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#neorealismus

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WerkstattGeschichte<p>Heute vor 125 in <a href="https://openbiblio.social/tags/Rom" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>Rom</span></a> geboren: Alessandro <a href="https://openbiblio.social/tags/Blasetti" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>Blasetti</span></a>, <a href="https://openbiblio.social/tags/Filmregisseur" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>Filmregisseur</span></a>.<br>Sein im <a href="https://openbiblio.social/tags/Faschismus" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>Faschismus</span></a> gedrehtes <a href="https://openbiblio.social/tags/Historiendrama" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>Historiendrama</span></a> »1860« (I, 1934) gilt als ambivalenter Vorläufer des italienischen <a href="https://openbiblio.social/tags/Neorealismus" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>Neorealismus</span></a>. Warum der <a href="https://openbiblio.social/tags/Film" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>Film</span></a> seit 1951 nur noch ohne Schluss gezeigt wird, verrät:</p><p>▶ Bernhard Groß, Wirkung und Wahrnehmung in Alessandro Blasettis 1860 (Italien 1934), <a href="https://openbiblio.social/tags/WerkstattGeschichte" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>WerkstattGeschichte</span></a> 71/2016, <a href="https://werkstattgeschichte.de/abstracts/wirkung-und-wahrnehmung-in-alessandro-blasettis-1860-italien-1934/" rel="nofollow noopener noreferrer" translate="no" target="_blank"><span class="invisible">https://</span><span class="ellipsis">werkstattgeschichte.de/abstrac</span><span class="invisible">ts/wirkung-und-wahrnehmung-in-alessandro-blasettis-1860-italien-1934/</span></a></p><p><span class="h-card" translate="no"><a href="https://a.gup.pe/u/histodons" class="u-url mention" rel="nofollow noopener noreferrer" target="_blank">@<span>histodons</span></a></span> <span class="h-card" translate="no"><a href="https://a.gup.pe/u/historikerinnen" class="u-url mention" rel="nofollow noopener noreferrer" target="_blank">@<span>historikerinnen</span></a></span></p><p><a href="https://openbiblio.social/tags/histodons" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>histodons</span></a> <a href="https://openbiblio.social/tags/Filmgeschichte" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>Filmgeschichte</span></a> <a href="https://openbiblio.social/tags/FilmHistory" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>FilmHistory</span></a> <a href="https://openbiblio.social/tags/Cinemastodon" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>Cinemastodon</span></a> <a href="https://openbiblio.social/tags/OTD" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>OTD</span></a></p>
WerkstattGeschichte<p>Heute wäre die Schauspielerin <a href="https://openbiblio.social/tags/SilvanaMangano" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>SilvanaMangano</span></a> 95 Jahre alt geworden. In "Riso Amaro" erlebte sie 1949 ihren Durchbruch. Den Klassiker des ital. <a href="https://openbiblio.social/tags/Neorealismus" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>Neorealismus</span></a> hat sich Enrica Capussotti für uns angesehen:<br>▶ Weiblichkeit, ländliche Gemeinschaft und italienischer Nationalcharakter. Der Kampf gegen amerikanische Modernität in Riso amaro, <a href="https://openbiblio.social/tags/WerkstattGeschichte" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>WerkstattGeschichte</span></a> 44/2007, <a href="https://werkstattgeschichte.de/alle_ausgaben/sport" rel="nofollow noopener noreferrer" translate="no" target="_blank"><span class="invisible">https://</span><span class="ellipsis">werkstattgeschichte.de/alle_au</span><span class="invisible">sgaben/sport</span></a></p><p><span class="h-card" translate="no"><a href="https://a.gup.pe/u/histodons" class="u-url mention" rel="nofollow noopener noreferrer" target="_blank">@<span>histodons</span></a></span> <span class="h-card" translate="no"><a href="https://a.gup.pe/u/historikerinnen" class="u-url mention" rel="nofollow noopener noreferrer" target="_blank">@<span>historikerinnen</span></a></span></p><p><a href="https://openbiblio.social/tags/histodons" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>histodons</span></a> <a href="https://openbiblio.social/tags/Kino" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>Kino</span></a> <a href="https://openbiblio.social/tags/Cinema" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>Cinema</span></a> <a href="https://openbiblio.social/tags/Filmgeschichte" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>Filmgeschichte</span></a> <a href="https://openbiblio.social/tags/FilmHistory" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>FilmHistory</span></a> <a href="https://openbiblio.social/tags/Cinemastodon" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>Cinemastodon</span></a> <a href="https://openbiblio.social/tags/FilmStudies" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>FilmStudies</span></a></p>
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