Pregled bibliografske jedinice broj: 1006255
Beyond Neorealism : Sicily in Vittorio De Seta's documentaries
Beyond Neorealism : Sicily in Vittorio De Seta's documentaries // Sicily on Screen : essays on the representation of the island and its culture / Summerfield, Giovanna (ur.).
Jefferson (NC): McFarland & Company, 2020. str. 118-138
CROSBI ID: 1006255 Za ispravke kontaktirajte CROSBI podršku putem web obrasca
Naslov
Beyond Neorealism : Sicily in Vittorio De Seta's
documentaries
Autori
Borjan, Etami
Vrsta, podvrsta i kategorija rada
Poglavlja u knjigama, znanstveni
Knjiga
Sicily on Screen : essays on the representation of the island and its culture
Urednik/ci
Summerfield, Giovanna
Izdavač
McFarland & Company
Grad
Jefferson (NC)
Godina
2020
Raspon stranica
118-138
ISBN
978-1-4766-7648-7
Ključne riječi
Vittorio De Seta ; Sicily on screen ; Italian neorealist cinema ; Cesare Zavattini
(Vittorio De Seta ; Sicily on Screen ; Italian neorealist cinema ; Cesare Zavattini)
Sažetak
From 1954 to 1959 De Seta shot seven documentaries in Sicily, two in Sardinia and one in Calabria. De Seta was familiar with the works of the directors belonging to the “De Martinian school of ethnographic documentary” but he was much more influenced by Flaherty, neorealism and Cesare Zavattini. His ten documentaries can be seen as a follow up of Visconti’s never realized film trilogy about sea, earth and mines of which La terra trema was the first part. The topics are: fishermen (Lu tempu di li pisci spata, Contadini del mare, Pescherecci), miners (Surfarara, Isole di fuoco), farmers and rites (Parabola d’oro, Pastori di Orgosolo, Un giorno in Barbagia, I dimenticati, Pasqua in Sicilia). Unlike Visconti, De Seta avoids voice-of-God narration and stresses the visual and symbolic potential of the image. Just like Flaherty, he does not focus on individuals but on the whole community. Narrative structure of De Seta’s documentaries reflects perfectly the natural order of the daily activities he shoots: they start in the morning and finish at sunset just like any ordinary day. The rhythm of the films is dictated by the work of the community: calm night comes after an exhausting day that is full of intense activities followed by moments of contemplation or rest. His movies share many stylistic and thematic tendencies with post war cinema but they go beyond Neorealism and represent unknown parts of Italy, avoiding self-exoticism and clichés.
Izvorni jezik
Engleski
Znanstvena područja
Znanost o umjetnosti, Filmska umjetnost (filmske, elektroničke i medijske umjetnosti pokretnih slika)
