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A cumulative list of works represented by Library of Congress printed cards.
Recognized as a master of Italian cinema, Vittorio De Sica is perhaps best known and most respected for his critically acclaimed neorealist films of the period 1946-55. As this anthology reveals, however, his production was remarkably multifaceted. The essays included here - some newly commissioned, some reprinted, and others in translation - look at De Sica's varied career from many perspecives. Structured chronologically, the volume begins by introducing readers to De Sica's early popularity as an actor and singer during the years of Italian Fascism, and to his initial directorial efforts before the end of World War II. It was not until the postwar era, however, that De Sica made his mark in film history. Special attention is given to this critical phase of his career, which encompasses the neorealist films that made him famous: "Shoeshine", "Bicycle Thieves", "Miracle in Milan", and "Umberto D." When the neorealist movement waned after 1955, De Sica returned to his roots in Neapolitan comedy for a series of commercially successful films starring Sophia Loren and Marcello Mastroianni. Memorable works from this period include "Two Women" and "Marriage Italian Style" as well as "Yesterday, Today, and Tomorrow", which won De Sica an Academy Award in 1965. In one of his final films, "The Garden of the Finzi Continis", he returned to the subject of World War II and to the human tragedy characteristic of his best neorealist productions. This fine anthology offers a comprehensive critical survey that covers the entire scope of De Sica's career, and is an excellent resource for students, critics and film enthusiasts.
Artemisia Gentileschi, born in 1598, the daughter of an esteemed painter, taught art in Naples and painted the great women of Roman and biblical history: Esther, Judith, Cleopatra, Bathsheba. She also painted the rich and royal, but her wealthy male patrons wanted admiration while her women models wanted disguise. This woman, who had been violated in her youth and reviled as a rap victim in a public trial before going off to heretical England, who was rejected by her father and later abandoned by her husband and misunderstood by her daughter, who could not read or write but who could only paint—this woman was one of the first modern times to uphold through her work and deeds the right of women to pursue careers compatible with their talents and on an equal footing with men. Artemisia lives again in Anna Banti's novel, which was first published to critical acclaim in Italy in 1947 (Banti was the pseudonym of Lucia Lopresti, 1895-1978). Recognized as a consummate stylist, she was one of the most successful women writers in Italy before the resurgence of the feminist movement. Although Artemisia describes life in seventeenth-century Rome, Florence, and Naples, the time setting of the novel is, in a deeper sense, a historical, merging as it does the experience of a woman dead for three centuries with the terrors of World War II experienced by the author. Shirley D'Ardia Caracciolo's English translation of Banti's novel skillfully renders its complexity and poignancy as a study of courage.