One of the most influential Italian cinemas film directors was Federico Fellini, who became popular after World War II. The filmography of Fellini included 24 titles; of which won him five Academy Awards including the most Oscars in history for best foreign language film (Encyclopaedia Britannica). Federico Fellini’s influences have became such an integral part of the film industry, that some of his influences are barely even credited to him in todays society such as the word “paparazzi” which originated
Federico Fellini is one of the most important film directors of all time. He created multiple films that expressed the true reality of a Fascist Italy. Italy at the time was under Fascist control, which was similar to that of the Nazi take over in Germany. In his movie 8 ½ Fellini casts Marcello as the lead role, some say that Marcello was portraying a younger version of Fellini. Marcello plays the role of Guido in the film. Guido is a young man who is struggling through a sort of directors block
“The original title of Fellini’s 8 ½ was ‘Beautiful Confusion,’ and Fellini branded his film as a comedy. Anyone who has seen 8 ½ cannot help but laugh at the eclectic and satirical humor that imbues Fellini’s work, but ultimately the feature does not come off as comic,” (Horak). While certain critics (such as Horak) argue that Federico Fellini’s 8 ½ (1963) evokes partial tragedy, one could dually aver that the film epitomizes a classical, “bathos” model; everything within the work, even the dramatic
Before I get into all of the horrible things the paparazzi has done, let me enlighten you on how the paparazzi came to be. Before the term paparazzo was coined in Italy, by an Italian film director named Federico Fellini, people saw the paparazzi as simple press photographers. In 1960 Fellini was directing a movie called “La Dolce Vita”, and in his movie there was a character who was a press photographer named Paparazzo. In Greg Brian’s article, a published Yahoo author, he describes how the character
“Anna Magnani stars as a resourceful working-class Roman mother trying to overcome her unfortunate past to give a better life to her children, even as outside threats threaten everything she has worked so hard to build.” This vague framework could easily describe both Roberto Rossellini's neorealist war drama Rome, Open City and Pier Paolo Pasolini's irreverent rebuke Mamma Roma. Rome, Open City concerns itself with the devastation the Italian people faced at the hands of their German occupiers and
after the war served as an ideal backdrop for many neorealist films. The city served as its own misé en scene, and the directors shot in available light, employing real civilians as actors, and adding dubbed dialogue in during post production.[3] Federico Fellini stated that Neorealism is 'Not about what you show, but how you show it. It’s simply a way of looking at the world without preconceptions or prejudices.[9] The movements style is similar to that of the Soviet montage movement, in that the directors
In 1922, Benito Mussolini became the official head of the Fascist regime in Italy. Mussolini is quoted as saying, “the cinema is the most powerful weapon”, although his government did not immediately interfere with the commercial industry (Bondanella, pg. 22). It was not until 1934, under the director Luigi Freddi, that fascism became greatly involved in Italian cinema. However, after the end of World War II and the fall of fascism, Italians wanted to forget about the Fascist years so many of 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
Bordwell and Thompson define the art film as "a film which, while made under commercial circumstances take an approach to form and style influenced by "high art" which offers an alternative to mainstream entertainment" (1). Like avant-garde film making, this style offer the audience with a movie that takes glory in cinemas stance as a modern art form, for art house films are not just intended to be entertaining, they are designed to be imaginative. Shekhar Kapur's 1998 film 'Elizabeth' presents
“La Vita e Bella,” which translates in “Life is beautiful,” is an incredible Italian movie. This movie initially take place in Italy towards the end of World War II. It focuses less on Italian culture and more on Jewish-Italian culture. The film is in all Italian, but there is a little German towards the end of the movie. Overall, this movie made me laugh, cry and than laugh again. Linguistically, I learned that Italians speak extremely fast. I didn’t know much of what they were saying, other
recurring themes that it was made by a certain director. In auteur films, the director is many times what brings an audience to the theater, instead of the actors or storyline. I am going to take a look at three of the most noted auteurs: Frederico Fellini, Satyajit Ray, and Alfred Hitchcock. I watched five of Frederico Fellini’s films: La Dolce Vita, 8-1/2, Juliet of the Spirits, La Strada, and City of Women. In all of these films, I noticed Fellini’s enormous use of imagery, which of course he
beyond which we are not permitted to make any suppositions, any affirmations about our existence. Everything is what we call psyche, beyond which we are not permitted to make any suppositions, any affirmations about our existence.” This is what Fellini answered about dreams to Gideon Bachmann during an interview. And it is the dream-like idea of Fellini’s cinema in Roma as well. To enjoy Roma we need to be subjected to the city in its brief moments and not try to rationalize, it would be useless
Italian Neo-Realism Italian Neorealism has often been referred to as the “Golden Age” of classic Italian cinema. These neorealist films were evidence of the cultural change in Italy after World War II. Traditionally these films presented a contemporary story which was often shot in the streets due to the destruction of the film studios that were significantly damaged during World War II. In DeSica’s 1952 film Umberto D. you see postwar neorealist everyday life. Umberto Domenico Ferrari is an elderly
Roberto Rossellini, the director and writer of Germania Anno Zero, portrayed the hardships and consequences the German people faced after World War II and the lifestyle of a collapsed state. From actual footage of Berlin reduced to rubble to the questionable choices that had to be made in order to ensure the survival of their family or themselves, these remarkable scenes are a sharp contrast to the message behind Hitlerjunge Quex which showed the valor and superiority of those who followed Hitler
The French film critic Andre Bazin wrote of Vittorio De Sica,"To explain De Sica, we must go back to the source of his art, namely, his tenderness, his love. The quality shared in common by Miracle in Milan and The Bicycle Thief...is the author's inexhaustible affection for his characters." Born in 1902 in Sora, near Rome, Vittorio De Sica spent his early years in Naples. His father, Umberto De Sica, was a bank clerk and former journalist who knew many show business people and used these contacts
In what ways do two films you have studied on the course support or contest the view that film genres are hybrid and in constant evolution? Neorealism is a national film movement integral to Italian cinema. The end of World War II and the loss of the Italian film industry’s centre signalled the start of ‘The Golden Age of Italian Cinema’. In a shattered nation, Italian filmmakers attempted to capture the hardship of everyday life and a changing society. Over the decades, neorealism’s roots still
To begin with, the occurrence of melodrama in these canonical neorealist films may seem surprising, because neorealism is often classified as a reaction against the melodramas of the time. Before the Second World War, Italian melodramas, created in an attempt to steer the Italian public away from imported American films, dominated the market at all levels and in all regions in Italy. These films followed classical narrative techniques and did little to reflect the reality of working class Italians
Italian Neorealism was a movement in film from 1944-1952. This paper will focus on three influential directors and their films. To understand Italian Neorealism and the movement as a whole, it is important to note the birth of it. During the 1930’s cinema in Italy was an entire different movement, which represented a completely different idea than that of Neorealism. “Moreover, the bulk of the films produced during the era, including the so-called telefoni bianchi (upper-class comedies named for
The film Rome Open City takes place in Rome in 1943 during the occupation of Rome by the Nazis. The majority of the characters in this movie partake in the resistance movement against the Germans in their occupation. Because this film was set in such a violent part of history, it is very graphic; many of the conditions endured by the characters were what actual people underwent. Though the circumstances were grave and the characters were forced to overcome numerous obstacles, they were still able
In Italy, post-World War II, a new film movement emerged amidst the collapse of the Mussolini regime, the desecration of a city and its historical landmarks, changes to social order and significant loss of life. Italian Neorealism embraced the harsh, impoverished and oppressive conditions being experienced by ordinary people trying to return to some normality (Film Reference 2015). Seizing an opportunity to discard popular Hollywood formula movies directors such as Roberto Rossellini, Vittoria