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Author: Franco La Polla
Publisher: Lindau, Torino, 2000
Series: Essays
Pages: 276
Format: 14x22.5
Price: € 14.46
Language: Italian | Index:
Abstract
Authors
- Some versions pastoral: the invention of Frank Capra "Screwball comedy"
- The attendance of Darkness: Orson Welles between Ishmael and Barnum
- depend on outsiders: Elia Kazan and American literature
- Prepare time: brief notes on the first appearance
Roger Corman - Corman and Poe: Final Following a release without
- Revelation and Entropy: Robert Altman and American culture
- Russ Meyer: reality to the degree exclamation
Film - "Daisy Miller" by Peter Bogdanovich
- "Tobacco Road" by John Ford
- "I do not want to miss" by Mitchell Leisen
- "Wise Blood" by John Huston
- "Blade Runner" by
Ridley Scott - "The Dead Zone" by David Cronenberg
- "The Mouth of Madness" by John Carpenter
- "Texasville" by Peter Bogdanovich
- "Forrest Gump" Robert Zemeckis
- "Quiz Show" by Robert Redford
- "Amistad" by Steven Spielberg
Issues - History and fantastoria:
American diversity - fiction and historical reality in the cinema, that is: watch TV
- deny the pleasure and eroticism in the 30s' 40
- Cinema and Beat Generation: the right to historicizing
- Hollywood, drugs and creativity, ie: use your brain
- Parliament when he asked: cinema and American-Jewish humor
- Rice, death and devils: Woody Allen and his brothers still on Marx
- Talking to Ninotchka, namely: that remake?
- From creation to the universal prejudice: the science fiction television in the '50s
- "X-Files": The horror of thought between science fiction and parody
- thirty years after the hyperreal
Indices - Index
film - Index of names
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When it comes to American cinema, you can not ignore the enormous contribution of critical and historiographical Franco La Polla. Without academic academics and teacher for over thirty years of Anglo-American Literature and History of North American cinema, La Polla, who died in 2008, was undoubtedly the most influential Italian scholar in terms of American cinema and literature, and one of more deep knowledge of American culture tout court. The age of the eye , one of its most significant collection criticism, it is proposed to re-read authors of different times and cinema U.S. interference in the light of the most varied literary, philosophical and historical works that have shaped. Near the Cultural Studies, an academic discipline is still little or no development in our country, La Polla excels both in accuracy and mastery of the boundless cultural background that pertains to living in the originality of his theoretical contribution. The superb detail of the philologist is evident, for example, when Jeffersonian idealism and denies the paternity of Capra screwball comedy , eminently subversive and anarchic kind of mythology that Jefferson wanted to be rather skeptical about the parody, or when it offers historical- Critical extraordinary learning about the roots of American Jewish humor of the Marx Brothers and the tradition of trickster , the confidence man Melville, Orson Welles in the poetry of digressive. Original, second, for many critical reflections very innovative and courageous, as when track points of tangency between Roger Corman and the figures of the pop-art, or between Altman, entropy pynchoniana and the 'apocalypse comedy "of writers such as Vonnegut and Barthelme. What's more, the La Polla was also one of the most enjoyable and light pens criticism, no twisted ghirighori intellectual and always insightful, crystal clear and essential. The book offers the best of themselves especially in the "Authors" and "Questions", where the critical thinking of La Polla is free to expand in the transversal nature of cultural references as diverse as the "Film" suffer most from the limitation of having to deal with individual titles (generally not memorable), albeit with some notable exceptions such as work on shiny the Mouth of Madness and Forrest Gump . The age eye is not only one of the best anthologies of essays on American cinema, with some even thinking it prophetically oriented current debates (see the final thirty years after The hyper-realism), but also a model of intelligent criticism and enlightening.
Dario Stefanoni
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