Peter Bondanella
Millicent Marcus's After Fellini: National Cinema in the Postmodern Age makes a highly original contribution to the study of Italian cinema. Through close analysis of a series of individual recent films, she sets the record straight about Italian cinema's contributions to the medium during the last two decades of the twentieth century and demonstrates that the new Italian cinema following in Fellini's footsteps promises a bright future in the new millennium.
Gaetana Marrone
Millicent Marcus's book offers new conclusions about continuities and changes in the mapping of cinematic landscapes. Nothing in English rivals her interpretations of Visconti's Bellissima, Rosi's Three Brothers and The Truce, Amelio's Stolen Children, Benigni's Life Is Beautiful, and Moretti's Caro diario. After Fellini will become the benchmark for any further study of contemporary Italian cinema.
From the Publisher
Millicent Marcus's book offers new conclusions about continuities and changes in the mapping of cinematic landscapes. Nothing in English rivals her interpretations of Visconti's Bellissima, Rosi's Three Brothers and The Truce, Amelio's Stolen Children, Benigni's Life Is Beautiful, and Moretti's Caro diario. After Fellini will become the benchmark for any further study of contemporary Italian cinema.—Gaetana Marrone, Princeton University
Millicent Marcus's After Fellini: National Cinema in the Postmodern Age makes a highly original contribution to the study of Italian cinema. Through close analysis of a series of individual recent films, she sets the record straight about Italian cinema's contributions to the medium during the last two decades of the twentieth century and demonstrates that the new Italian cinema following in Fellini's footsteps promises a bright future in the new millennium.—Peter Bondanella, Indiana University
To open this book is to walk into Marcus' own Cinema Paradiso where the present and the past of Italian cinema deliciously mingle. Anyone disappointed with what the movies have become will be restored by her acuity, her erudition, and by the warmth of her prose as she fondly evokes what remains the most marvelously human of national cinemas.—Dudley Andrew, Yale University
Dudley Andrew
To open this book is to walk into Marcus' own Cinema Paradiso where the present and the past of Italian cinema deliciously mingle. Anyone disappointed with what the movies have become will be restored by her acuity, her erudition, and by the warmth of her prose as she fondly evokes what remains the most marvelously human of national cinemas.
