Tempo e spazio : cinema e identità nazionale

Vol.30,No.1(2009)

Lorenza Fonzari

Stable URL (handle):
http://hdl.handle.net/11222.digilib/114824

PDF (Italian)
Abstract
The aim of this study is to investigate the categories of space and time in Italian neo-realist films. Italy entered badly damaged and fragmented into the post war period where it was necessary to reconstruct the jumbled social realities by focusing on the city space, which was still half-covered by the war ruins. In this way, the Italian neo-realist directors, such as Rossellini and De Sica were attempting to witness the new relationships between the people and the space in which they interacted, in the desire to rediscover a fresh national identity. The refusal of conventional techniques on the part of the neo-realist directors, such as, for example, a linear narrative, a closed film ending, and the use of flashbacks, make neo-realist films an art form of the present, of reality as it is, and they are conceived as an ensemble of time-images cast in what Gilles Deleuze calls the espace quelconque.

Keywords:
neorealism; subversive characterization; technical innovations; city space; time frequence; temps morts (dead time); action-image; movement-image; optical and aural image; Deleuze; plot; offscreen; diegetic sound elements; any-space-whatever; crisis of the belief about national identity; italianity of Neorealist cinema; time of film; release in cinemas

Pages:
171–179
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