A close analysis of the seven films that mark important turning points in Rossellini's evolution: The Man with a Cross (1943), Open City (1945), Paisan (1946), The Machine to Kill Bad People (1948-52), Voyage in Italy (1953), to General della Rovere(1959), and The Rise to Power of Louis XIV (1966).

Continually enmeshed in controversy, perhaps no other figure in the history of world cinema has been so reviled - and so revered.

Three screen plays and commentary on films made by Rossellini about World War II.

Roberto Rossellini, famous Italian film director and icon of neorealism, would have been 100 years old on 8 May 2006. Isabella Rosellini, offspring of the Bergman/Rossellini cinema dynasty, herself a film star, author and celebrated photo model has dreamed up a very special hommage to her father on the centenary of his birth.

Roberto Rossellini's Rome Open City instantly, markedly, and permanently changed the landscape of film history. Made at the end of World War II, it has been credited with initiating a revolution in and reinvention of modern cinema, bold claims that are substantiated when its impact on how films are conceptualized, made, structured, theorized, circulated, and viewed is examined. This volume offers a fresh look at the production history of Rome Open City; some of its key images, and particularly its representation of the city and various types of women; its cinematic influences and affinities; the complexity of its political dimensions, including the film's vision of political struggle and the political uses to which the film was put; and the legacy of the film in public consciousness. It serves as a well illustrated, up to date, and accessible introduction to one of the major achievements of filmmaking.

Written by leading figures in the field, A Companion to Italian Cinema re-maps Italian cinema studies, employing new perspectives on traditional issues, and fresh theoretical approaches to the exciting history and field of Italian cinema. Offers new approaches to Italian cinema, whose importance in the post-war period was unrivalled Presents a theory based approach to historical and archival material Includes work by both established and more recent scholars, with new takes on traditional critical issues, and new theoretical approaches to the exciting history and field of Italian cinema Covers recent issues such as feminism, stardom, queer cinema, immigration and postcolonialism, self-reflexivity and postmodernism, popular genre cinema, and digitalization A comprehensive collection of essays addressing the prominent films, directors and cinematic forms of Italian cinema, which will become a standard resource for academic and non-academic purposes alike

This is the first full-length study in any language of the most significant film director of Italian Neorealism. Peter Brunette combines close analyses of Roberto Rossellini's formal and narrative style with a thorough account of his position in the political and cultural landscape of postwar Italy. More than forty films are explored, including Open City, Paisan, Voyage to Italy, The Rise to Power of Louis XIV, and films made in the director's later years that documented crucial epochs in human history. Brunette's book is based on eight years of research, during which he interviewed members of the director's family as well as Rossellini himself. Brunette also draws on an enormous body of European and American criticism and discusses the various intellectual debates spawned by the director's work. This landmark study is both a comprehensive introduction to one of the most influential practitioners of the contemporary cinema and a boldly original discussion of Italian Neorealism. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1996.

He Had Come To See A World At The End Of One Period Of History And At The Beginning Of Another More Dramatic One. When He Came To India In December 1956 Roberto Rossellini Was An Internationally Renowned Figure. Highly Acclaimed As A Director Of Italian Neo-Realist Films And Married To Hollywood Legend Ingrid Bergman, His Was An Ebullient Yet Intense Personality That Combined A Fondness For Flashy Cars And Lovely Women With A Passionately Serious Commitment To Exploring The Human Condition And Portraying It With Unflinching And Unvarnished Honesty. Rossellini Had Come To India At The Invitation Of The Prime Minister, Jawaharlal Nehru. His Aim Was To Make A Series Of Films Which Would Capture The Newly Independent Country As It Came To Grips With Progress And Development After Centuries Of Colonialism. He Deliberately Eschewed The Exotica Which Had Beguiled All Too Many Western Travellers. He Refused To Be Distracted By The Monuments, The Spirituality And Cultural Bric-A-Brac, Preferring Instead To Fix His Gaze On The Actual Moment, On The Grand Endeavours Of Industrialization, Land Reform And The Then Still Fledging Democratic Spirit-- The India Of Nehru S Vision. India Changed Rossellini Irrevocably. It Was Here That He Encountered The Dusky, Doe-Eyed Sonali Dasgupta, Then 27 Years-Old, The Wife Of A Documentary Film-Maker And The Mother Of Two Small Children. Their Connection Scandalized Indian Society And Became The Object Of A Sustained Campaign By Elements In The Indian Press, Instigated By The Bombay Film Industry Which Resented Nehru S Patronage Of A Foreign Film-Maker And Rossellini S Unconcealed Contempt For Their Overblown, Fantastical Extravaganzas. Eminent Journalist Dileep Padgaonkar Enters The World Of India In The 1950S--The Great Political Expectations, The Curious, Interconnected Lives Of The Bombay Elite, The Still Isolated Universe Of Indian Villages--And Traces Rossellini S Passage Through All Of Them. Using Contemporary Reports, Interviews And The Published And Unpublished Reminiscences Of Those Involved In The Drama, He Looks At The Films That Rossellini Made And At Events As They Unfolded To Create A Portrait Of A Remarkable Man Who Fell Under The Spell Of A Woman, A Country And Its People. Under Her Spell Is Spell-Binding...The Personality (Of Rossellini) That Emerges From Dileep Padgaonkar'S Painstakingly Researched Work&Is That Of A Complex, Creatively Restless, Controversial And Often Contradictory Human Being, Who Also Happened To Be A Classic Alpha Male. -Shyam Benegal, Film Director Rossellini Transgressed Every Conceivable Boundary He Was Confronted With - Personal Or Professional. Some Of The Transgressions Were Path-Breaking In His Life And In His Work. Some Others Brought On Meaningless Misery And Disappointment. He Remained A Teacher In Failures, Even. Under Her Spell Is An Engrossing Account Of Magnificent Compulsions. -Mani Kaul, Film Director A Well-Researched And Original Inquiry Into A Key Period Of Rossellini S Evolution Towards A New Kind Of Cinema. Dileep Padgaonkar S Account Of His Passage To India Reads Like A Passionate Novel. -Adriano Aprà, Italian Film Historian The Joy Of Discovery In Rossellini S (Film), India, Is Echoed In This Magnificent Chronicle Of The Italian Director S Incredible Adventures& Dileep Padgaonkar Has Found A Wealth Of New Sources For This Amazing Story. -Tag Gallagher, Author Of The Adventures Of Roberto Rossellini)

This radical re-reading of Ford's work studies his films in the context of his complex character, demonstrating their immense intelligence and their profound critique of our culture.

Tracing the development of the Church in the United States, Johnson discusses the reasons it found The Miracle sacrilegious and how it attained the power to persuade civil authorities to ban it.