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Univerzitet U Novom Sadu Akademija Umetnosti UNIVERZITET U NOVOM SADU AKADEMIJA UMETNOSTI STUDIJSKI PROGRAM FILMOLOGIJA NEOREALIZAM U ITALIJANSKOM FILMU – čnosti I FOTOGRAFIJI etiologija, interpozicija i specifi dela DOKTORSKA DISERTACIJA Živko Popović ć Mentor: Prof. dr Kandidat: mr Dubravka Lazi Novi Sad, 2013. godine Univerzitet u Novom Sadu Akademija umetnosti Novi Sad Č KLJU NA DOKUMENTACIJSKA INFORMACIJA Redni broj: RBR Identifikacioni broj: IBR Tip dokumentacije: Monografska dokumentacija TD štampani materijal Tip zapisa: Tekstualni TZ Vrsta rada (dipl., mag., dokt.): Doktorska disertacija VR ć Ime i prezime autora: Mr Dubravka Lazi AU Živko Popović, Mentor (titula, ime, prezime, Prof. dr zvanje): redovni profesor Akademije umetnosti Novi Sad MN Naslov rada: NEOREALIZAM U ITALIJANSKOM FILMU – NR I FOTOGRAFIJI etiologija, interpozicija i čnosti dela specifi Jezik publikacije: srpski JP Jezik izvoda: srp. / eng. JI Zemlja publikovanja: Republika Srbija ZP že geografsko područ U je: Vojvodina UGP Godina: 2013. GO č: Izdava autorski reprint IZ Akademija umetnosti Novi Sad Mesto i adresa: Đure Jakšića 7 MA 21000 Novi Sad č Fizi ki opis rada: (broj poglavlja 21 / stranica 210/ slika 44) FO č Nau na oblast: Filmologija NO č Nau na disciplina: Film, fotografija ND č č čki Predmetna odrednica, klju ne re i: Neorealizam u filmu i fotografiji, zajedni činioci i uticaji, istorijski, književni, socijalni PO uticaji, analiza dela. UDK Č uva se: Č U žna napomena: Va Nema VN živanja doktorske disertacije jeste Izvod: Predmet istra đusobni uticaj i zajdnički činilac IZ poreklo, me umetnosti filma i fotografije neorealizma. Datum prihvatanja teme od strane 03. 03. 2009. ć NN ve a: DP Datum odbrane: DO Č lanovi komisije: predsednik: č (ime i prezime / titula / zvanje / lan: č naziv organizacije / status) lan: KO University of Novi Sad Academy of Arts Novi Sad Key word documentation Accession number: ANO Identification number: INO Document type: Monograph documentation DT Type of record: Textual printed material TR Contents code: Doctoral thesis CC ć Author: M.A. Dubravka Lazi AU Živko Popović, Ph. D., Full Professor Mentor: MN – Title: Neorealism in cinema and photography TI ethiology, interposition and specficity of its work Language of text: serbian LT Language of abstract: eng. / srp. LA Country of publication: Republic of Serbia CP Locality of publication: Vojvodina LP Publication year: 2013. PY Publisher: Author's reprint PU Publication place: Academy of Arts Novi Sad Đure Jakšića 7 PP 21000 Novi Sad Physical description: chapters: 21, pages: 210; pictures: 44 PD Scientific field Filmology SF Scientific discipline Cinema, Photography SD Subject, Key words Neorealism in cinema and photography, mutual SKW factors and influences, historical, literatural, social factors, analysis of the art work. UC Holding data: HD Note: None N Abstract: The subject matter of the doctoral thesis is the AB origin, international influence and mutual factor of the cinematic and photographic neorealist art. Accepted on Scientific Board on: 03. 03. 2009. AS Defended: DE Thesis Defend Board: president: DB member: member: ŽETAK SA 4 ABSTRACT 6 UVOD 8 I NEOREALIZAM 10 1. TERMIN NEOREALIZAM 10 ČKE TEŽNJE NA 2. REALISTI FILMU I U FOTOGRAFIJI KOJE SU PRETHODILE NEOREALIZMU 12 ČKA OSNOVA FIL 3. ZAJEDNI MSKE I FOTOGRAFSKE UMETNOSTI 15 4. KARAKTERISTIKE NEOREALIZMA 18 – 4.1. DOKUMENTARIZAM ISTINITOST 18 4.2. NARATIVNOST 19 4.3. REALNOST 20 4.4. HRONIKA 21 II NEOREALIZAM U FILMU 23 1. KORENI NEOREALIZMA U FILMU 23 2. GODINA 1943. 28 3. UTICAJ VERIZMA NA NEOREALIZAM 29 ŠKI ASPEKT 4. UTICAJ SOCIJALNIH FAKTORA NA TEHNOLO FILMSKOG I FOTOGRAFSKOG NEOREALIZMA 32 III NEOREALIZAM U FOTOGRAFIJI 34 1. NEOREALIZAM U FOTOGRAFIJI 34 ŽENJA 2. FOTOGRAFSKE GRUPE I UDRU 41 2.1. BUSOLA (LA BUSSOLA) 41 2.2. MIZA (MISA) 43 2.3. GONDOLA (LA GONDOLA) 44 Š 3. TAMPANI MEDIJI 45 ČKI UTICAJI N IV ZAJEDNI A RAZVOJ NEOREALIZMA U FOTOGRAFIJI 49 1. UTICAJ INTERNACIONALNE FOTOGRAFIJE NA AUTORE NEOREALIZMA 49 ČKI UTICAJ 2. AMERI 50 ČASOPIS 2.1. LAJF (LIFE) 50 – 2.2. FARM SECURITY ADMINISTRATION F. S. A. 52 2.3. FOTO LIGA (PHOTO LEAGUE) 54 3. FOTOGRAFI 55 – 3.1. JAKOB AUGUST RIJS (1849 1914) 55 – 3.2. LUIS VAJKS HAJN (1874 1940) 57 – 3.3. POL STREND (1880 1976) 58 – 3.4. VOLKER EVANS (1903 1975) 60 1 – 3.5. EDVARD STAJHEN (1879 1973) 62 Č 3.6. PORODICA OVEK (THE FAMILY OF MAN) 1955. 63 – ČKA 4. EVROPSKI UTICAJ NEMA 64 – Č 4.1. NOVA OBJEKTIVNOST (DIE NEUE SACHLICHKEIT), (1920 1933) I ALBERT RENGER-PA (ALBERT – RENGER-PATZSCH), (1897 1966) 65 – 4.2. AUGUST ZENDER (1876 1964) 66 Đ ÁSZLÓ – 4.3. LASLO MOHOLJI-NA (L MOHOLY-NAGY), (1895 1946) I NOVA VIZIJA (NEW VISION), 1928. 66 – 5. EVROPSKI UTICAJ FRANCUSKI HUMANIZAM 68 – 5.1. ANRI KARTIJE-BRESON (HENRI CARTIER-BRESSON), (1908 2004) 69 – 5.2. ROBER DUANO (ROBERT DOISNEAU), (1912 1994) 71 ČKI UTICAJI N V ZAJEDNI A RAZVOJ NEOREALIZMA U FILMU 74 ČKOG FILMA 1. INTERNACIONALNI UTICAJ NA AUTORE NEOREALISTI 74 – 2. FRANCUSKA: POETSKI REALIZAM (1936 1940) 75 – 2.1. MARSEL KARNE (1906 1996) 76 Ž – 2.2. AN RENOAR (1894 1979) 79 – 2.3. RENE KLER (1898 1981) 82 ČKIH ŽAVA 3. UTICAJ KULTURNIH TENDENCIJA SJEDINJENIH AMERI DR 84 ŠTVENI UTICAJI NA – VI DRU TLU ITALIJE U PERIODU 1943 1955. GODINE 89 ŠTVENI UTICAJI 1. DRU 89 2. DEVETNAESTI VEK I UJEDINJENJE (RISORGIMENTO) 90 ČETKA FAŠIZMA 3. ITALIJA NAKON UJEDINJENJA I DO PO 91 – 4. PRVI SVETSKI RAT 1914 1918. 94 – 5. DRUGI SVETSKI RAT 1939 1945. 96 6. POSLERATNI PERIOD 97 VII ANALIZA FILMOVA NEOREALIZMA 101 1. FILMOVI NEOREALIZMA 101 À APERTA 2. ROBERTO ROSELINI: RATNA TRILOGIJA: RIM, OTVORENI GRAD (ROMA, CITT ) 1945; À ČKA PAIZA (PAIS ) 1946. I NEMA , GODINE NULTE (GERMANIA ANNO ZERO) 1948. 101 2.1. RIM, OTVORENI GRAD, 1945. 102 2.2. PAIZA, 1946. 107 ČKA 2.3. NEMA , GODINE NULTE, 1948. 112 3. LUKINO VISKONTI (CONTE DON LUCHINO VISCONTI DI MORONE): OPSESIJA (OSSESSIONE), 1943; ZEMLJA DRHTI (LA TERRA TREMA), 1948. 116 3.1. OPSESIJA, 1943. 116 3.2. ZEMLJA DRHTI, 1948. 120 Č Č ČI CIPELA À ČASNI 4. VITORIO DE SIKA, EZARE CAVATINI: ISTA (CSIUCSI ), 1946. (PO OSKAR); ČASNI KRADLJIVCI BICIKLA (LADRI DI BICICLETTE), 1948. (PO OSKAR); UMBERTO D. 1952. 123 Č ČI CIPELA 4.1. ISTA , 1946. 124 4.2. KRADLJIVCI BICIKLA, 1948. 128 4.3. UMBERTO D., 1952. 131 Č 5. GORAK PIRINA (RISO AMARO), 1949. 136 VIII ANALIZA FOTOGRAFIJA 140 2 1. FOTOGRAFIJA NEOREALIZMA 140 ĐI ČENCI – 1.2. LUI KRO (LUIGI CROCENZI), (1923 1984) 141 – 1.3. MARIO DE BIJAZI (1923 ) 144 – 1.4. FULVIO ROJTER (FULVIO ROITER), (1926 ) 148 Đ – 1.5. MARIO AKOMELI (MARIO GIACOMELLI), (1925 2000) 151 – 1.6. NINO MILJORI (NINO MIGLIORI), (1926 ) 154 – 1.7. ALFREDO KAMIZA (ALFREDO CAMISA), (1927 2007) 158 Đ – 1.8. ANI BERENGO GARDIN (GIANNI BERENGO GARDIN), (1930 ) 162 ĐORĐO – 1.9. PJER BRANCI (PIERGIORGIO BRANZI), (1928 ) 165 Č – 1.10. EZARE KOLOMBO (CESARE COLOMBO), (1935 ) 169 ČAK XIX ZAKLJU 172 XX LITERATURA I IZVORI 192 DOKUMENTARNI DEO 192 1. FOTOGRAFIJE AUTORA 192 FOTOGRAFIJE PREUZETE IZ IZVORA NAVEDENIH POD: 3. LITERATURA 192 3. LITERATURA 194 3.1. KNJIGE 194 O FOTOGRAFIJI NEOREALIZMA 194 O FILMU NEOREALIZMA 194 Č 3.2. ASOPISI 195 2. THE BEST OF LIFE 1937, SPECIJALNO IZDANJE, NJUJORK, 1973. 195 – 3. WORLD HISTORY: PHOTOGRAPHY AND NEOREALISM IN ITALY, 1945 1965, PROJECT IN MOSCOW, ČLANKA ÈRE 17 JANUARY 2012, IZVOR : THE LUMI BROTHERS CENTER OF PHOTOGRAPHY 195 ŠTA LITERATURA 3.3. OP 196 XXI INDEKS IMENA 198 3 ŽETAK SA čkom pokretu i istraživanju uzročni Tema ovog rada bazira se na neorealisti ka koji su doveli čnostima koje on, kao intenzivan umetnički pokret, poseduje i do njegovog nastanka, specifi đu dela koje čine njegovo jezgro. Poseban osvrt načinjen korelaciji izme je ka analizi odnosa i ški bliskim, medijima. interpoziciji fotografske i filmske umetnosti kao vizuelnim, ontolo živanje fenom Istra ena italijanskog neorealizma, ukazalo je na ogromni izvor raznovrsnog žaja koji se mogu istraživati i analizirati na više različitih principa. Stoga su i ciljevi sadr živanja postavljeni prema pot čkog pokreta u istra rebama pitanja pozicioniranja neorealisti čki kontekst: ispitivanje uzročnika koji su doveli do stvaranja i egzistiranja istorijski i umetni čkog pokreta, istorijskih čini štampanim neorealisti laca, izvora i prethodnicama u literaturi, medijima i filmskoj i fotografskoj umetnosti. čku istraživanja Za polaznu ta , termin neorealizam postavljen je u svoj istorijski kontekst da bi čka čci se postavila ta "oslonca" za dalje analize, na koju su se kasnije mogli bazirati svi zaklju izvedeni iz pojedinih oblasti: neorealizam u filmu i fotografiji, internacionalni uticaj na autore neorealizma filma i fotografije, socijalno-istorijski uticaj na tlu Italije u periodu pre, tokom i čkog pokreta, kao i analiza filmskih i fot neposredno nakon trajanja neorealisti ografskih čkih dela. neorealisti živanja žila đene činjenice i saznanja koja su, postavljena u Svaka oblast istra pru je odre ćila sagledavanje jedne nove, šire slike o neorealističkom kontekst teme ovog rada, omogu čkim pokretu, zasnovanom ne samo na postulatima uslovljenim i oblikovanim socijalno-fizi činioce i uslovima, kao primarnim pri nastanku neorealizma, nego uzima u obzir i sve ostale širujući tako opšti pogled na dela nastala u pozicionira ih u istu ravan sa gore navedenim, pro ći tra živanja ovom periodu. Slede gove istra koji su ukazivali na nove bitne elemente, stvorila šira mreža relacija i informacija koja je uputila na dublju povezanost uzročnika se žimanje istorijskih činjenica, dokazane relacije, poznanstva i saradnje autora, neorealizma. Pro ževnosti, film čaka koji su se uticaj knji ske i fotografske umetnosti, vodile su do daljih zaklju čkom udaljavali od ustaljene teze o neorealizmu kao pokretu koji je eksplodirao stvarala šističke diktature tokom energijom i kreativnim izrazom, kao posledica terora fa Drugog đenja, i sirovog izraza uslovljenog nemaštinom i oskudicom svetskog rata, a potom oslobo čke forme. materijala, koji su diktirali formu i teksturu filmske i fotografske neorealisti činjenica koje su se izdvajale kao krucijalni del Prilikom sumiranja ovi analiza, pokazalo se da đuju svoje prisustvo u ostalim kategorijama, se mnoge od njih sistematski ponavljaju i potvr 4 ću i time ukazuju i na dublju povez kao i to da svaka od njih ima korene koji se prepli anost u istorijskom kontekstu.
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