Traveling auteurs

• Verfasst von: Caminati, Luca [VerfasserIn]
• Titel: Traveling auteurs
• Titelzusatz: the geopolitics of postwar Italian cinema
• Verf.angabe: Luca Caminati
• Ausgabe: First printing
• Verlagsort: Bloomington, Indiana
• Verlag: Indiana University Press
• Jahr: 2024
• Umfang: ix, 209 Seiten
• Gesamttitel/Reihe: New directions in national cinemas
• ISBN: 978-0-253-06955-9
• ISBN: 978-0-253-06954-2
• Schlagwörter: (g)Italien / (s)Film / (z)Geschichte 1945-2000
• Sprache: eng
• Sach-SW: Colonialism & imperialism
• Sach-SW: Documentary films
• Sach-SW: Dokumentarfilme
• Sach-SW: Film theory & criticism
• Sach-SW: Filmgeschichte, Filmtheorie und Filmkritik
• Sach-SW: Kolonialismus und Imperialismus
• Sach-SW: PER004110
• Sach-SW: PERFORMING ARTS / Film & Video / History & Criticism
• Sach-SW: POL045000
• Sach-SW: Postwar 20th century history, from c 1945 to c 2000
• Geograph. SW: Italien
• Geograph. SW: Italy
• Zeit-SW: Zweite Hälfte 20. Jahrhundert (ca. 1950 bis ca. 1999)
• Zeit-SW: c 1945 to c 2000 (Post-war period)
• K10plus-PPN: 1887966552

Abstract

What tensions characterized the relationships between cinema, European Leftists, and emerging postcolonial ideologies after World War II? In Traveling Auteurs, author Luca Caminati analyzes the work of influential Italian filmmakers Roberto Rossellini, Pier Paolo Pasolini, and Michelangelo Antonioni as they engaged politically and aesthetically with the global landscapes and politics of the Cold War period. As documentaries, the films considered in this book record specific manifestations of political sensibilities of the twentieth century. As bodies of work, they reveal that the traveling auteurs who made them were symptomatic actors in complex geopolitical networks. As cultural objects reflecting and shaping contemporaneous debates, they provoke a complex afterlife at home and abroad. In the three chapters dedicated to Rossellini in India, Pasolini in Africa and the Middle East, and Antonioni in China, Caminati pays particular attention both to the reception that these films had in the countries where they were shot and to their legacies in Italian film history. As it follows the entanglements of filmmakers, artists, and activists involved as allies or direct witnesses to momentous political change, this book sheds new light on anticolonial struggles, the reaffirmation of the Non-Aligned Movement, and the consolidation of the Chinese Communist Party