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001359201 001__ 1359201
001359201 003__ OCoLC
001359201 005__ 20230306152835.0
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001359201 008__ 180719s2018\\\\xx\\\\\\o\\\\\000\0\eng\d
001359201 019__ $$a1059123090$$a1066504073$$a1076326010$$a1080093695
001359201 020__ $$a9783319926810$$q(electronic book)
001359201 020__ $$a3319926810$$q(electronic book)
001359201 020__ $$z3319926802
001359201 020__ $$z9783319926803
001359201 0247_ $$a10.1007/978-3-319-92681-0$$2doi
001359201 035__ $$aSP(OCoLC)1085187258$$z(OCoLC)1059123090$$z(OCoLC)1066504073$$z(OCoLC)1076326010$$z(OCoLC)1080093695
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001359201 043__ $$an-us---
001359201 049__ $$aISEA
001359201 050_4 $$aPN1990-1997
001359201 08204 $$a791$$222
001359201 1001_ $$aCILENTO, FABRIZIO.
001359201 24510 $$aINVESTIGATIVE CINEMA :$$bpolitics and modernization in italian, french, and american film.
001359201 264_1 $$a[Place of publication not identified] :$$bSPRINGER INTERNATIONAL PU,$$c2018.
001359201 300__ $$a1 online resource
001359201 336__ $$atext$$btxt$$2rdacontent
001359201 337__ $$acomputer$$bc$$2rdamedia
001359201 338__ $$aonline resource$$bcr$$2rdacarrier
001359201 347__ $$atext file$$bPDF$$2rda
001359201 50500 $$g1.$$tIntroduction: Any Resemblance to Real Persons or Actual Facts Is [Not] Purely Coincidental --$$g2.$$tNeorealism and the Double Stain: Television and Italian High Modernist Filmmakers --$$tImages of Television --$$tA Split Soul --$$tThe Interview as Self-Criticism: On Pasolini's Metatelevisual and Extracinematographic Performativity --$$tShifting the Present: Francesco Rosi's Salvatore Giuliano --$$tEvening Rituals: Marco Ferreri's Dillinger Is Dead --$$g3.$$tObjectively False: French Cinema and the Algerian Question --$$tA Cinema of Absence --$$tA Faceless Enemy: Gillo Pontecorvo's The Battle of Algiers --$$g4.$$tStars and Stardom in Investigative Cinema: The Movies of Gian Maria Volonte and Gael Garcia Bernal --$$tGian Maria Volonte and the Moro Affair --$$tVolonte Plays Volonte' --$$tMoro 1: The Hermit Murderess --$$tMoro 2: The Two-Faced Janus --$$tIn and Out of the Jungle: The Politics of Gael Garcia Bernal --$$tBetween Marcos and Che Guevara --$$tEven the Rain: A Confluence of Cinematic and Historical Temporalities --$$tNo and the Aesthetics of Television --$$g5.$$tThe Ontology of Replay: The Zapruder Video and American Conspiracy Films --$$tBack and Forward --$$tFor ward and Back --$$tLet It Bleed (Side One) --$$tRewind: Notes on Direct Cinema --$$tLet It Bleed (Side Two) --$$tScreening the Flow --$$tA Conversation with Albert Maysles --$$g6.$$tUnidentified Narrative Objects: The Anti-Mafia and No-Global Films as Transmedia Adaptations --$$tTransmission Test One: An SOS to the World (Radio Free Sicily 98.1 MHz) --$$tTransmission Test Two: The Director and the Broomstick (Radio Bologna 105.0 MHz) --$$tOne Hundred Flowers, One Thousand Channels (Any Available Frequency) --$$tInterferences: Marco Tullio Giordana's One Hundred Steps (Radio Aut 98.8 MHz) --$$tSomewhere Else: Guido Chiesa's Working Slowly (Radio Alice 100.6 MHz) --$$tNetwork Narrative in Daniele Vicari's Diaz. Don't Clean Up This Blood (Radio GAP 87.8 MHz) --$$tSaviano, Garrone, Gomorrah: Noir and Neo-Noir in the Land of the Camorra --$$g7.$$tThe Ontology of the Digital: War on Terror and Post-9/11 Visual Culture --$$tThe Aesthetics of the Procedural in Post-9/11 Cinema --$$tTwo Documentary "Portraits": Citizenfour and Risk.
001359201 506__ $$aAccess limited to authorized users.
001359201 5208_ $$aThis book traces the development of investigative cinema, whose main characteristic lies in reconstructing actual events, political crises, and conspiracies. These documentary-like films refrain from a simplistic reconstruction of historical events and are mainly concerned with what does not immediately appear on the surface of events. Consequently, they raise questions about the nature of the ?truth? promoted by institutions, newspapers, and media reports. By highlighting unanswered questions, they leave us with a lack of clarity, and the questioning of documentation becomes the actual narrative. Investigative cinema is examined in relation to the historical conjunctures of the ?economic miracle? in Italy, the simultaneous decolonization and reordering of culture in France, the waves of globalization and neoliberalism in post-dictatorial Latin America, and the post-Watergate, post-9/11 climate in US society. Investigative cinema is exemplified by the films Salvatore Giuliano, The Battle of Algiers, The Parallax View, Gomorrah, Zero Dark Thirty, and Citizenfour.
001359201 588__ $$aDescription based on print version record.
001359201 63000 $$aSalvatore Giuliano (Motion picture)
001359201 63000 $$aBattaglia di Algeri (Motion picture)
001359201 63000 $$aAll the president's men (Motion picture)
001359201 650_0 $$aMotion pictures$$xHistory$$y20th century.
001359201 655_0 $$aElectronic books
001359201 77608 $$iPrint version:$$aCILENTO, FABRIZIO.$$tINVESTIGATIVE CINEMA.$$d[Place of publication not identified] : SPRINGER INTERNATIONAL PU, 2018$$z3319926802$$w(OCoLC)1033477471
001359201 852__ $$bebk
001359201 85640 $$3Springer Nature$$uhttps://univsouthin.idm.oclc.org/login?url=https://link.springer.com/10.1007/978-3-319-92681-0$$zOnline Access$$91397441.1
001359201 909CO $$ooai:library.usi.edu:1359201$$pGLOBAL_SET
001359201 980__ $$aBIB
001359201 980__ $$aEBOOK
001359201 982__ $$aEbook
001359201 983__ $$aOnline
001359201 994__ $$a92$$bISE