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Over the past twenty-five years, Italy's film industry has produced a remarkable number of award-winning international art-house hits, among them Cinema Paradiso and Life Is Beautiful. Despite these successes, Italian cinema is in a state of crisis: ticket sales for domestic films, which plummeted in the l980's, are only now beginning to recover; television deregulation has engendered a popular culture largely dependent on American programming; and the passing of an entire generation of brilliant auteurs--Rossellini, Viscounti, Pasolini, Antonioni, and Fellini--extinguished...

What is the impulse to transform literary narrative into cinematic discourse, and what are the factors that determine that transformation? In Filmmaking by the Book, Millicent Marcus considers the adaptive process as the sum total of a series of encounters: the institutional encounter between literary and film cultures, the semiotic encounter between two very different signifying systems, and the personal encounter between author and filmmaker--sometimes involving an overt Oedipal struggle for selfhood.

Marcus explores that process by looking at key works by such major postwar...

The last decade has witnessed an outpouring of Italian films that deal with Fascism, anti-Semitism and the Holocaust. This would appear to mark a distinct change from the postwar reluctance to represent such an infamous history. Roberto Benigni's popular Life is Beautiful (1997) is an obvious example, but there have been a number of other works that have not been exported that also attest to a distinct tendency within Italian domestic production to address the issue. Millicent Marcus's Italian Film in the Shadow of Auschwitz looks at this development, attributing the new...

The last decade has witnessed an outpouring of Italian films that deal with Fascism, anti-Semitism and the Holocaust. This would appear to mark a distinct change from the postwar reluctance to represent such an infamous history. Roberto Benigni's popular Life is Beautiful (1997) is an obvious example, but there have been a number of other works that have not been exported that also attest to a distinct tendency within Italian domestic production to address the issue. Millicent Marcus's Italian Film in the Shadow of Auschwitz looks at this development, attributing the new...

Over the past twenty-five years, Italy's film industry has produced a remarkable number of award-winning international art-house hits, among them Cinema Paradiso and Life Is Beautiful. Despite these successes, Italian cinema is in a state of crisis: ticket sales for domestic films, which plummeted in the l980's, are only now beginning to recover; television...

The movement known as neorealism lasted seven years, generated only twenty-one films, failed at the box office, and fell short of its didactic and aesthetic aspirations. Yet it exerted such a profound influence on Italian cinema that all the best postwar directors had to come to terms with it, whether in seeming imitation (the early Olmi), in commercial exploitation (the middle Comencini) or in ostensible rejection (the recent Tavianis). Despite the reactionary pressures of the marketplace and the highly personalized visions of Fellini, Antonioni. And Visconti, Italian cinema has...