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La politique et les auteurs : le néoréalisme italien au prisme de la cinéphilie française (1946-1956)

Abstract : Post-war Italian cinema has its rightful place in history under the label of "neorealism". It is a pantheonisation that is still difficult to question today, which often schematises the image of this cinema in an arbitrary manner. One of the peculiarities of this current is its ease of adaptation beyond the Alps: indeed, this film movement has sparked off a very virulent debate in France, which has seen the participation of all strata of the intelligentsia. The neo-realist canon was consolidated on the basis of a handful of films andthanks to the critical work of a few committed intellectuals, as well as the popular press. The editors of specialised magazines and daily newspapers have the privilege of a primacy of gaze on transalpine cinematic novelties: most often outside the traditional distribution channels, within the many film clubs operating in the Parisian context, critics, journalists and writers discover a cinema that they soon call the "Italian school". These observations force us to question several stereotypes about this cinema: shooting in the street, nonprofessional actors and current affairs subjects do not prevent post-war Italian cinema from following in the footsteps of what was, after all, a traditional production. These conclusions make it necessary today to return to the critical debates of the immediate post-war period with a new and impartial look, in order to deepen the complexity of the process of reception of neorealism.
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Submitted on : Friday, May 7, 2021 - 9:10:27 AM
Last modification on : Thursday, July 7, 2022 - 3:56:35 AM
Long-term archiving on: : Sunday, August 8, 2021 - 6:14:29 PM


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Enrico Gheller. La politique et les auteurs : le néoréalisme italien au prisme de la cinéphilie française (1946-1956). Art et histoire de l'art. Normandie Université; Università degli studi (Padoue, Italie), 2021. Français. ⟨NNT : 2021NORMC005⟩. ⟨tel-03220163⟩



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