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Cinematic characteristics of the italian neo-realist film movement
Cinematic characteristics of the italian neo-realist film movement
Italian neorealism style
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Stolen Children is a Gianni Amelio’s magnum opus and a tragic salute to neorealism. The film follows a carabinieri, Antonio, who was assigned to escort two southern orphans in northern Italy to a Catholic orphanage, but when that proved to be unsuccessful, he took it in his hands to escort the children back to southern Italy. Gianni, much like De Sica, explores the issue of failed institutions that are fundamental to a contemporary society or an individual in need of help. When these central institutions, such as the church or law, begin to deteriorate, so does the community that relies on them. He also makes a point of criticizing post-modern institutions, such as the role of media in current society and its socio-cultural impact. This criticism begins the fundamental conversation, postmodern society should concern itself with to improve one’s present civilization.
Amelio places an immense focus on intertextuality in this film as an homage to the end of the neorealistic era. He particularly references one of the leading figures of the neorealistic movement, Vittorio De Sica, and his film Bicycle Thief. The title, Stolen Children, and the main character’s name, Antonio, are an allusion of Bicycle Thief. Through Amelio’s choice of allusions,
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Amelio exhibits the stereotypical opposition between the north and the south through the voyage. The film begins in the housing projects of suburban Milan and ending in Gela on the southeast coast of Italy. There is an untold tale that takes place before the beginning and that is the parent’s trek on the “path of hope” (Marcus 158). This is the expedition of Sicilian immigrants looking for a better life in the industrial centers of Milan. The family’s life in Milan before the arrest is a saga of disappointment, alienation, and
What I am interested in is how the notions of metafiction and neorealism work in Calvino's narratives. Undoubtedly, as I have established earlier, it is not possible to label his work as falling into either one or the other generic category. Rather, I would say that both neorealist tendencies and metafictional elements work to make Calvino's short story. Antithetical as these two notions are in ...
Young adults are losing their childhood innocence; replacing it with the world of adulthood. The most reoccurring theme throughout the book, Lullabies for Little Criminals by Heather O’Neill is the loss of innocence. The protagonist named Baby, lives with her father, Jules who is a heroin addict. Jules and Baby are constantly moving to different apartments in Montreal, where Baby is exposed to drugs, juvenile detention and forced into prostitution by her pimp. Baby experiences many obstacles in her life at the age of thirteen because she doesn’t have a father that loves her enough to guide her into the right path of life. Therefore it did not take long for Baby to lose her innocence.
This analysis will explore these cinematic techniques employed by Pontecorvo within a short sequence and examine their effects on our understanding of the issues and themes raised within the film.
The Great American Orphan Abduction is a compelling story that exploits economic, religious, racial, and gender issues in the early 20th century. It follows the story of forty Irish-Catholic orphans from New York being adopted by Mexicans in a small Arizona mining town. These children were considered ulcers to society in the city and were mostly children whose parents were too poor to care for them. The Foundling had visions of a better future for the children out in Arizona. Orphan trains transported the children West and were facilitated by their Catholic nun caretakers. Both racial and gender factors led to posses kidnapping the children from their new homes. The Anglo townspeople did not like the idea of white children being placed in non-white homes. The Arizona Territorial Supreme Court ruled in favor of the Anglos in the trial that followed. Their reasoning was that allowing white children to be adopted by Mexicans was equal to child abuse. Gordon’s analysis shows that women were not as passive in public affairs as some would assume. Mexican women adopted the children, and Anglo women had a hand in the kidnapping and mob activity. Gordon spotlights lessons showing that women had a role in separating racial boundaries. The tragedy of the
James Garbarino (1999) discusses the boys who are lost and ways that they can learn to see again in his book Lost Boys: Why Our Sons Turn Violent and How We Can Save Them. He takes an in depth look at what he calls the "epidemic of youth violence" in America in order to determine its causes and origins. By gaining an understanding of the problem, Garbarino hopes to be able to ascertain some sort of solution. He provides useful advice and insight about steps we as a society can take to ensure our boys do not become lost. In order to develop Garbarino’s ideas in my mind, I thought it would be interesting to apply some of his points he makes in his book to a case. I chose to write on the two main characters, Derek and Danny, in the movie American History X. I will provide a brief summary of the movie, followed by an extensive examination of the characters, using Lost Boys as a critical lens. First I will discuss the importance of viewing the boys lives in their entirety rather that isolating one incident. I will then look at the risk factors and the racial implications involved in Derek and Danny’s life. The next two sections will focus on the lack of a father figure and the powerful influence Derek has as a result of the absence of a father. Then I devote a short section to Garbarino’s idea of affirmation instead of discrimination and how this could have helped Derek and Danny. Before concluding, I take into account psychologist James Gilligan’s ideas on violence and how they apply to this case. In my conclusion, I look at Garbarin...
Vittorio De Sica’s greatest neorealist film was Bicycle Thief. De Sica’s Bicycle Thief combines all of th...
Between the years of 1976 to 1983, the period known as the ‘Dirty War’ was in full force in Argentina. During this period, thousands of people mysteriously went missing, and are referred to now as the ‘Disappeared’. It is believed that many of the disappeared were taken by agents of the Argentine government, and perhaps tortured and killed before their bodies were disposed of in unmarked graves or rural areas. Whenever the female captives were pregnant, their children were stolen away right after giving birth, while they themselves remained detained. It is estimated that 500 young children and infants were given to families with close ties to the military to be raised. Within this essay I would like to touch on the brief history of the Dirty war and why the military felt it was necessary to take and kill thousands of Argentina’s, and also the devastating affects the disappeared, and stolen children are having on living relatives of those taken or killed. It is hard to imagine something like this happening in North America relatively recently. To wakeup and have members of your family missing, with no explanation, or to one day be told your parents are not biologically related is something Argentina’s had to deal with, and are continuing to face even today.
The Godfather is the “dark-side of the American dream story” (Turan, pp2). The film follows the practices of a fictional Italian mafia family, the Corleone’s. Though most Americans do not condone the practices of the Italian mafia, they cannot deny that Francis Ford Coppola’s The Godfather is a cinematic masterpiece. This film gave insight to a mysterious way of life that the average person does not have knowledge of. As the audience is educated about the mafia they also are introduced to many stereotypes.
The scene is set in Lima, Peru, in 1714. One afternoon, an ancient bridge broke sending five people to their deaths. Brother Juniper, a Franciscan monk, witnesses this catastrophe and believes he can prove the existence of divine intervention. The first person is the Marquesa de Montemayor along with her servant and companion, Pepita. The Marquesa’s love for her daughter is not returned which sends her into a state of borderline psychosis. She begins to drink heavily and neglects to take care of the most important things in her life. One night while Pepita lay sleeping, the Marquesa is struck with the realization that her love for her daughter is a selfish love and she decides to renounce this love and begin a new life. Esteban and Manuel are orphaned twins found on the steps of a convent and raised by Maria del Pilar. When Manuel dies of an infection, Esteban is in despair and is about to embark on a new life with Captain Alvarado when he crosses the bridge. Camilla Perichole did not die on the bridge but was a victim nonetheless. Uncle Pio, friend and confidant of the Perichole, takes her son to educate him in the Arts and literature. The two never make it across the bridge. The Perichole is a famous actress who plays an important role in the story. “She is the axis, as it were, around which everything turns”(Stresau 23). She weaves the threads of the story together with her “passions and perversities”(Fadiman 338). The Perichole is a very selfish woman who indirectly causes the death of Manuel, Esteban’s brother, by destroying his will to live. When Manuel falls in love with the Perichole, the love the brothers' share becomes tainted and is forever destroyed. The only time that Manuel admits this is when he is in a state of such pain, he lashes out:
Short stories have particular settings to supplement their themes. The eerie catacombs during a carnival in “The Cask of Amontillado” supplement the themes of revenge, and deception, which the protagonist takes responsibility in; whereas in “Hills Like White Elephants”, the atmosphere around the Spanish train station emphasizes the themes of miscommunication between characters and their evasion of responsibilities.
Think about your favorite movie. When watching that movie, was there anything about the style of the movie that makes it your favorite? Have you ever thought about why that movie is just so darn good? The answer is because of the the Auteur. An Auteur is the artists behind the movie. They have and individual style and control over all elements of production, which make their movies exclusively unique. If you could put a finger on who the director of a movie is without even seeing the whole film, then the person that made the movie is most likely an auteur director. They have a unique stamp on each of their movies. This essay will be covering Martin Scorsese, you will soon find out that he is one of the best auteur directors in the film industry. This paper will include, but is not limited to two of his movies, Good Fellas, and The Wolf of Wall Street. We will also cover the details on what makes Martin Scorsese's movies unique, such as the common themes, recurring motifs, and filming practices found in their work. Then on
After Scorsese’s father asking him a question about a character, a young Martin raised his fingers to make an impression of him shooting a gun. This image is one of the most memorable images in Scorsese’s film Taxi Driver, where we see Robert De Niro repeating the same image pointing to his temples. This image is shown at the height of the film. When Scorsese got a television at home, no more did he have to leave his house to engross himself in the most recent movie best seller. Already we can see Scorsese’s love of filmmaking from an extremely young
Don DeLillo’s ‘Videotape’ is a short story of man who is absolutely captivated by some footage on the news that can be described as both, raw and shocking. The footage is being repeatedly played over and over. It depicts a young girl with a camcorder travelling in the backseat of her family’s car who happens to be filming a man driving a Dodge behind them. She continues aiming the camera at the man and filming until, suddenly, he is shot and murdered. The man watching the tape at home is clearly mesmerized and fascinated with the footage to the extent that he was trying to get his wife to watch it with him. This story portrays society’s utter fascination of shocking and disturbing content relating to death and other horrible events unless they themselves are involved. This, along with other characteristics, clearly suggests that “Videotape” is a piece of postmodern literature. This report will analyze and describe why “Videotape” belongs to postmodern literature through the in-depth analysis of the selected passage and a brief breakdown of the story as a whole.
Bisacquino is a small commune in the Province of Palermo. At the turn of the 20th century, a Bisacquino-native family of 9 immigrates to Los Angeles, California. After the death of the father and the son’s return from the First World War, the family’s future seems to blend with those of their Sicilian refugee neighbors. But with what can only be expressed as luck and the American Dream, the son, Francesco Rosario Capra, becomes the first director to win all five top Oscars for his film It Happened One Night in 1934 in the midst of the United States’ Great Depression (Frank Capra, Director). In 1931, historian James Truslow Adams published the Epic of America, coining the term American Dream. He defines the idea as the hope for a “better, richer, and happier life” without regard for initial economic position, the concept starting as far back as the Puritans and their search for ‘the city upon a hill’ (Meacham 1). While Frank Capra acts as the poster child for the American Dream, not all writers of the Great Depression depicted their ideas in the same positive lighting. John Steinbeck,
In this essay I will look at the emergence of Italian neo-realist cinema and how Italian Neo-realism has been defined and classified in the film industry as well as how its distinct cinematic characteristics could only have been conceived in Italy and how these characteristics set the neo-realist style apart from other realist movements and from Hollywood.