Part two, entitled "Libri di celluloide
," contains articles by Fernaldo Di Giammatteo, M.
Si apre con gli studi comparati di Millicent Marcus su due film recenti (Ladri di saponette di Nichetti e Celluloide
di Lizzani), che offrono l'occasione di trattare il fantasma del neorealismo per una generazione orfana di padri culturali; e di Cristina Bragaglia sul patrimonio autobiografico di profonda sensibilita collettiva, assumendo Otto e mezzo di Federico Fellini a prototipo di autobiografia cinematografica.
I refer here to Maurizio Nichetti's Icicle Thief, whose very title announces its parodic relationship to Vittorio De Sica's 1948 classic, and Carlo Lizzani's Celluloide, which tells the story behind the filming of Roberto Rossellini's Rome, Open City (1945).
While Celluloide remains firmly rooted in the soil of the eternal city, Icicle Thief is conspicuously relocated from the Roman streets of De Sica's original, to the high-tech airwaves over Milan.
Lizzani announces his palimpsest approach right from the very start of Celluloide.
Again and again, Celluloide tells us that what made Open City such a ground-breaking and risky operation was its courage to refer, to record the very events that Romans had just experienced during the Nazi occupation.