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| | Film Studies |
 | | We devote a great deal of attention to De Sica’s contributions to neorealism, including Shoeshine (1946), Bicycle Thief (1948), Miracle in Milan (1951), and Umberto D (1952), in addition to De Santis’s Bitter Rice and Visconti’s La terra trema (1948). |
 | | The course also includes a study of the movement’s afterlife in Bellissima (Visconti, 1951), and the recent revisitations of neorealism in Icicle Thief (Nichetti, 1989) and Celluloide (Lizzani, 1996), before concluding with Gianni Amelio’s Stolen Children (1992), which has been hailed as the harbinger of a realist revival in the 1990s. |
 | | This course surveys the British film tradition, emphasizing overlaps with literature, drama, and art; visual modernism; documentary’s role in defining national identity; “heritage” filmmaking and alternative approaches to tradition; auteur and actors’ cinema. |
| www.yale.edu /bulletin/html/grad/film.html (1328 words) |
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