Book contents
- Frontmatter
- Dedication
- Contents
- Acknowledgements
- Introduction: Cinematic Pedestrianism in the City
- 1 Moving Body, Moving Pictures: The Emergence of Cinematic Pedestrianism
- 2 The Flâneur as Filmmaker
- 3 The Flâneuse and the Aesthetics of the Female Gaze
- 4 A Wandering Eye: The Kino-Pedestrian
- 5 Walking amidst Ruins: A Pedestrian Cinema
- 6 Feminist Nomads: The Politics of Walking in Agnès Varda
- Cinematic Pedestrianism Afoot: A Conclusion
- Bibliography
- Filmography
- Index
5 - Walking amidst Ruins: A Pedestrian Cinema
Published online by Cambridge University Press: 23 November 2024
- Frontmatter
- Dedication
- Contents
- Acknowledgements
- Introduction: Cinematic Pedestrianism in the City
- 1 Moving Body, Moving Pictures: The Emergence of Cinematic Pedestrianism
- 2 The Flâneur as Filmmaker
- 3 The Flâneuse and the Aesthetics of the Female Gaze
- 4 A Wandering Eye: The Kino-Pedestrian
- 5 Walking amidst Ruins: A Pedestrian Cinema
- 6 Feminist Nomads: The Politics of Walking in Agnès Varda
- Cinematic Pedestrianism Afoot: A Conclusion
- Bibliography
- Filmography
- Index
Summary
Abstract
This chapter explores the conceptions of the city and everyday life in the writings of filmmakers from Fascist-era and post-Fascist Italy. Going out on the street with a camera to observe everyday life in its uninterrupted flow and to shoot without intervention was a recurrent urge voiced by many filmmakers. Taking inspiration from Zavattini's concept of pedinamento, I analyse cinematographic images of pedestrian acts in three films—Roma, Città Aperta (Rome, Open City), Germania Anno Zero (Germany, Year Zero), and Ladri di Biciclette (The Bicycle Thieves)—which I have selected for comparison in order to explore the transformation of the social and political background, and its effect on the aesthetics of the city and the cinematic image of walking.
Keywords: Pedestrianism, walking, Italian Neorealism, postwar cinema, cinematic city
“Reality breaks all the rules, as can be discovered if you walk out with a camera to meet it.”
‒ Cesare Zavattini“When history is made in the streets, the streets tend to move onto the screen.”
‒ Siegfried KracauerIn Italy under Fascism, “much of the battle for the hearts and minds of Italians took place in the public arena, in the streets and squares of the peninsula's cities.” In a detailed study on the restructuring and refashioning of the street under the fascist regime of Benito Mussolini, Diane Yvonne Ghirardo explores increasing surveillance and spectacle in the public realm as a method to ensure consent and consensus. Similarly, David Atkinson explains how the streets became key sites where the regime, from its earliest days, articulated its authority. By its final months, streets and other public spaces were recognized by both local authorities and dissidents as an “incontrovertible sphere of dictatorship.” Atkinson mentions, for example, that during the 1943 factory strikes, the workers’ leaders decided to confine their resistance to the industrial action within the walls of Turin's factories because taking it onto the streets was deemed too dangerous—“pure suicide,” in the words of one of the strike's leaders.
- Type
- Chapter
- Information
- The Aesthetics and Politics of Cinematic PedestrianismWalking in Films, pp. 165 - 196Publisher: Amsterdam University PressPrint publication year: 2022