Cinema Nuovo was a left-leaning Italian film magazine existed between 1952 and 1996. It was headquartered in Milan, Italy.
| Editor-in-chief | Joseph Grieco |
|---|---|
| Categories | Film magazine |
| Frequency |
|
| Founder | Guido Aristarco |
| Founded | 1952 |
| First issue | 15 December 1952 |
| Final issue | 1996 |
| Country | Italy |
| Based in | Milan |
| Language | Italian |
History and profile edit
Cinema Nuovo was established by film critic Guido Aristarco in 1952.[1][2] The first issue was published in Milan on 15 December 1952.[3] The founding company was La Scuola, Arzigliano.[3] Guido Aristarco also directed the magazine, which first published fortnightly and from the July-August 1958 issue it became bimonthly.[3] The magazine had offices in Rome, Paris, New York City, Mexico City and Prague.[3]
Cinema Nuovo had a Marxist stance and was one of the targets of the Italian government like other left-leaning publications.[4] Guido Aristarco supported neorealist cinema of Italy through his articles published in the magazine.[2] Joseph Grieco was among the editors-in-chief,[3] and Rudi Berger was one of the contributors.[5] From 1954 to 1956 Cesare Zavattini published photo-essays in Cinema Nuovo.[6]
The magazine folded in 1996.[1] Spanish film magazine Nuestro Cine modeled on Cinema Nuovo and followed the approach of Guido Aristarco.[7] The other Spanish film magazine inspired from Cinema Nuovo and its founder Guido Aristarco was Objetivo.[8][9]
See also edit
References edit
- ^ a b "Guido Aristarco". Good Reads. Retrieved 2 February 2017.
- ^ a b Fernando Ramos Arenas (Spring 2012). "Writing about a Common Love for Cinema: Discourses of Modern Cinephilia as a trans-European Phenomenon" (PDF). Trespassing Nation (1). Archived from the original (PDF) on 2 December 2020.
- ^ a b c d e Marco Pistoia (2003). "Cinema nuovo". Enciclopedia del Cinema (in Italian).
- ^ Rosanna Maule (2008). Beyond Auteurism: New Directions in Authorial Film Practices in France, Italy and Spain since the 1980s. Bristol; Chicago: Intellect Books. p. 37. ISBN 978-1-84150-204-5.
- ^ Saverio Giovacchini (2011). "Living peace after the massacre: Neorealism, colonialism and race". In Saverio Giovacchini; Robert Sklar (eds.). Global Neorealism: The Transnational History of a Film Style. Jackson, MS: University Press of Mississippi. p. 153. ISBN 978-1-61703-123-6.
- ^ Maria Antonella Pelizzari (2012). "Un Paese (1955) and the Challenge of Mass Culture". Études photographiques (30).
- ^ Jeffrey Middents (2009). Writing National Cinema: Film Journals and Film Culture in Peru. Hanover; London: UPNE. p. 51. ISBN 978-1-58465-776-7.
- ^ Esteve Riambau (2014). "The clandestine militant who would be minister: Semprún and cinema". In O. Ferrán; G. Herrmann (eds.). A Critical Companion to Jorge Semprún: Buchenwald, Before and After. New York: Palgrave Macmillan. p. 104. ISBN 978-1-137-43971-0.
- ^ Marvin D'Lugo (1991). The Films of Carlos Saura: The Practice of Seeing. Princeton, NJ: Princeton University Press. p. 20. ISBN 0-691-00855-8.