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020    9780816680245|q(electronic bk.) 
020    |z9780816675548 
035    (MiAaPQ)EBC1025589 
035    (Au-PeEL)EBL1025589 
035    (CaPaEBR)ebr10602340 
035    (CaONFJC)MIL525783 
035    (OCoLC)811507044 
040    MiAaPQ|beng|erda|epn|cMiAaPQ|dMiAaPQ 
050  4 PN1995.9.R3 -- S365 2012eb 
082 0  791.43/612 
100 1  Schoonover, Karl 
245 10 Brutal Vision :|bThe Neorealist Body in Postwar Italian 
264  1 Minneapolis :|bUniversity of Minnesota Press,|c2012 
264  4 |c©2012 
300    1 online resource (320 pages) 
336    text|btxt|2rdacontent 
337    computer|bc|2rdamedia 
338    online resource|bcr|2rdacarrier 
       An Inevitably Obscene Cinema: Bazin and Neorealism -- 2. 
       The North Atlantic Ballyhoo of Liberal Humanism -- 3. 
       Rossellini's Exemplary Corpse and the Sovereign Bystander 
       -- 4. Spectacular Suffering: De Sica's Bodies and 
       Charity's Gaze -- 5. Neorealism Undone: The Resistant 
       Physicalities of the Second Generation -- CONCLUSION -- 
       NOTES -- INDEX -- A -- B -- C -- D -- E -- F -- G -- H -- 
       I -- J -- K -- L -- M -- N -- O -- P -- R -- S -- T -- U -
       - V -- W -- Z 
520    Film history identifies Italian neorealism as the exemplar
       of national cinema, a specifically domestic response to 
       wartime atrocities. Brutal Vision challenges this 
       orthodoxy by arguing that neorealist films-including such 
       classics as Rome, Open City; Paisan; Shoeshine; and 
       Bicycle Thieves -should be understood less as national 
       products and more as complex agents of a postwar 
       reorganization of global politics. For these films, cinema
       facilitates the liberal humanist sympathy required to 
       usher in a new era of world stability. In his readings of 
       crucial films and newly discovered documents from the 
       archives of neorealism's international distribution, Karl 
       Schoonover reveals how these films used images of the 
       imperiled body to reconstitute the concept of the human 
       and to recalibrate the scale of human community. He traces
       how Italian neorealism emerges from and consolidates the 
       transnational space of the North Atlantic, with scenarios 
       of physical suffering dramatizing the geopolitical stakes 
       of a newly global vision. Here we see how-in their views 
       of injury, torture, and martyrdom-these films propose a 
       new mode of spectating that answers the period's call for 
       extranational witnesses, makes the imposition of limited 
       sovereignty palatable, and underwrites a new visual 
       politics of liberal compassion that Schoonover calls 
       brutal humanism. These films redefine moviegoing as a form
       of political action and place the filmgoer at the center 
       of a postwar geopolitics of international aid. Brutal 
       Vision interrogates the role of neorealism's famously 
       heart-wrenching scenes in a new global order that requires
       its citizenry to invest emotionally in large-scale 
       international aid packages, from the Marshall Plan to the 
       liberal charity schemes of NGOs. The book fundamentally 
       revises ideas of cinematic specificity, the human, and 
       geopolitical scale that we inherit 
520 8  from neorealism and its postwar milieu-ideas that continue
       to set the terms for political filmmaking today 
588    Description based on publisher supplied metadata and other
590    Electronic reproduction. Ann Arbor, Michigan : ProQuest 
       Ebook Central, 2020. Available via World Wide Web. Access 
       may be limited to ProQuest Ebook Central affiliated 
650  0 Ecological genetics.;Microbial diversity.;Microbial 
       ecology.;Microbiology -- Cultures and culture media 
655  4 Electronic books 
776 08 |iPrint version:|aSchoonover, Karl|tBrutal Vision : The 
       Neorealist Body in Postwar Italian Cinema|dMinneapolis : 
       University of Minnesota Press,c2012|z9780816675548 
856 40 |uhttps://ebookcentral.proquest.com/lib/sinciatw/
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