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Italian playwright Luigi Pirandello (1867-1936) is one of the preeminent figures of the modern European theater. His masterpiece, Six Characters in Search of an Author, set loose a riot during its first performance in Rome in 1921. This play about six unfortunate characters abandoned by their author in the middle of a tawdry drama, is an unsettling, supremely self-conscious work that is ultimately about theatrical artifice and artistic creation itself. Pirandello and Film examines Pirandello's many efforts-none of them finally successful-to transform Six Characters into a movie. The authors examine Pirandello's views on film and its relation to theater, his varying approaches to creating a film adaptation of Six Characters, and the efforts of directors and film moguls in Germany and Hollywood to fashion a cinematic version of the play. The book also presents an array of important documents, including some that have never before appeared in English: a Prologue (or prose sketch) for a 1926 film; a Scenario (a more detailed prose sketch) prepared by Pirandello and Adolph Lantz in the late 1920s for a German film version of Six Characters; an English-language film sketch written in 1935 by Pirandello and Saul Colin; and a letter from Max Reinhardt and the German emigri Hollywood film director Joseph von Sternberg to Saul Colin regarding the proposed film treatment of the play. These documents, together with the authors' critical text, provide a detailed portrait of Pirandello's developing view of film as an appropriate medium for his revolutionary dramatic innovations. Nina daVinci Nichols, a professor of English at Rutgers University, is the author of Ariadne's Lives, Man, Myth & Monument,and two novels: Moira's Room and Child of the Night. Jana O'Keefe Bazzoni, an associate professor of speech at Baruch College, has published articles in The Luigi Pirandello Companion, Performing Arts Journal, and Modern Drama. Maurice Charney, a professor of English at Rutgers University, is the author of All of Shakespeare, Comedy High and Low, and Sexual Fiction.
Contemporary Italian Filmmaking is an innovative critique of Italian filmmaking in the aftermath of World War II - as it moves beyond traditional categories such as genre film and auteur cinema. Manuela Gieri demonstrates that Luigi Pirandello's revolutionary concept of humour was integral to the development of a counter-tradition in Italian filmmaking that she defines `humoristic'. She delineates a `Pirandellian genealogy' in Italian cinema, literature, and culture through her examination of the works of Federico Fellini, Ettore Scola, and many directors of the `new generation, ' such as Nanni Moretti, Gabriele Salvatores, Maurizio Nichetti, and Giuseppe Tornatore. A celebrated figure of the theatrical world, Luigi Pirandello (1867-1936) is little known beyond Italy for his critical and theoretical writings on cinema and for his screenplays. Gieri brings to her reading of Pirandello's work the critical parameters offered by psychoanalysis, poststructuralism, and postmodernism to develop a syncretic and transcultural vision of the history of Italian cinema. She identifies two fundamental trends of development in this tradition: the `melodramatic imagination' and the `humoristic, ' or comic, imagination. With her focus on the humoristic imagination, Gieri describes a `Pirandellian mode' derived from his revolutionary utterances on the cinema and narrative, and specifically, from his essay on humour, L'umorismo (On Humour, 1908). She traces a history of the Pirandellian mode in cinema and investigates its characteristics, demonstrating the original nature of Italian filmmaking that is particularly indebted to Pirandello's interpretation of humour.
The cinephobic novelist who complains to Fitzgerald's tycoon that he will never get the hang of scriptwriting wouldn't give a nickel for the movies. Yet never before the appearance of film had human perception been engaged in such an all-encompassing way by a single art form. In this ambitious investigation of a little-studied narrative genre, Gavriel Moses defines and explores "the film novel," a literary text in which cinema provides the thematic, formal, psychological, and philosophical center. Through close readings of works by the major representatives of the genre—Pirandello, Nabokov, Isherwood, West, Fitzgerald, Moravia, Percy, Puig—Moses develops a suggestive theory of novels that use literature to investigate the central role that film has acquired in human experience. These novels, because of their fascination with filmmaker and spectator alike, and because they anticipate current views of the questions of cinema, remain a tangible presence within the repertoire of literary modernism. Offering insightful discussions of Laughter in the Dark, Lancelot, Kiss of the Spider Woman, and other film novels, Moses shows the depth of the exchange between literature and cinema and illustrates the extent to which the way we tell stories with words has been affected by the movies. His book will be of wide interest to literary scholars, film historians, and students of cinema and the novel.
First Published in 1993. Contemporary Theatre Studies is a book series of special interest to everyone involved in theatre. This collection of documents is the first attempt in English to bring together a body of material on Luigi Pirandello as multi-faceted man of the theatre. Because relatively few of his works have been easily available to English language readers, he is thought of most frequently as a playwright, the author of Six Characters in Search of an Author and Henry IV in particular, and his contribution to theatre, both in theory and in practice, has tended to be overlooked. Emphasising his role as a director, the book traces the rise and fall of his own theatre company, the Teatro d’Arte where he struggled to instil new practices and comments on Pirandello’s attempts during the years of Fascism to give Italy a national theatre in a European context.
Essays are been grouped loosely under four headings: issues of theory, issues of genre, issues of gender, and issues of language and theatre.
A collection of much previously unpublished archive material, including documents from Luigi Pirandello's theoretical essays and reviews. Emphasizing Pirandello as a multi-faceted man of the theatre, this text follows the rise and fall of his theatre company, and his work in the years of Fascism.
Contemporary Italian Filmmaking is an innovative critique of Italian filmmaking in the aftermath of World War II - as it moves beyond traditional categories such as genre film and auteur cinema. Manuela Gieri demonstrates that Luigi Pirandello's revolutionary concept of humour was integral to the development of a counter-tradition in Italian filmmaking that she defines `humoristic'. She delineates a `Pirandellian genealogy' in Italian cinema, literature, and culture through her examination of the works of Federico Fellini, Ettore Scola, and many directors of the `new generation, ' such as Nanni Moretti, Gabriele Salvatores, Maurizio Nichetti, and Giuseppe Tornatore. A celebrated figure of the theatrical world, Luigi Pirandello (1867-1936) is little known beyond Italy for his critical and theoretical writings on cinema and for his screenplays. Gieri brings to her reading of Pirandello's work the critical parameters offered by psychoanalysis, poststructuralism, and postmodernism to develop a syncretic and transcultural vision of the history of Italian cinema. She identifies two fundamental trends of development in this tradition: the `melodramatic imagination' and the `humoristic, ' or comic, imagination. With her focus on the humoristic imagination, Gieri describes a `Pirandellian mode' derived from his revolutionary utterances on the cinema and narrative, and specifically, from his essay on humour, L'umorismo (On Humour, 1908). She traces a history of the Pirandellian mode in cinema and investigates its characteristics, demonstrating the original nature of Italian filmmaking that is particularly indebted to Pirandello's interpretation of humour.