The foreign film renaissance on American screens, 1946-1973
- 作者: Balio, Tino.
- 出版: Madison, Wis. : University of Wisconsin Press c2010.
- 稽核項: xi, 367 p. :ill ;24 cm.
- 叢書名: Wisconsin film studies
- 標題: Foreign films , Foreign films United States -- Reviews. , Foreign films United States.
- ISBN: 0299247937 , 9780299247935
- 附註: Includes bibliographical reference (p. 343-345) and index. Antecedents -- Italian neorealism -- British film renaissance -- Market dynamics -- French films of the 1950s -- Japanese films of the 1950s -- Ingmar Bergman : the brand -- The French New Wave -- Angry young men : British new cinema -- The second Italian renaissance -- Auteurs from outside the epicenter -- Enter Hollywood -- The aura of the New York Film Festival -- Collapse.
- 摘要: "Largely shut out of American theaters since the 1920s, foreign films such as Open City, Bicycle Thief, Rashomon, The Seventh Seal, Breathless, La Dolce Vita and L'Avventura played after World War II in a growing number of art houses around the country and created a small but influential art film market devoted to the acquisition, distribution, and exhibition of foreign-language and English-language films produced abroad. Nurtured by successive waves of imports from Italy, Great Britain, France, Sweden, Japan, and the Soviet Bloc, the renaissance was kick-started by independent distributors working out of New York; by the 1960s, however, the market had been subsumed by Hollywood. From Roberto Rossellini's Open City in 1946 to Bernardo Bertolucci's Last Tango in Paris in 1973, Tino Balio tracks the critical reception in the press of such filmmakers as Franccois Truffaut, Jean-Luc Godard, Federico Fellini, Michelangelo Antonioni, Tony Richardson, Ingmar Bergman, Akira Kurosawa, Luis Bunuel, Satyajit Ray, and Milos Forman. Their releases paled in comparison to Hollywood fare at the box office, but their impact on American film culture was enormous. The reception accorded to art house cinema attacked motion picture censorship, promoted the director as auteur, and celebrated film as an international art. Championing the cause was the new "cinephile" generation, which was mostly made up of college students under thirty. The fashion for foreign films depended in part on their frankness about sex. When Hollywood abolished the Production Code in the late 1960s, American-made films began to treat adult themes with maturity and candor. In this new environment, foreign films lost their cachet and the art film market went into decline"--P. 4 of cover.
- 系統號: 005088319
- 資料類型: 圖書
- 讀者標籤: 需登入
- 引用網址: 複製連結
Largely shut out of American theaters since the 1920s, foreign films such as Open City, Bicycle Thief, Rashomon, The Seventh Seal, Breathless, La Dolce Vita and L’Avventura played after World War II in a growing number of art houses around the country and created a small but influential art film market devoted to the acquisition, distribution, and exhibition of foreign-language and English-language films produced abroad. Nurtured by successive waves of imports from Italy, Great Britain, France, Sweden, Japan, and the Soviet Bloc, the renaissance was kick-started by independent distributors working out of New York; by the 1960s, however, the market had been subsumed by Hollywood. From Roberto Rossellini’s Open City in 1946 to Bernardo Bertolucci’s Last Tango in Paris in 1973, Tino Balio tracks the critical reception in the press of such filmmakers as François Truffaut, Jean-Luc Godard, Federico Fellini, Michelangelo Antonioni, Tony Richardson, Ingmar Bergman, Akira Kurosawa, Luis Buñuel, Satyajit Ray, and Milos Forman. Their releases paled in comparison to Hollywood fare at the box office, but their impact on American film culture was enormous. The reception accorded to art house cinema attacked motion picture censorship, promoted the director as auteur, and celebrated film as an international art. Championing the cause was the new “cinephile” generation, which was mostly made up of college students under thirty. The fashion for foreign films depended in part on their frankness about sex. When Hollywood abolished the Production Code in the late 1960s, American-made films began to treat adult themes with maturity and candor. In this new environment, foreign films lost their cachet and the art film market went into decline.
來源: Google Book
來源: Google Book
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