This film is in part home movie, recording the surface When it was presented at the Venice Film Festival in 1980, most clearly Psychoanalytical-subjective frame, and, for the first time, dreams andĪ minor film, Vacanze in Val Trebbia, which gained scarce approval However, it is clear that from 1980 onward the mainįocus of Bellocchio's cinema shifted to a Tasca, 1965, presents madness and anguish in a claustrophobic, That an interest in character interiority was not present from theīeginning (Bellocchio's first feature-length film, I pugni in In Buongiorno, notte, 2003, both of which deal with the terrorism), or Politics (present tangentially in Diavolo in corpo, 1986 and centrally This is not toĭeny that Bellocchio continued to harbor an interest in the world of Marked by interiority, psychoanalysis, and the oneiric. Such as Matti da slegare, 1974, and La macchina cinema, 1978, and in twoĬommunist films from 1969, Paola and Viva il 1 maggio rosso) to a cinema Style of his films shift from a political discourse and aĭocumentary-style attachment to the real (exemplified in documentaries Retrieved from ġ979-1980 marks a crucial turning point in Marco Bellocchio'sĭirectorial career, as it is during this period that the content and APA style: The oneiric on the cinema of Marco Bellocchio.
The oneiric on the cinema of Marco Bellocchio." Retrieved from 2007 American Association of Teachers of Italian 22 Feb. MLA style: "The oneiric on the cinema of Marco Bellocchio." The Free Library.
0 kommentar(er)
