Title: Bertolucci 's : A Study of the Flashbacks in the Narrative Strategy of the Film
Abstract:Bertolucci 's The Conformist: A Study of the Flashbacks in the Narrative Strategy of the Film. P. M. KIDNEY Da buon fosse che seguace della teoria dell' autore ritenevo che il montaggio non una logica...Bertolucci 's The Conformist: A Study of the Flashbacks in the Narrative Strategy of the Film. P. M. KIDNEY Da buon fosse che seguace della teoria dell' autore ritenevo che il montaggio non una logica conseguenza del che si modo si di girare. (invece) ho capito il che e un'altra in cui si scrittura, puo montare un che film anche contro modo e girato, contro quello e' girato. — Bernardo Bertolucci Bcrtolucci's II conformista'^ (1970) is not just the cinematographic based: the June adaptation of Moravia's novcl (Bompiani, 1951)^ but a rewriting of that same text^ and the historical event upon which it is 1937 assassination of the Rosselli brothers by order of the Italian For- eign Office.'^ In his film version of the novel, Bertolucci abandons Moravia's chronologically developed narrative in favor of a discourse built on anachronous sequences, stitutes the specifically flashbacks or analepses.^ This con- fundamental change with respect it. to the novel and is also the key to the film's independence of While the basic story remains unaltered in the text of the film, it is the discourse, 5^ the to a psychological new textual arrangement of the plot, that gives rise and highly subjective text. The new text is no longer presented through the objective rational point of view of an omnis- cient narrator who controls the narrative, but through the point of view of the protagonist himself, Marcello Clerici. The point of view adopted by Bertolucci is thus internai and subjective, and expressedRead More
Publication Year: 1986
Publication Date: 1986-01-01
Language: en
Type: article
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