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.
Chapter 1 First generation; Chapter 2 Second generation; Chapter 3 Third generation; Chapter 4 Fourth generation; Chapter 5 Fifth generation; Conclusion;
