European Cinema In Film As Vittorio De Sica's Film

European cinema often finds itself implicated in its era’s political environment; however it could be coerced by States as the Nazi (S.A Mann Brand, 1933) and even Stalin’s regime (The General Line, 1929) or by a Hollywood’s system. Some might think that an inclusive cinema into the political reality reveals more to sociology or history than art; furthermore what is important is the capacity, the subjective touch on realities of our time. The European movies under scrutiny are, each one under a different touch or angle, but nevertheless all refer to a reality, a socio-political reality: As Vittorio de Sica’s film, “Yesterday, Today and Tomorrow” (1964) deals, while the collective films’ approaches likely has enough time to only point it out.

In reality, many had to pretend, looking at their next neighbors knowing their past and especially their own behavior during the Second World War. Europe was moreover dealing with a dramatic de-colonialization and resentments towards the

This reveal a cinema that is manipulated and tailored to vehicle ideologies and/or propaganda. It can only be understood throughout the effect produced by a motion picture, an effect so important that it becomes attractive to treat those films as if it was reality, applying references concerning what Europe also was eager to find: peace, work, family, relationships, politics, social, sexual revolution, feminism and wealth… The critic is not often the only one to blame or to be responsible: numbers of movies intend to go along with the European’s reconstruction machine, pretending as in “Knife in the Water”, to reflect 1960s Poland “reality,” and carry out a message or at least a contents. Within this concept, those movies are reduced to a reflection, a political ideology. This is to say that if any room for a thought, either artistic or political, was considerably restrained. As a result, Yesterday, Today and Tomorrow’s multiple relationships carry out its form and its contents, intimately tight to the reflection theory, a reflection of others.
It is clear discovering those three mid Twentieth century European movies that politics can simply constitute the object, the central idea of the film in a sense where the situations presented are political, societal and economic, fictive or not. A European satire, pressured under the weight of the U.S. Marshall plan and the Soviet Comecon, perhaps