Italian Locations
Reinhabiting the Past in Postwar Cinema
Noa Steimatsky
In this examination of Italian filmmakers Antonioni, Pasolini, Rossellini, and Visconti, Noa Steimatsky brilliantly maps their negotiation of Italy’s identity and posits that the cinematic forms they employ constitute an imaginary reinhabiting of Italy—one that is inextricably linked with the predicament of reconstruction. A dynamic intersection of pictorial and photographic, architectural and literary discourses inform Steimatsky’s revisionist interrogation of exemplary works from the 1940s to the mid–1960s.
Vivid and elegantly written, Italian Locations is an original and thought-provoking book.
Geoffrey Nowell-Smith, author of Making Waves: New Cinemas of the 1960s
Fascism and the Second World War left Italy indelibly changed, and cinema was arguably the art that most rigorously confronted the devastated nation. In this examination of four Italian filmmakers, Noa Steimatsky brilliantly maps their forceful negotiation of Italy’s identity and posits that the cinematic forms they employ constitute an imaginary reinhabiting of Italy—one that is inextricably linked with the political, physical, and symbolic predicament of reconstruction.
A dynamic intersection of pictorial and photographic, architectural and literary discourses inform Steimatsky’s revisionist interrogation of exemplary works from the 1940s to the mid–1960s. From the earliest documentary work of Michelangelo Antonioni on the River Po to Pier Paolo Pasolini’s re-siting of the Gospel in the arid, peripheral landscape of the Italian south, and from Roberto Rossellini’s tracing of a neorealist project in ruinous Berlin to Luchino Visconti’s wrought grandeur visited upon a humble Sicilian fishing village, Italian Locations probes the historical experience of displacement, anachronism, and a thoroughly contemporary anxiety in the cinematic arena.
For Steimatsky, Antonioni’s modernist achievement, informed by his native landscape, Rossellini’s neorealist image of Italy as a nation of ruins, Visconti’s reaching back to the nineteenth century and even more archaic pasts, and Pasolini’s ambivalence about modernity—all partake in a search for a politically and culturally redeemed Italy.
$22.50 paper ISBN 978-0-8166-5088-0
$67.50 cloth ISBN 978-0-8166-5087-3
280 pages, 63 b&w photos, 5 3/8 x 8 1/2, 2008
Noa Steimatsky is associate professor of the history of art and film studies at Yale University.
Vivid and elegantly written, Italian Locations is an original and thought-provoking book.
Geoffrey Nowell-Smith, author of Making Waves: New Cinemas of the 1960s
Noa Steimatsky brilliantly uses new materials and perspectives to illuminate the central films in Italian Locations. An outstanding book.
P. Adams Sitney, Princeton University
This is film study at its most engaging, stimulating, and informative.
Midwest Book Review
Italian Locations is insightful, deftly written, and a treasure.
Choice
Italian Locations is outstanding in all respects. It makes a brilliant plea for a sharper focus on that most forgotten aspect of film theory: space.
Leonardo Reviews
Contents
INTRODUCTION Italy as Seen from the Moon
ONE Aerial: Antonioni’s Modernism
TWO Ruinous: Rossellini’s Corpse-Cities
THREE Choral: Visconti’s Dramaturgy of Nature
FOUR Archaic: Pasolini on the Face of the Earth
AFTERWORD The Ends of the Land
Acknowledgments
Notes
Publication History
Index