subscribe to this page
De Sica's" Bicycle Thieves" and Italian Humanism
Source: Hollywood quarterly [1549-0076] Jacobson yr:1949 vol:4 iss:1 pg:28
According to Herbert L. Jacobson, author of the essay "De Sica's 'Bicycle Thieves' and Italian Humanism," (1949) burried beneath the "garbage of fascism" lies the treasure of the Italian cinema, specifically Italian neorealism. In Neorealism, Italian filmmakers found the perfect vehicle to capture the suffering and poverty in a postwar environment. Jacobson rightfully praises such directors as Luigi Zampa, Visconti, and of course Roberto Rossellini, but he reserves his highest praise for de Sica's Bicycle Thieves. For Jacobson, Bicycle Thieves contains the perfect combination of intelligence and indicting cynicism that points a critical eye to the Italian society. Indeed, Jacobson asserts that the characterization of "victim" Antonio is one of the greatest in cinema history. To further his argument, Jacobson calls de Sica the polar opposite of an unlikely source: none other than famed American director Orson Welles. While some may look at the comparison that Jacobson makes as an unfair critique of de Sica, it is actually high praise for the director and the changes that he made to Cinema on a global level.
div>
For example, where Welles self-conciously placed his stamp on every scene of his major work Citizen Kane (1941), de Sica's directing style placed the emphasis solely on the "vitality seething in the actors" (31), the bleak landscape that the characters occupy, and of course the brilliant words of Cesare Zavattini. Jacobson also praises de Sica not only for his shrewed technique and deft skill as a director, but also his "moral sense which he knows how to embed unobstrusively in the texture of his story." He compares de Sica with DW Griffith in an interesting way by pointing out that while Griffith's works could be praised for their technical proficiency, much of his subject matter, such as the depiction of the Ku Klux Klan, was morally reprehensible, while de Sica was committed to a much more sympathetic social justice, that of the downtrodden and poor.
belongs to Vittorio de Sica's Bicycle Thief project
tagged Bicycle_Thieves Cinema Italian Neorealism by colliert ...and 12 other people ...on 09-JUN-06
tagged Bicycle_Thieves Cinema Italian Neorealism by colliert ...and 12 other people ...on 09-JUN-06
belongs to Ethnography resources project
tagged ASAM Culture Music by ajlyons ...and 12 other people ...on 29-APR-06
tagged ASAM Culture Music by ajlyons ...and 12 other people ...on 29-APR-06
tagged [none]
by flesch
...and 12 other people
...on 28-APR-06
tagged [none]
by utee
...and 12 other people
...on 25-MAR-06
Ok. Here's what happens in IE when I am not logged in and I tag an article from the penntext menu right after logging in.
Arnold’s article deals with the popular film song’s development in India and its relation to mass entertainment and non-Indian elements. The article examines film song production and distribution in the Hindi film industry from the 1930s through the 1950s arguing for the artistry and fundamentally Indian nature of these songs. With the first talkies, Arnold argues, the producers realized the importance, both culturally and commercially, of song within film. Song was integrated into films and used to communicate messages to the audiences. The early film music were derived from stage and folk songs and maintained a close link with the culture. As film song developed in India, the composers began to draw on musical influences from around the country, not only folk tradition. The music reworked tradition Indian musical elements such as rhythm and scales to create a new meaning within a film. This allowed the directors to create a sense of belonging for the story and “Indian musical identity” for the audience. Arnold cites the significance of this in the creation of a national identity prior to India’s independence from England.
Arnold, next, examines the audience’s response to early Indian film music and its meaning. She claims that the music was successful by evidence of record sales, radio song requests and articles in film magazines. She then explains the connection between the film and the music, and the importance of creating music that is meaningful within the film but simple enough that the audience can relate to it. Arnold continues with a look at the way music was made and connected to the audience post-1960. She claims that India’s film music is both a part of mass consumption and mass appeal. This is evident not only through the sales but what Arnold calls “the active participation in Hindi film song performance.” She further explains the great appeal of the Hindi film song to the people.
Arnold concludes with a look at the connections and importance of the relationships between the film industry, the television media and the government-run radio to the film song.
This article provides an interesting look into the function of film music in the Hindi world. It allows one to compare the work and the development of the film song in India to Hollywood.
Arnold, next, examines the audience’s response to early Indian film music and its meaning. She claims that the music was successful by evidence of record sales, radio song requests and articles in film magazines. She then explains the connection between the film and the music, and the importance of creating music that is meaningful within the film but simple enough that the audience can relate to it. Arnold continues with a look at the way music was made and connected to the audience post-1960. She claims that India’s film music is both a part of mass consumption and mass appeal. This is evident not only through the sales but what Arnold calls “the active participation in Hindi film song performance.” She further explains the great appeal of the Hindi film song to the people.
Arnold concludes with a look at the connections and importance of the relationships between the film industry, the television media and the government-run radio to the film song.
This article provides an interesting look into the function of film music in the Hindi world. It allows one to compare the work and the development of the film song in India to Hollywood.
tagged [none]
by aadougla
...and 12 other people
...on 24-JAN-06