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Molti-story cinema: The episode film in the Italian cinema.

机译：多故事电影：意大利电影中的插曲电影。

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摘要

The Italian episode film, the film a episodi, as a generic type is perhaps one of the most significant yet overlooked genres in cinema history. To define, the episode film is characterized by a discontinuity of a single narrative line presenting instead a multiplicity of narrative lines within a markedly segmented framework, essentially a feature film comprised of a number of shorts. Whilst in Hollywood and on the international scene the episode film has not proven a highly produced type, the episode film genre in the Italian cinema represents, along with similar films in the French cinema, a corpus of over 300 films, some standing as highly regarded and influential films in not only in their national context but also in world cinema ( Paisa, La Ronde, La dolce vita, Boccaccio '70, and The Decameron). This study answers the question why the episode film was produced in such great quantity specifically in the Italian cinema the reasons are wide-ranging and compelling.The genre's importance is traced to reasons that outline the study's main argument. First, the episode structure underlies many of the most important directors (Rossellini, De Sica, Fellini, Antonioni, and Pasolini), films and movements (neorealism and modernism) in Italian, French and, to some extent, world cinema. Second, the episode film helps demonstrate the cultural and historical specificity of a non-Hollywood genre and leads to the question of why the genre flourished in the particular nation of Italy at particular times. Third, the episode film illuminates the pressure point between genre theory and narrative theory by uniquely foregrounding many key issues of contemporary film and media studies. Finally, the episode film, through its unique structure as a collection of individual units, foregrounds and highlights binary oppositions of the one and many and the mixture of high and low reflected in most twentieth century art forms. Through the genre's structural characteristics and cultural specificity, the very critical dialectic of regionalism (a key issue in Italy) versus globalism is explored, highly relevant to a world where globalization becomes an increasingly crucial international issue.
机译：意大利情节电影（一种情节电影）作为通用类型，可能是电影史上最重要但仍被忽视的类型之一。为了定义，该情节电影的特征在于单个叙事线的不连续性，而在明显分割的框架内呈现了多个叙事线，实质上是一部由许多短裤组成的故事片。尽管在好莱坞和国际舞台上，插曲电影尚未被证明是高度制作的类型，但意大利电影中的插曲电影类型与法国电影中的类似电影一起代表了300余部电影的剧集，其中一些电影享有很高的声誉。和具有影响力的电影，不仅在他们的国家背景下，而且还在世界电影院中发挥作用（例如Paisa，La Ronde，La dolce vita，Boccaccio '70和The Decameron）。这项研究回答了为什么插曲电影是在意大利电影院如此大量制作的原因广泛而诱人的问题。该类型的重要性可追溯到概述研究主要论点的原因。首先，情节结构是许多最重要的导演（罗塞利尼，德西卡，费里尼，安东尼奥尼和帕索里尼），意大利和法国电影以及某些运动（新古典主义和现代主义）的基础。其次，这集电影有助于展示非好莱坞类型的文化和历史特殊性，并引发了一个问题，即为什么该类型在特定时间在特定意大利蓬勃发展。第三，这部电影通过独特地呈现当代电影和媒体研究的许多关键问题，阐明了体裁理论和叙事理论之间的压力点。最后，这集电影通过其独特的结构，即单个单元的集合，前景，并突出了二十世纪大多数艺术形式中所反映的一个和多个的二元对立以及高低混合。通过体裁的结构特征和文化特殊性，探讨了区域主义（意大利的一个关键问题）与全球主义的非常重要的辩证法，与全球化已成为日益重要的国际问题的世界高度相关。

著录项

  • 作者

    Sinclair, Michael Steven.;

  • 作者单位

    University of Southern California.;

  • 授予单位 University of Southern California.;
  • 学科 Literature Comparative.Cinema.
  • 学位 Ph.D.
  • 年度 2004
  • 页码 602 p.
  • 总页数 602
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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