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| 001 | 211657 | ||
| 003 | IT-RoAPU | ||
| 005 | 20231211163648.0 | ||
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| 007 | cr || |||||||| | ||
| 008 | 231101t19961995onc fo d z eng d | ||
| 019 | _a(OCoLC)1002273879 | ||
| 019 | _a(OCoLC)1004882213 | ||
| 019 | _a(OCoLC)1011453695 | ||
| 019 | _a(OCoLC)944178267 | ||
| 019 | _a(OCoLC)999360480 | ||
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_a9780802005564 _qprint |
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_a9781442673359 _qPDF |
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_a10.3138/9781442673359 _2doi |
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| 035 | _a(DE-B1597)9781442673359 | ||
| 035 | _a(DE-B1597)464354 | ||
| 035 | _a(OCoLC)244764669 | ||
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_aDE-B1597 _beng _cDE-B1597 _erda |
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| 072 | 7 |
_aPER004010 _2bisacsh |
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| 082 | 0 | 4 | _a791.43/0945 |
| 084 | _aonline - DeGruyter | ||
| 100 | 1 |
_aGieri, Manuela _eautore |
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| 245 | 1 | 0 |
_aContemporary Italian Filmmaking : _bStrategies of Subversion: Pirandello, Fellini, Scola, and the Directors of the New Generation / _cManuela Gieri. |
| 264 | 1 |
_aToronto : _bUniversity of Toronto Press, _c[1996] |
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| 264 | 4 | _c©1995 | |
| 300 | _a1 online resource (302 p.) | ||
| 336 |
_atext _btxt _2rdacontent |
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| 337 |
_acomputer _bc _2rdamedia |
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_aonline resource _bcr _2rdacarrier |
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_atext file _bPDF _2rda |
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| 490 | 0 | _aToronto Italian Studies | |
| 506 | 0 |
_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star |
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| 520 | _aContemporary Italian Filmmaking is an innovative critique of Italian filmmaking in the aftermath of World War II - as it moves beyond traditional categories such as genre film and auteur cinema. Manuela Gieri demonstrates that Luigi Pirandello's revolutionary concept of humour was integral to the development of a counter-tradition in Italian filmmaking that she defines `humoristic'. She delineates a `Pirandellian genealogy' in Italian cinema, literature, and culture through her examination of the works of Federico Fellini, Ettore Scola, and many directors of the `new generation,' such as Nanni Moretti, Gabriele Salvatores, Maurizio Nichetti, and Giuseppe Tornatore.A celebrated figure of the theatrical world, Luigi Pirandello (1867-1936) is little known beyond Italy for his critical and theoretical writings on cinema and for his screenplays. Gieri brings to her reading of Pirandello's work the critical parameters offered by psychoanalysis, poststructuralism, and postmodernism to develop a syncretic and transcultural vision of the history of Italian cinema. She identifies two fundamental trends of development in this tradition: the `melodramatic imagination' and the `humoristic,' or comic, imagination. With her focus on the humoristic imagination, Gieri describes a `Pirandellian mode' derived from his revolutionary utterances on the cinema and narrative, and specifically, from his essay on humour, L'umorismo (On Humour, 1908). She traces a history of the Pirandellian mode in cinema and investigates its characteristics, demonstrating the original nature of Italian filmmaking that is particularly indebted to Pirandello's interpretation of humour. | ||
| 538 | _aMode of access: Internet via World Wide Web. | ||
| 546 | _aIn English. | ||
| 588 | 0 | _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 01. Nov 2023) | |
| 650 | 7 |
_aPERFORMING ARTS / Film & Video / Direction & Production. _2bisacsh |
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| 850 | _aIT-RoAPU | ||
| 856 | 4 | 0 | _uhttps://www.degruyter.com/isbn/9781442673359 |
| 856 | 4 | 2 |
_3Cover _uhttps://www.degruyter.com/document/cover/isbn/9781442673359/original |
| 942 | _cEB | ||
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_c211657 _d211657 |
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