Enter your mobile number or email address below and we'll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required.
To get the free app, enter your email address or mobile phone number.
The Foreign Film Renaissance on American Screens, 19461973 (Wisconsin Film Studies) Paperback – November 5, 2010
See the Best Books of the Month
Want to know our Editors' picks for the best books of the month? Browse Best Books of the Month, featuring our favorite new books in more than a dozen categories.
Frequently Bought Together
Customers Who Bought This Item Also Bought
From Publishers Weekly
(c) Copyright PWxyz, LLC. All rights reserved.
More About the Author
Top Customer Reviews
Today's movie audiences, made up as they are of young people, will not remember the heady days of foreign cinema, when if you wanted to view films that stimulated (and not just intellectually), you went to see the newest import from Italy or France. For me this was the sixties and seventies, but that's just because I was young myself then and knew movies were a form of entertainment and art I was going to be devoted to. My generation was not the first to watch foreign movies, of course, and there had been foreign films coming into the country for the entire twentieth century. There was, however, a boom in such films after World War II and into the seventies, and this is the worthwhile subject of _The Foreign Film Renaissance on American Screens, 1946-1973_ (The University of Wisconsin Press) by Tino Balio. Balio is a professor emeritus of film, and obviously loves the movies, but he has not set out to write an explanation of why Truffaut or Bergman are important filmmakers. He has instead described how foreign movies became important in the cinematic life of American viewers, and anyone who wants to understand the influences of money, publicity, film criticism, and sexuality of the times will find much of interest, and if you are like me, a good deal of nostalgia, too.
World War Two interrupted the flow of films from Europe, but in 1946 Roberto Rossellini's _Open City_ began its run in New York. It continued at the World Theater there for over a year and a half; one of the great surprises in Balio's book is that the distribution of films was so different then that movies might stay booked in a theater for such a length of time. _Open City_ is the reason Balio's study begins in 1946.Read more ›
There is barely any information on the actual characteristics of these different movements. A chapter that claims to be about Italian Neorealism will just be a list of 20 neorealist films. After 30 pages, I still had no idea how the movement came about and what made it relevant. Ugh, this book is useless.