After Fellini: national cinema in the postmodern age

Abstract

Contents: Acknowledgments Introduction Looking Back 1 National Identity by Means of Montage in Roberto Rossellini's Paisan 2 Luchino Visconti's Bellissima: The Diva, the Mirror, and the Screen Italy by Displacement 3 Bernardo Bertolucci's The Last Emperor : Powerless in Peking 4 Mediterraneo and the Minimal Utopias of Gabriele Salvatores 5 From Salazar's Lisbon to Mussolini's Rome by Way of France in Roberto Faenza's Pereira Declares Family as Political Allegory 6 Francesco Rosi's Three Brothers: After the Diaspora 7 The Alternative Family of Ricky Tognazzi's La scorta 8 The Gaze of Innocence: Lost and Found in Gianni Amelio's Stolen Children Postmodernism or, the Death of Cinema? 9 Ginger and Fred: Fellini after Fellini 10 Giuseppe Tornatore's Cinema Paradiso and the Art of Nostalgia 11 From Conscience to Hyperconsciousness in Maurizio Nichetti's The Icicle Thief 12 Postmodern Pastiche, the Sceneggiata, and the View of the Mafia from Below in Roberta Torre's To Die for Tano The Return of the Referent 13 Filming the Text of Witness: Francesco Rosi's The Truce 14 The Seriousness of Humor in Roberto Benigni's Life is Beautiful 15 Caro diaro and the Cinematic Body of Nanni Moretti Appendix: Plot Summaries and Credits Notes Bibliography Videography Index

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