Book Description
From such films as
La Dolce Vita and
Bicycle Thieves to
Cinema Paradiso and
Dear Diary, Italian cinema has provided striking images of Italy as a nation and a people. In the first comprehensive study of Italian cinema from 1886-1996, Pierre Sorlin explores the changing relationship of Italian cinema and Italian society and asks whether the national cinema really does represent Italian interests and culture.
About the Author
Pierre Sorlin is Professor of Sociology of the Audiovisual Media at the Universite Paris III