Śmiech, łzy i fanfaronada. Filmowa commedia all'italiana w latach 1940-1969

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dc.contributor.authorMiczka, Tadeusz
dc.contributor.organizationUniwersytet Śląski w Katowicachpl_PL
dc.date.accessioned2015-06-02T22:01:10Z
dc.date.available2015-06-02T22:01:10Z
dc.date.issued2009
dc.description.abstractThe Comedy existed in the Italian cinematography as meaningful national genre. She was born in the second world war time. During time full of violence, when dominated beggary and terror, cinema provided the entertainment for people. In the meantime, made of more than 200 comedies and 20 comical movies. That was a comedies based on theatre pieces. These movies referred to comedy dell'arte, folk theatre and variety forms. It showed richness of folklore, regional cantors and regional morality code. Mostly directors has patterned their own movies upon American sophisticated comedy. Author has convinced, poetics of the humour was useful to leading political dispute, which concerned about nations between Christian democratic and Italian communistic party. Commedia all'italiana has purchased in the reality world, it used new-realism elements such as: caricature, parody, irony and cynicism. Also it used traditional movie cods, it neutralized more historical, social and political elements of new-realism program. These Comedies proclaimed praise of imagination (what was impossible in new-realism theme) and presented world on the screen, which was much more unreal. Strategy of sentiments, continuous laugh and crying of characters has condensed reality expression, covered up a line between world, which exist for real and reproductive, re-constructed world. In the time of 60's, Italian comedy didn't achieve high artistic level. Accordingly with Charles Baudelaire's thought - Italian joke smells as latrine and whore-house. These words often quoted from Italian critics, they insisted, that in comedies has dominated cynicism without idea and primitive eroticism. The Author has punctuated, from halftime of 60's, Italian comedy has begun extreme transformed their own conventions and genres. The example of documentary evidence and changes were De Siko's and Germie's movies. The Greatest changes in to the structures of genres made by Comencini and Risi. They concentrated on pointed humour and bluff joke, also instead of comedies effects they paid attention on serious problems. Risi was the one, who presented in these movies, satirical and also frightening picture of the nation and modern civilization. He put to the comedy thriller's poetic elements and transformed real world into the nightmare. Fanfaron and Monstrapresents this kind of poetic. In the Risis's comedies often exposed death. The Author has proved, that it was a bitter laugh, which had the beginning in the grotesque vision of world. His screen image lost their natural concrete and has begun much more abstractive. This dispute shows, that comedy all'italiana found in the trap. It stopped making laugh and smile, instead made confusion, anxiety, nervousness and irritability even than disgust.en
dc.description.epersonMiłosz Markiewicz
dc.identifier.citationTadeusz Miczka, Śmiech, łzy i fanfaronada. Filmowa commedia all'italiana w latach 1940-1969, "Anthropos?" 2009, nr 12-13pl_PL
dc.identifier.issn1730-9549
dc.identifier.urihttps://open.icm.edu.pl/handle/123456789/6877
dc.language.isoplpl_PL
dc.publisherInstytut Nauk o Kulturze i Studiów Interdyscyplinarnych, Uniwersytet Śląskipl_PL
dc.rightsUznanie autorstwa-Na tych samych warunkach 3.0 Polska
dc.rights.urihttp://creativecommons.org/licenses/by-sa/3.0/pl/
dc.subjectśmiechpl_PL
dc.subjectłzypl_PL
dc.subjectkomedia włoskapl_PL
dc.subjectkino włoskiepl_PL
dc.titleŚmiech, łzy i fanfaronada. Filmowa commedia all'italiana w latach 1940-1969pl_PL
dc.typearticlepl_PL
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