Abstract
As in the aftermath of the First World War, when changes in screenwriting within other countries were influenced by the Hollywood continuity, the years immediately following the Second World War saw many European film industries considering their future anxiously in the face of American economic influence. There is a seeming allusion to this in the posters of Rita Hayworth that the protagonist Ricci posts up in Bicycle Thieves (1948), a film which otherwise seems quintessentially of its own time and place in post-war Italy, where the development of neo-realism had at its aesthetic and ideological core a rejection of the blueprint model of the screenplay.
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Notes
See Mark Shiel, Italian Neorealism: Rebuilding the Cinematic City (London: Wallflower, 2006), pp. 26–29, and Peter Bondanella, A History of Italian Cinema (New York: Continuum, 2009), pp. 25–26.
Quoted in P. Adams Sitney, Vital Crises in Italian Cinema (Austin: University of Texas Press, 1985), p. 87.
Michael Temple and Michael Witt, eds., The French Cinema Book (London: British Film Institute, 2004), p. 177.
Cesare Zavattini, ‘A Thesis on Neo-Realism’ [1952–54], in David Overbey, ed. and trans., Springtime in Italy: A Reader on Neo-Realism (London: Talisman, 1978), p. 74.
Stefania Parigi, Cinema—Italy, trans. Sam Rohdie (Manchester: Manchester University Press, 2009), p. 15.
Ibid., p. 19.
Robert S. C. Gordon, Bicycle Thieves (London: British Film Institute, 2008), pp. 22–25.
Jacques Aumont et al., Aesthetics of Film (Austin: University of Texas Press, 1999), p. 111; quoted in Shiel, p. 55.
Michelangelo Antonioni, The Architecture of Vision: Writings and Interviews on Cinema, ed. Carlo di Carlo and Giorgio Tinazzi, trans. Andrew Taylor (New York: Marsilio, 1996), p. 58.
Michelangelo Antonioni, ‘Introduction’, Screenplays of Michelangelo Antonioni [Il Grido, L’Avventura, La Notte, L’Eclisse], trans. Roger J. Moore (New York: Orion, 1963), pp. xiv–xviii.
Michelangelo Antonioni, Unfinished Business: Screenplays, Scenarios and Ideas, ed. Carlo di Carlo and Giorgio Tinazzi, trans. Andrew Taylor (New York: Marsilio, 1998), pp. 118–19.
Birgitta Ingemanson, ‘The Screenplays of Ingmar Bergman: Personification and Olfactory Detail’, Literature/Film Quarterly 12.1 (1984), p. 26.
Ingmar Bergman, Four Screenplays of Ingmar Bergman, trans. Lars Malmström and David Kushner (New York: Simon and Schuster, 1960), p. 6.
John Gassner and Dudley Nichols, eds., Twenty Best Film Plays (New York: Crown, 1943). See Steven Price, The Screenplay: Authorship, Theory and Criticism (Basingstoke: Palgrave, 2010), pp. 27–28.
Birgitta Steene, Ingmar Bergman: A Reference Guide (Amsterdam: Amsterdam University Press, 2005), p. 53.
Anna Sofia Rossholm, ‘Tracing the Voice of the Auteur: Persona and the Ingmar Bergman Archive’, Journal of Screenwriting 4.2 (2013), p. 138.
Ingmar Bergman, ‘The Snakeskin’, in Persona and Shame, trans. Keith Bradfield (London: Calder & Boyars, 1972), p. 15.
Ingmar Bergman, Wild Strawberries, trans. Lars Malmström and David Kushner (London: Lorrimer, 1970), p. 7.
Birgitta Steene, Ingmar Bergman: A Reference Guide (Amsterdam: Amsterdam University Press, 2005), p. 53.
Colin Crisp, The Classic French Cinema, 1930–1960 (Bloomington: Indiana University Press, 1993), p. 301.
Ibid., pp. 301–03.
Ibid., pp. 306–07.
Claus Tieber, Schreiben für Hollywood: Das Drehbuch im Studiosystem (Vienna: Lit Verlag GmbH, 2008).
François Truffaut, ‘A Certain Tendency of the French Cinema’, in Bill Nichols (ed.), Movies and Methods: An Anthology (Berkeley: University of California Press, 1976), p. 224.
Ibid., p. 229.
Ibid., p. 233.
Alison Smith, ‘People 1960–2004: The Other Auteurs: Producers, Cinematographers and Scriptwriters’, in Michael Temple and Michael Witt (eds), The French Cinema Book (London: British Film Institute, 2004), p. 204.
Ibid.
Ibid.
Susan Hayward, ‘State, Culture and the Cinema: Jack Lang’s Strategies for the French Film Industry 1981–93’, Screen 34.4 (1993), p. 384.
François Truffaut, The Adventures of Antoine Doinel: Four Autobiographical Screenplays (New York: Simon & Schuster, 1971).
Alain Robbe-Grillet, Last Year at Marienbad: A Ciné-Novel, trans. Richard Howard (London: Calder, 1961), p. 6.
Ibid., p. 16.
Chris Marker, La Jetée (New York: Zone, 1992).
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© 2013 Steven Price
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Price, S. (2013). European Screenwriting, 1948–60. In: A History of the Screenplay. Palgrave Macmillan, London. https://doi.org/10.1057/9781137315700_9
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