关键词
Cinema, cinematographic analysis, values, interpretation keys, ethic, music, aesthetic
摘要
The author analyses how Federico Fellini represents in «La dolce vita» the social, cultural, sexual and politic characteristics of a generation who has grown up in a strict latin and catholic context. Ethic, aesthetic and cinematographic keys of this film are analysed by the author using five dimensions. These keys are called by him the «twelve heresies» of «La dolce vita».
参考资料
FELLINI, F. (1982): Fellini conta Fellini. Lisboa, Livraria Bertrand.
HALLIWELL, L. (1986): Halliwell’s film guide. Londres, Palladin Grafton Books.
HOUSTON, P. (1963): O cinema contemporâneo. Lisboa, Ulisseia/ Pelicano.
MITRY, J. (1963): Dictionnaire du cinéma. París, Librairie Larousse.
PASSEK, J.L. (1986): Dictionnaire du cinéma. París, Librairie Larousse.
REIA-BAPTISTA, V. (1987): The heretical pedagogy of Luís Buñuel. Lund, Litteraturvetenskapliga Inst. Depart. of Drama-Teater Film, Lund University.
SADOUL, G. (1979): Histoire du cinéma mondial. París, Flammarion.
SNEUM, J. (1993): Bonniers rock lexikon. Köpenhamn, Bonnier Alba.
TORNABENE, F. (1990): Federico Fellini. Berlin, Benedikt TaschenVerlag.
Fundref
这项工作没有任何财政支持
技术信息
度量
这篇文章的度量
浏览次数: 26867
对摘要的解读: 23687
PDF下载: 3180
的全部指标 19
浏览次数: 817023
对摘要的解读: 696128
PDF下载: 120895
被引用
引述 Web of Science
目前没有引用这个文件
引述 Scopus
目前没有引用这个文件
引述 Google Scholar
目前没有引用这个文件
替代指标
如何引用
Reia-Baptista, V. (2002). Cinematographic analysis of «La dolce vita»: the twelve heresies. [As doces heresias de «La dolce vita»]. Comunicar, 19, 156-161. https://doi.org/10.3916/C19-2002-27