Otto Preminger said the history of the cinema was divided into two eras: one before and one after Rome Open City (Roma Città Aperta, 1945). The film is based on events that took place in Rome in 1944, during the Nazi occupation. This book re-examines the film and its place in Rossellini's career. David Forgacs reconstructs its production history, its relationship to the events that inspired it and the time in which it was made. He argues that the traditional critical labelling of Rome Open City as the original work of neo-realism fails to capture the film's hybrid and contradictory character. Part documentary record, part patriotic myth, Rome Open City is at once an extraordinarily powerful commemoration of wartime experience and a rhetorical reworking of that experience, using stereotypes and moral polarisations.
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The War Trilogy
The traditional story notwithstanding, the meaning and the origins of the term are problematic. What does neorealism really mean, and how Italian is it? Italian filmmakers were wary of using the term and Rossellini preferred "realism.
Studies seven films of the originator of Italian neorealism, Roberto Rossellini
Italian Neorealism: Rebuilding the Cinematic City is a valuable introduction to one of the most influential of film movements.
Italian Neorealism: A Cultural History demonstrates how they did so through a series of representative case studies.
This stunning book explores Italian Neorealism in photography, as it documented Italy's economic and social conditions in the mid-20th century and its rise as a democratic nation.
Laura Cottingham celebrates Fassbinder's achievement, placing Fear Eats the Soul in relation to his extraordinarily prolific career in theatre, film and television.
Ed., Phil Powrie. New York: Oxford University Press, 1999. Louise-Salom, Tessa. Mr. X: A Vision of Leos Carax (2014) The Artificial Eye. DVD. Powrie, Phil. French Cinema in the 1980s. New York: Oxford University Press, 1997. ———, ed.
This study provides a detailed account of the 1960s film, 'L'avventura', arguing that in order to appreciate its greatness it is necessary to understand not only that the film is a classic but also that it represents a revolution in cinema.