Get After la dolce vita : a cultural prehistory of Berlusconi's PDF

By Alessia Ricciardi

ISBN-10: 0804781494

ISBN-13: 9780804781497

ISBN-10: 0804781508

ISBN-13: 9780804781503

ISBN-10: 080478258X

ISBN-13: 9780804782586

This ebook chronicles the loss of life of the supposedly leftist Italian cultural institution through the lengthy Nineteen Eighties. in the course of that point, the nation's literary and highbrow forefront controlled to lose the prominence passed it after the top of worldwide warfare II and the defeat of Fascism. What emerged in its place was once a uniquely Italian model of cultural capital that intentionally kept away from any severe wondering of the existing order. Ricciardi criticizes the improvement of this new hegemonic association in movie, literature, philosophy, and artwork feedback. She makes a speciality of numerous turning issues: Fellini's futile, late-career critique of Berlusconi-style advertisement tv, Calvino's past due flip to reactionary belletrism, Vattimo's nihilist and conservative responses to French poststructuralism, and Bonito Oliva's flow of artwork commodification, Transavanguardia.

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38 The exuberant aerial tracking shots of the lead helicopter hauling its freight through the sky over Rome suggest, if anything, the ascendancy of human technology over the religious, rather than any portentous return of the spiritual. ”40 At the same time, the prologue establishes as a theme the complicity of modern technology with consumerist mass media. The early modernist enthusiasm for technology thus is tempered by a more critical view of the symbiosis between telecommunications and journalism, a linkage that may be read as one symptom of a culture already on its way toward the crisis point of late capitalism.

All you enjoy so much . . is just a waste . . a convenient excuse to do whatever you like. . I am afraid you are becoming an endearing buffoon, my dear. . 51 That this episode was not included in the finished film might be explained in various ways, but the chief suggestion I wish to make is that it is redundant. We have already observed Steiner’s function in the narrative as a kind of substitute for Marcello’s potential suicide. A more analytic or nuanced representation of the defeat of his residual intellectual ambition would have been superfluous, particularly given the film’s interest in mapping the new cultural and intellectual territory that lies beyond modernism.

That Fellini cast the youthful and the aged Mastroianni in both roles accentuates the genealogical connection between the journalist of La dolce vita and the tap dancer of Ginger and Fred. Sweetness  Fellini may be said to have contributed, if involuntarily, to the phenomenon of the marketing of Italian culture in the 1960s inasmuch as the worldwide success of La dolce vita itself appeared to signal the sweet potential of a cosmopolitan consumerism. By the time of his last productions, however, Fellini was determined not to remain an accomplice in the metamorphosis of Italian culture.

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After la dolce vita : a cultural prehistory of Berlusconi's Italy by Alessia Ricciardi


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