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This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License
Article
The Garden of Finzi-Continis, Compassion, and the Struggle to Affirm Identity
Author(s)
Simonetta Milli Konewko
Full-Text PDF
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DOI:10.17265/2159-5836/2018.04.003
Affiliation(s)
University of Wisconsin-Milwaukee, Milwaukee, USA
ABSTRACT
This work investigates De Sica’s depiction of compassion proposing new ways of examining the film. Remaining faithful to his neorealist responsibility to denounce the plight of others and the experience associated to World War Two, the director offers models of compassion associated with past circumstances and the subsequent recollection of them. In other instance, compassion becomes the result of imaginative and elaborated descriptions that contrast with the neorealist aesthetic. These creative depictions suggest compassion through technical elements. For instance, the usage of flashbacks, the long shots of the garden, the close-ups and tracking shots on specific components of the environment, the soft focus on certain characters are ways to reflect on past circumstances to outline a new awareness and perspective.
KEYWORDS
compassion, World War Two, The Holocaust, Italian film, neorealism, fascism
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References
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Levi, P. (1993). Survival in Auschwitz (S. Woolf, Trans.). New York: Touchstone,.
Marcus, M. (1986). Italian film in the Light of Neorealism. Princeton: Princeton University Press.
Monaco, J. (2000). How to read a film. The world of movies, media, and multimedia. New York: Oxford University press.
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Nussbaum, M. (2001). Upheavals of thoughts. Cambridge: Cambridge University Press.
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Passerini, L. (1988). Storia e soggettività. Le fonti orali, la memoria (History and Subjectivity. Oral Sources and Memory). Firenze: La Nuova Italia.
Possiedi, P. (1993). Prima dell’Olocausto: il Giardino dei Finzi-Contini di Giorgio Bassani (Before the Holocaust: The Garden of Finzi-Continis by Giorgio Bassani). Nemla Italian Studies, (17),107-119.
Putnam, D. A. (1994). Empathy: Referring and remembering. Journal of Social Philosophy, 14(1), 34-41.
Rosa, A. A. (1985). Storia della letteraturaitaliana (History of Italian Literature). Firenze: La Nuova Italia.
Tedeschi, G. (2004). C’è un posto della terra… Una donna nelLager di Birkenau (There is a place on Earth… A woman in Birkenau Lager). Firenze: Giuntina.
The Night of the Shooting Stars. (1982). Dir. Paolo and Vittorio Taviani. Perf. OmeroAntonutti, Margarita Lozano. Italia.
Wellhofer, E. S. (2003). Democracy and fascism: Class, civil society and rational choice in Italy. American Political Science Review, 97(1), 91-106.
Zavattini, C. (2002). Cesare Zavattini. Cinema. Milano: RCS Libri,.
Zuccotti, S. (1987). The Italians and the Holocaust. Lincoln: University of Nebraska Press.
Bazin, A. (1999). De Sica: Metteur-en-Scene (The mise en scène). In L. Braudy and M. Cohen (Eds.), Film theory and criticism. New York: Oxford University Press.
Berardinelli, J. (2001). The Garden of the Finzi-Continis. Retrieved from
http://movie-reviews.colossus.net/movies/g/garden_finzi.html.
Bollas, C. (1992). The evocative object. Being a character: Psychoanalysis and self experience. New York: Hill and Wang.
Bondanella, P. (1983). Italian cinema: From neorealism to the present. New York: Frederick Ungar Publishing.
Bradford, S. (2004). Lucrezia Borgia: Life, love and death in renaissance Italy. New York: Viking.
Bravo, A. (2000). Social perception of the Shoah in Italy. The Jews of Italy memory and identity. Bethesda: University Press of Maryland.
Brenner, R. F. (1997). Writing as resistance: Four women confronting the Holocaust. University Park: Pennsylvania State University Press.
Cardullo, B. (2000). Actor-Become-Auteur. The neorealist films of Vittorio De Sica. The Massachusetts Review, 41(2), 173-192.
Daretta, J., & Vittorio, De S. (1983). A guide to references and resources. Boston: G.K. Hall.
De Felice, R. (1988). Storia degli ebrei italiani sotto il fascism (History of Italian Jews under Fascism). Torino: Einaudi.
De Sica, V. dir. (1946). Shoeshine. Perf. Rinaldo Smordoni and Franco Interlenghi. Italia. Film.
De Sica, V. dir. (1948). Bicycle Thieves. Perf. Lamberto Maggiorani and Isa Pola. Italia.
De Sica, V. dir. (1951). Miracle in Milan. Perf. Emma Gramatica and Francesco Golisano. Italia. Film.
De Sica, V. dir. (1952). Umberto D. Perf. Carlo Battisti and Maria Pia Casilio. Italia. Film.
De Sica, V. dir. (1970). The Garden of Finzi-Continis. Perf. Lino Capolicchio and Dominique Sanda. Film.
Debenedetti, G. (2001). October 16, 1943 (E. Gilson, Trans.). Notre Dame: University of Notre Dame Press.
Della Coletta, C. (1998). La cultura del giardino: Miti e appropriazioni letterarie nel Giardino dei Finzi-Contini (The Culture of the Garden; Myths and Literary Appropriations in the Garden of Finzi-Continis). MLN, (1), 138-163.
Della Seta, F. (1991). The Tiber Afire (F. Frenaye, Trans.). Marlboro: The Marlboro Press.
Finzi, C. M. (2006). Qualcunosi è salvato ma niente è statopiù come prima (Someone has been Saved but nothing has been as before). Cesena: Il Ponte Vecchio.
Ghibellini, P. C. (2006). Tutte le sue poesie (All his poems). Roma: Newton Compton.
Giannetti, L. D. (1972). Understanding movies. Englewood Cliffs: Prentice-Hall Inc.
Gurwitt, A. (1988). Selective focus: Film adaptations of “The Conformist” and “the Garden of Finzi-Continis” (Diss., Wesleyan University).
Levi, P. (1993). Survival in Auschwitz (S. Woolf, Trans.). New York: Touchstone,.
Marcus, M. (1986). Italian film in the Light of Neorealism. Princeton: Princeton University Press.
Monaco, J. (2000). How to read a film. The world of movies, media, and multimedia. New York: Oxford University press.
Monticelli, S. (1998). Italian Post-War cinema and neorealism. In J. Hill and P. C. Gibson (Eds.), The Oxford guide to film Studies. New York: Oxford University Press.
Morris, O., & Geoffrey, B. (2006). Huston, we have a problem: A kaleidoscope of filmmaking memories. Lanham: Scarecrow Press.
Nussbaum, M. (2001). Upheavals of thoughts. Cambridge: Cambridge University Press.
Orton, M. (2002). Deporting identity: The testimonies of Primo Levi and Giuliana Tedeschi. The most ancient of minorities. The Jews of Italy. Westport: Greenwood Press.
Paisà. (1946). Dir. Roberto Rossellini. Perf. Carmela Sazio, Maria Michi. Italia.
Passerini, L. (1988). Storia e soggettività. Le fonti orali, la memoria (History and Subjectivity. Oral Sources and Memory). Firenze: La Nuova Italia.
Possiedi, P. (1993). Prima dell’Olocausto: il Giardino dei Finzi-Contini di Giorgio Bassani (Before the Holocaust: The Garden of Finzi-Continis by Giorgio Bassani). Nemla Italian Studies, (17),107-119.
Putnam, D. A. (1994). Empathy: Referring and remembering. Journal of Social Philosophy, 14(1), 34-41.
Rosa, A. A. (1985). Storia della letteraturaitaliana (History of Italian Literature). Firenze: La Nuova Italia.
Tedeschi, G. (2004). C’è un posto della terra… Una donna nelLager di Birkenau (There is a place on Earth… A woman in Birkenau Lager). Firenze: Giuntina.
The Night of the Shooting Stars. (1982). Dir. Paolo and Vittorio Taviani. Perf. OmeroAntonutti, Margarita Lozano. Italia.
Wellhofer, E. S. (2003). Democracy and fascism: Class, civil society and rational choice in Italy. American Political Science Review, 97(1), 91-106.
Zavattini, C. (2002). Cesare Zavattini. Cinema. Milano: RCS Libri,.
Zuccotti, S. (1987). The Italians and the Holocaust. Lincoln: University of Nebraska Press.