MARC Record from marc_columbia

LEADER: 04073cam a2200673Ia 4500
001 14707293
005 20201022131154.0
006 m o d
007 cr cn|||||||||
008 060901s1996 nyua obq 001 0 eng d
010 $a 95043288
035 $a(OCoLC)ocm49871097
035 $a(NNC)14707293
040 $aVVN$beng$epn$cVVN$dOCLCQ$dNFS$dCO3$dOCLCQ$dOCLCO$dOCLCF$dCOO$dOCLCQ$dOCLCO$dOCLCQ$dAGLDB$dTOA$dZCU$dOCLCQ$dCN8ML$dOCLCQ$dS9I$dTYFRS$dSTF$dBWN
020 $a041511697X$q(hbk. ;$qalk. paper)
020 $a9780415116978$q(hbk. ;$qalk. paper)
020 $a9780415116985$q(pbk. ;$qalk. paper)
020 $a0415116988$q(pbk. ;$qalk. paper)
020 $a0203134664
020 $a9780203134665
020 $z0415116988
020 $a9786610506071
020 $a6610506078
035 $a(OCoLC)49871097
037 $aEBL165886$beBook Library$nhttp://www.eblib.com
043 $ae-it---
050 4 $aPN1993.5.I88$bS66 1996eb
055 14 $aPN1993.5.I88$bS66 1996eb
072 7 $aPER$x004040$2bisacsh
080 $a791.4(45)
082 04 $a791.43/0945$220
049 $aZCUA
100 1 $aSorlin, Pierre.
245 10 $aItalian national cinema 1896-1996 /$cPierre Sorlin.
260 $aNew York :$bRoutledge,$c1996.
300 $a1 online resource ([x], 202 pages) :$billustrations.
336 $atext$btxt$2rdacontent
337 $acomputer$bc$2rdamedia
338 $aonline resource$bcr$2rdacarrier
347 $adata file$2rda
490 1 $aNational cinemas series
504 $aFilmography: pages 181-186.
504 $aIncludes bibliographical references (pages 187-192) and indexes.
588 0 $aPrint version record.
505 0 $a1. First generation : the world in a dark room -- 2. Second generation : their master's voice -- 3. Third generation : the most popular form of entertainment -- 4. Fourth generation : the sweet life -- 5. Fifth generation : the world in the box.
520 $a"From such films as La dolce vita and Bicycle Thieves to Cinema Paradiso and Dear Diary, Italian cinema has provided striking images of Italy as a nation and a people. In the first comprehensive study of Italian cinema from 1896 to the present, Pierre Sorlin explores the changing relationship of Italian cinema and Italian society and asks whether the national cinema really does represent Italian interests and culture." "Sorlin discusses the work of major filmmakers such as de Sica, Visconti, Fellini, Antonioni and Moretti in the context of national film output, considering both films which became internationally acclaimed and those which, though popular with the domestic audience, were never released outside Italy. Beginning with the evolution of the cinema audience and the development of domestic production, Sorlin examines Italian cinema from the dark years of Fascism through to postwar Neorealism and big-budget commercial films. In the final section he discusses the place of cinema in the context of the rise of television, contemporary political crises in Italy, and Berlusconi's attempts to dominate the media landscape." "Italian National Cinema provides a challenging vision of national cinema, not just as a reflection of Italian culture but for the crucial part it played in the transformation of contemporary Italy. It includes a filmography and bibliography of Italian cinema."--Jacket.
650 0 $aMotion pictures$zItaly$xHistory.
650 7 $aPERFORMING ARTS$xFilm & Video$xReference.$2bisacsh
650 7 $aMotion pictures.$2fast$0(OCoLC)fst01027285
651 7 $aItaly.$2fast$0(OCoLC)fst01204565
650 17 $aFilmkunst.$2gtt
650 17 $aFilmindustrie.$2gtt
655 0 $aElectronic books.
655 4 $aElectronic books.
655 7 $aHistory.$2fast$0(OCoLC)fst01411628
776 08 $iPrint version:$aSorlin, Pierre.$tItalian national cinema 1896-1996.$dNew York : Routledge, 1996$w(DLC) 95043288
830 0 $aNational cinemas series.
856 40 $uhttp://www.columbia.edu/cgi-bin/cul/resolve?clio14707293$zTaylor & Francis eBooks
852 8 $blweb$hEBOOKS