Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Film style during italianneorealism
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Film style during italianneorealism
In the late 1960’s a new subgenre was born: “European Western”, most well known as “Spaghetti Western”. Per un Pugno di Dollari (A Fistful of Dollars) is a movie that represents this genre. It was made in 1964 by Sergio Leone, starring Clint Eastwood, and with a musical score composed by Ennio Morricone. This film set the pace and tone of the genre, so despite personal taste, this movie can be called revolutionary and influential. Key factors for such achievement are detailed next: the direction of photography, the editing, the neorealist influence, the film score, and advantage of the international financed production.
Leone the cinematographer of A Fistful of Dollars is one of the most influential Italian directors worldwide. His contribution to the creation of the sub-genre Spaghetti Western places him as the father of it, shaping its style with this movie. As Grant indicates “If we talk about the strictly Italian interpretation of the western subject, then Leone sets the point of origin.”(50) Story wise, this film is not original, in fact the plot was admittedly borrowed from Akira Kurosawa's Yojimbo (1961). It features a lonely fortune-hunter who plays two rival families against each
…show more content…
There is a great scene that exemplifies such improvements. Towards the end of the movie in the last fight, Leone stations the camera at the same level than the protagonist's hip, using a point of view behind of the gun, so the audience sees him shooting a man at the same time they see the man going down. This was a particular angle for an action scene. During that period in cinema, other western directors would have instead two separate shots, one of the protagonist shooting and a one of the man being shot. Leone’s camera movements are always exquisitely planned and choreographed, and he is known for being “perfectionist” (Klein
Film Noir, as Paul Schrader integrates in his essay ‘Notes on Film Noir,’ reflects a marked phase in the history of films denoting a peculiar style observed during that period. More specifically, Film Noir is defined by intricate qualities like tone and mood, rather than generic compositions, settings and presentation. Just as ‘genre’ categorizes films on the basis of common occurrences of iconographic elements in a certain way, ‘style’ acts as the paradox that exemplifies the generality and singularity at the same time, in Film Noir, through the notion of morality. In other words, Film Noir is a genre that exquisitely entwines theme and style, and henceforth sheds light on individual difference in perception of a common phenomenon. Pertaining
consider to be more modern film techniques. Montage plays a key role in this film, as
Jacobs, Lewis. “Refinements in Technique.” The Rise of the American Film. New York: Teachers College Press, 1974. 433-452. Print.
In the mid to late 1950s, classic westerns where becoming obsolete paving the way for a revolutionary Italian director Sergio Leone. The new style of westerns known as “Spaghetti Westerns” was too many Americans ludicrous, no spaghetti westerns delves into the grotesque perspective better than the Dollar Trilogy films starring Clint Eastwood as the “Man with no Name”. Leone’s innovative cinematic style is brought to life through his unorthodox characters and their pursuit for fortune. Leone’s grotesque approach to his characters in the Dollar Trilogy films are quite uncanny because of their lack of morals (good & bad), anti-hero fights and twisted plots. Leone’s leading characters actions are reinforced through his use of extreme-close ups during moments of violence. These aspects are showcased to perfection in Leone`s final part of the Dollar Trilogy films, The Good, The Bad and The Ugly 1966. (Theme of greed)
Giallo is a slasher genre that was prominent in the late twentieth century especially in Italy where the genre was made up of mystery and horror elements. The origin of the term is from cheap mystery novels, similar to penny dreadfuls, where they were adorned in bright yellow covers of which the genre was suitably named after as "giallo" is yellow in Italian. Though the term "giallo" is not just recognized in just Europe as internationally it is considered to have greatly influenced the sudden influx of American slasher and splatter films in the latter 1970s period. Films such as Blood and Black Lace and Black Belly of a Tarantula are classified as early giallo due to their "distinctive characteristics" that will be explored in this essay.
The American film industry’s early attempts at the narrative Western were limited and in the early years were produced mainly in the east. During this early time in the film industry the...
Italian Neorealism, a movement that focused on the arts began in 19th century post war Italy and “became the repository of partisan hopes for social justice in the post war italian state.” (Marcus, xiv) Even before the war, Italy had been under the dictatorship of Benito Mussolini and his corrupt form of government, Fascism, which caused oppression throughout the country. Neorealistic films allowed filmmakers to use common styles and techniques to finally reveal the world filled with anguish and misery that Mussolini had created. These films allowed the rebirth of Italy with the new ideals of freedom and social order. Some directors choose to add melodramatic elements to their neorealistic film which goes against Neorealism’s goal to project the Italy in its real form. However, although Rome Open City by Roberto Rossellini and Bitter Rice by DeSantis have classic hollywood narrative characteristics, the portrayal of women and children represent neorealist principles that help us further understand the struggles and conflicts of women and children during post-war Italy.
The Godfather is most notably one of the most prolific films of its time. This "gangster" film displayed many transformations of permeating color to give the viewer observable cues in its mise en scene that drew one right into the movie. The dramatic acting set the tone of the film with a score that lifted the viewer right out of their seat in many scenes. The directing and cinematography made The Godfather ahead of its time. The nostalgic feel of family importance and the danger of revenge lets us into the life of the Mafia. Even though no other techniques would have given the viewer a feeling of inside the mob like the mise en scene of the power the godfather held, the characters are reinforced literally and figuratively because the story views the Mafia from the inside out, and the cinematography of the film gives it a dangerous and nostalgic feel.
Italian cinema is conventionally associated with neorealist films and their contribution to the international art film movement. However, while these films tend to draw on the ideas and artistic creativity of individual directors such as Fellini, Antonioni, and De Sica; there is also a strong tradition of genre cinema evident in more popularized examples of Italian film. Emerging in the post-war era, these filone, or formula films, were inspired by established American models such as the "sword and sandal" hero epic, the western, and the gangster film. Consequently, the international success of the peplum films of the 1950's, the spaghetti westerns of the next decade, and later, the Italian-American gangster film, are a collective testament to the post-war financial success of Italian Cinema as an exportable product.
This analysis observes the opening scene of the Coen brother’s film No Country for Old Men (2007), a neo-noir crime thriller set in Santa Fe, New Mexico. The film does conform to classic Hollywood style in that the story is character-centered and plot and narrative change to serve character exposition. As well as the character’s actions changing plot and narrative and that style is subservient to the story as the ultimate goal is to develop a fictional world that is perceived as real, as Bordwell put it the classic Hollywood style should be “seamless” and “style-less” (Bordwell, 1988). But does have Post-classical influences such as lack of musical score and modern editing techniques and special effects.
Throughout history, the film industry has seen many directing styles and techniques. The early part of the 20th century saw a factory style of film production, but as the years went by, director's began to employ new and untried techniques in their pictures. One such technique which these director's implemented was a new approach to the use of the camera and camera angles. "Casablanca," an Academy Award winning film of 1942 saw director Michael Curtiz manipulate the camera in ways others had not. He uses the close-up, point-of- view, and creative shot motivation methods in his film starring Humphrey Bogart and Ingrid Bergman, to create an American cinema classic.
Yojimbo (Kurosawa, 1961) presents an overall stronger story than A Fistful of Dollars (Leone, 1964) as it focuses less on the action sequences on more on character development. In particular A Fistful of Dollars (Leone, 1964) appears to depict some of the more meaningful scenes with an excessive amount of swashbuckling that ultimately detracts from the significance of particular scenes. This can be seen in the respective scenes of both films when the two factions are sparring with one another near the beginning. With a well positioned point of view, high angle view from Sanjuro’s perspective atop the bell tower, the audience is able to more gauge the hesitance with which both gangs repeatedly charge at each other, only to back off at the last second.
Italian neorealism emerged after World War II, and had profound historical and cultural impacts on society and the film industry. Three specific traits of neorealist style included, but were not limited to: the use of working class characters (non-professional actors); the use of real locations as settings; and open, oftentimes unhappy, endings. In the closing scene from Bicycle Thieves (Vittorio De Sica, 1948), all three of these neorealist elements are present.
People everywhere are yelling in a distinct accent that I have come to recognize in my week here in Italy. As I walk down one of Florence’s many markets with my father, men and women alike are shouting out descriptive adjectives for their products in butchered English. They were just a part of the medley of noises around me. Tourists are laughing and clicking away at their cameras; drivers are slamming doors to their vans after dropping off the merchandise to the vendors. There is an energy in the air. Carts are inches away from each other, packed in one after another as far as my eighth grade eye can see. Looking around I see other American tourists looking annoyed by the enthusiastic salesmen, but I am in my place, shopping. I can’t wait to start buying presents for my family and myself. We had just stopped at a bank that morning and I am eager to spend my new euros. Unbeknownst to me though are the unspoken rules of the market place: bartering.
A classic example of an Italian Neorealism film is Bicycle Thieves (1948). Setting the tone for the rest of the film