Cinema Nuovo Explained

Editor:Joseph Grieco
Editor Title:Editor-in-chief
Founder:Guido Aristarco
Category:Film magazine
Founded:1952
Firstdate:15 December 1952
Finaldate:1996
Country:Italy
Based:Milan
Language:Italian

Cinema Nuovo was a left-leaning Italian film magazine existed between 1952 and 1996. It was headquartered in Milan, Italy.

History and profile

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

Notes and References

  1. News: Guido Aristarco. 2 February 2017. Good Reads.
  2. Fernando Ramos Arenas. Writing about a Common Love for Cinema: Discourses of Modern Cinephilia as a trans-European Phenomenon. Trespassing Nation. Spring 2012. 1. dead. https://web.archive.org/web/20201202071237/http://trespassingjournal.org/Issue1/TPJ_I1_Arenas_Article.pdf. 2 December 2020.
  3. Encyclopedia: Marco Pistoia. Cinema nuovo. 2003. it. Enciclopedia del Cinema.
  4. Book: Rosanna Maule. Beyond Auteurism: New Directions in Authorial Film Practices in France, Italy and Spain since the 1980s. 2008. Intellect Books. 978-1-84150-204-5. 37. Bristol; Chicago.
  5. Book: Saverio Giovacchini. Robert Sklar. Global Neorealism: The Transnational History of a Film Style. https://books.google.com/books?id=vv09EtmRzUcC&pg=PA153. 2011. University Press of Mississippi. 978-1-61703-123-6. 153. Living peace after the massacre: Neorealism, colonialism and race. Saverio Giovacchini. Jackson, MS.
  6. Maria Antonella Pelizzari. Un Paese (1955) and the Challenge of Mass Culture. Études photographiques. 2012. 30.
  7. Book: Jeffrey Middents. Writing National Cinema: Film Journals and Film Culture in Peru. 2009. UPNE. 978-1-58465-776-7. 51. Hanover; London.
  8. Book: O. Ferrán. G. Herrmann. A Critical Companion to Jorge Semprún: Buchenwald, Before and After. 2014. 978-1-137-43971-0. https://books.google.com/books?id=P4OoBAAAQBAJ&pg=PT104. Palgrave Macmillan. 104. New York. Esteve Riambau. The clandestine militant who would be minister: Semprún and cinema.
  9. Book: Marvin D'Lugo. The Films of Carlos Saura: The Practice of Seeing. registration. 1991. Princeton University Press. 0-691-00855-8. 20. Princeton, NJ.

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