new book, Gelley considers the collaboration between Rossellini and Ingrid Bergman in light of the neorealist aesthetic. This study re-examines the director's postwar works in relation to the contemporary discussion on Italian national identity: rather than marking a radical break with the director's early neorealist successes, Rossellini's films with Bergman in fact extend the boundaries of neorealism and challenge the standard reading of its basic tenets, especially the relationship between character and setting.
Gelley reassesses the relationship between European postwar and American cinema, looking at how the image of the Hollywood star was translated and transformed when it was imported into Rossellini's Italy. Rossellini's insertion of the Hollywood star into the native landscape had a significant influence on the director's approach to the neorealist aesthetic. His filming of the encounter between Bergman and the Italian landscape involves not only a re-interpretation and transformation of the Hollywood star persona, but also a challenge to the idealized notion of an authentic Italian national collective free of foreign influence. The disruption of Bergman's character into the Italian landscape became one means whereby the director was able to explore the ambivalence inherent in any attempt to construct a national identity.
eBook
Miracles and Sacrilege
Miracles and Sacrilegeis the story of the epochal conflict between censorship and freedom in film, recounted through an in-depth analysis of the U.S. Supreme Court's decision striking down a government ban on Roberto Rossellini's film The Miracle (1950). In this extraordinary case, the Court ultimately chose to abandon its own longstanding determination that film comprised a mere 'business' unworthy of free-speech rights, declaring for the first time that the First Amendment barred government from banning any film as 'sacreligious.'
Using legal briefs, affidavits, and other court records, as well as letters, memoranda, and other archival materials to elucidate what was at issue in the case, William Bruce Johnson also analyzes the social, cultural, and religious elements that form the background of this complex and hard-fought controversy, focusing particularly on the fundamental role played by the Catholic Church in the history of film censorship. Tracing the development of the Church in the United States, Johnson discusses the reasons it foundThe Miraclesacrilegious and how it attained the power to persuade civil authorities to ban it. The Court's decision was not only a milestone in the law of church-state relations, but it paved the way for a succession of later decisions which gradually established a firm legal basis for freedom of expression in the arts.
eBook
Germania anno zero. Regia di Roberto Rossellini (1948)
Per lunghi minuti, la camera segue il ragazzino, isolato, tagliato via dal mondo, che si arrampica su un palazzo distrutto e che gioca a nascondino con la sua ombra, sensazioni corporee più che emozioni, forme parziali e ambigue in primo piano come per valorizzare l’assenza di pensiero e parole. Una passante si accorge del suo corpo sulla strada e mentre se lo porta sulle ginocchia come in una pietà (di cui Città aperta ci aveva già offerto una immagine), la camera di Rossellini inquadra un tram che passa e la vita che continua. La città è in rovina, e anche qui i bambini utilizzano il paesaggio di detriti come una grande area di gioco, dove possono giocare a nascondino. Willi in particolare si dà da fare con i suoi furti per aiutare la famiglia dell’amico, finché è scoperto e subisce la collera di Birke. In tutti questi film i bambini sono per così dire la chiave con cui ogni regista, con i suoi specifici mezzi tecnici e estetici, cerca di accostare la realtà di una società che negli anni quaranta doveva ricostruirsi o fronteggiare un totalitarismo che lasciava poco spazio alla prospettiva di un’altra realtà, e oggi deve resistere alla guerra condotta da regimi ugualmente spietati.
Journal Article
El Sócrates de Rossellini: una lectura de la andréia como virtud cívica
El presente artículo estudia la figura de Sócrates en el largometraje homónimo de Rosselini de 1971, a través del análisis ofrecido por el director de la evolución de la noción clásica de andreia como virtud bélica hacia una nueva configuración enmarcada en el ámbito cívico de la polis, entendida como fusión cohesionada de las características tradicionales y las nuevas exigencias de la vida en la ciudad. La figura de Sócrates es propuesta como punto de giro de algunas de las prenociones conformadoras de nuestra sociedad tales como la tensión ético-política, el deber cívico o las resistencias a la realización individual en el marco social contemporáneo.
Journal Article
Saintly Cinema: Modelling the Icon in the Flowers of St. Francis and Andrei Rublev
Subverting terrestrial reality, Tarkovsky adopts the aesthetic principles of the Eastern Orthodox icon, translating Pavel Florensky's concepts of reverse perspective and reverse time into analogous cinematic aesthetics - principally into sacred, dreamlike temporalities. [...]they illustrate how the most realistic of artforms, film, can express transcendence, albeit to varying degrees of success. Perhaps the most significant event to influence the history of painting in this regard was the split between the churches of Rome and Constantinople in 1054, before which the iconographic traditions of Western and Eastern Christianity were in relative harmony,2 and after which two distinct traditions arose, eventually producing the Renaissance in the West. [...]it has been suggested that the first expressions of Humanism, the prevailing philosophy of the Renaissance, were born through Francis's theology and Giotto di Bondone's art, the latter of which bears \"a secular spirit, satirical, sensual and positivistic, hostile to asceticism,\" in contrast to the austere spiritual aesthetics which had formerly characterized Christian iconography.3 During the same period in the East, by contrast, artists resisted the West's technical developments in perspective, since, for them, it was tantamount to idolatry to represent religious subjects through linear perspective-particularly the mystery of the Trinity. \"10 In this sense, Giotto focussed his art on the human being as part of the \"natural\" world: a feature of Western art that was virtually unseen since the classical period.
Journal Article
“O Great God!” Humility and Camera Movement in Roberto Rossellini’s The Flowers of St. Francis
Roberto Rossellini's The Flowers of St. Francis (1950) represents the saint's humility through the director's humble style. Some claim this becomes most apparent in one scene where reverse-editing creates a compassionate bond between the saint and a leper. Close analysis, however, shows that cinematographic elements link Francis to God more than this counterpart. These elements pair him with a man for whom he feels compassion less than the God to whom he shows obedience. Ultimately, this scene's humble style suggests the ways in which humility might be based less on compassion for others than obedience to God.
Journal Article
Jest in Time: The Problems and Promises of the Holy Fool in Francesco, giullare di Dio, Ordet, and Ikiru
This paper is a study of Roberto Rossellini's Francesco, giullare di Dio (The Flowers of St. Francis, 1950), Akira Kurosawa's Ikiru (1952), and Carl Dreyer's Ordet (1955) through the theoretical lens of the religious figure of the holy fool. First, I assert that each film employs a foolish character in order to critique the contemporary culture, particularly resisting modern attempts to soften or ignore extreme elements of Christian teaching, such as sacrificial self-giving for others or the hope of bodily resurrection. Second, I argue that the content of a fool character affects the film's form, creating a subversive style which in turn aims to produce a \"conversion\" or change in the viewer, making the film itself an instantiation of holy folly. A typology of the holy fool within the Christian tradition, its major features and functions, is first discussed followed by detailed analyses of each film.
Journal Article