Francesca entra in punta di piedi nella cameretta dellrsquo;ospedale. Il suo viso raggiante egrave; seminascosto da un enorme mazzo di fiori di pesca. ldquo;Ecco; Amina; ti ho portato i primi fiori del nostro giardino; ti piacciono ? Sono lrsquo;annunzio che lrsquo;inverno egrave; finito e sta per tornare la primaverardquo;. Si china sullrsquo;amica che stringe vicino a seacute; ndash; quasi avesse timore che glielo portino via ndash; un fagottino dal quale spunta un roseo visino. Amina sorride grata. Lei sa quanto sia preziosa la loro amicizia: e che solo attraverso questa amicizia potragrave; forse ritrovare una parte di se stessa; della sua giovinezza violata. Questa egrave; la storia di Amina; una giovanissima donna che fugge da tradizioni crudeli e spietate e dopo una lunga e terribile odissea giunge in Italia. Qui incontreragrave;; sigrave;; ancora dolore e miseria; ma anche lrsquo;amicizia di Francesca ndash; una ldquo;normalerdquo; quindicenne alle prese con i problemi dellrsquo;adolescenza ndash; che le sapragrave; offrire comprensione e speranza.
#2161724 in eBooks 2007-12-08 2007-12-08File Name: B00801U09W
Review
13 of 13 people found the following review helpful. A great read for Hitchcock fansBy G. UhlinWith the sheer amount of Hitchcock scholarship out there. one would hardly think there was anything more left to say. Allens impressive and comprehensive book proves otherwise. Allen draws on all of this previous scholarship (he is an editor of Hitchcock Annual and two anthologies on the director) by arguing that all of the conflicting interpretations of HItchcocks singular films is symptomatic of the directors specifically cultivated aesthetic of romantic irony. Romantic irony. a term borrowed from literature. is when the writer or filmmaker presents competing and opposed perspectives. yet refuses to privilege one over the other. allowing both conflicting interpretations to remain true. It turns out that romantic irony provides a rather useful lens with which to focus the vast output of Hitchcocks films (53 features total. most of which Allen discusses in detail). The books first section mounts a defense of the use of romantic irony. as well as a classification of the narrative forms found through Hitchcocks body of films. including an extended discussion of the directors well-known use of suspense. The books best chapters. though. come in its second half where Allen devotes his attention to a detailed consideration of the filmmakers visual style. including the influence of German expressionism and the directors elaborate use of color. Film studies in general rarely attends to the formal and stylistic features of a directors work in this kind of detail. and while Allens own admiration for Hitchcock is on evidence. he lets the filmmakers greatness speaks for itself.0 of 0 people found the following review helpful. Great Hitchcock literatureBy customer528I really liked this book. It was well written and understandable as a non-cinema studies major. The whole book demonstrates Allens vast and comprehensive knowledge of Hitchcock. I thought the most important aspect of the book was that it brings up arguments and topics that have not been discussed before in Hitchcock scholarship.
