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The interconnections between the academic schools and anthropological scholarly theories that focused on the Horn of Africa during Italian colonialism and twentieth century Italian literary and cinematic representations of the Horn and the Red Sea have been understudied and underestimated.
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He also mentions the need for a comprehensive study of the work of Ettore Scola.Postwar Italian historiography tended for decades to exclude colonialism from national history, and the country largely forgot its colonial past. Bondanella characterizes the nature of Italian cinema studies within Italy itself and describes prevailing and evolving methodologies in the development of Italian cinema studies in the English-speaking world. changes in Italian cinema studies have been led by British scholarly journals such as Italian Studies and The Italianist, advancing a pronounced revisionist perspective, challenging traditional emphases on directors or neorealism, and encouraging more theoretical rigor and more diversity of methodology. He told that until the mid-1970s, most American publications on Italian film were produced by writers outside Italian programs and were primarily essays and reviews or translations from French. Bondanella describes the origins of Italian cinema studies in the US. In this chapter, the author presents his conversation with Peter Bondanella concerning Italian cinema studies. For other critics, such as Roger Odin and Réda Bensmaïa, La Jetée has proven to be a launch point from which a psychoanalytic-semiotic conceptual framework can be established in order to interrogate theories of film (Odin 1981 Bensmaïa 1990).
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To write about La Jetée is, in some sense, to write about a history and philosophy of cinema, and the shift, as Bellour puts it (and with him, Deleuze) from thinking about cinema as embodying and internalising movement, to thinking about time as the most interior element to cinema. relational ontologies between filmic images (Bellour 1999, 2002a). And yet, in both volumes of his collected essays, Bellour repeatedly returns to La Jetée as a point of departure, and a point of return, to reflect upon the materialities, intertextualities and.
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In the words of the French film scholar and critic, Raymond Bellour, almost everything there is to be said about Chris Marker’s short film La Jetée (1962), has already been said (Bellour 2002a: 146).
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