Italian Neorealism
explanatory Essay
1434 words
The aim of this report is to discuss Italian Neorealism (Neorealismo); looking at how the movement played a significant element in European cinema during and after the times of Benito Mussolini’s fascist regime. The report not only looks at how but why Neorealism became a growing phenomenon for filmmakers during its debatable 10 year period, and what implication of messages these Neorealist directors were trying to send out through their films. Backed up by several reliable book sources, the evidence for this report will also highlight the influences Neo-realism has created in modern filmmaking today.
Before the dawn of Neorealism, Italy was under great turmoil in the early 1920s suffering from major economic crisis, bank failures and a collapsing government, which would also mean a collapse in the Italian film industry and the ‘Silent Era’ of cinema (Roberts, 2005). When Benito Mussolini took control as the 40th Prime Minister of Italy in 1922 the revival of Italian cinema would be once again be relived, but this time ruled under the control and guidance by Mussolini and his fascist government (Bondanella, 2001).
It was not until the mid 1930s that the brutish dictator truly recognized the potential power of media, where in 1935 a special funding was given to the production of Italian films which was used to open up film institutions like the ‘Centro Sperimenale di Cinematografia’ (CSC) film school, and ‘Cinecitta’ (Cinema City) studios in 1937 (Ruberto and Wilson, 2007). The development of these institutions sparked the appearance of early sound cinema, specializing in genres such as comedies, melodramas, musicals and historical films, but were all categorized as ‘propaganda’ and ‘white telephone’ films by many critics due...
... middle of paper ...
...echoslovak New Wave, Denmark’s Dogme 95, and British Social Realism, which all can be seen as notable influences from that of Italian Neorealism.
Works Cited
Roberts, J. (2005), Benito Mussolini, Minneapolis: Twenty-First Century Books.
Bonandella, P. (2010), Italian Cinema: From Neorealism to the Present (3rd edn), London: The Continuum International Publishing Group Ltd.
Ruberto, L.E. and Wilson, K.M. (ed.) (2007), Italian Neorealism and Global Cinema, Detroit: Wayne State University Press.
Reich, J. and Garofalo, P. (ed.) (2002), Re-viewing Fascism: Italian Cinema, 1922-1943, Indiana: Indiana University Press.
Landy, M. (2000), Italian Film, Cambridge: Cambridge University Press.
Sorlin, P. (1996), Italian National Cinema 1896-1996, London: Routledge.
Shiel, M. (2006), Italian Neorealism: Rebuilding the Cinematic City, London: Wallflower Press.
In this essay, the author
- Explains the aim of this report is to discuss italian neorealism, looking at how the movement played a significant element in european cinema during and after the times of benito mussolini’s fascist regime.
- Explains that italy was under great turmoil in the early 1920s suffering from major economic crisis, bank failures, and a collapsing government. benito mussolini took control as the 40th prime minister of italy in 1922.
- Explains that the brutish dictator recognized the potential power of media in the 1930s, when a special funding was given to the production of italian films, which sparked the appearance of early sound cinema.
- Explains the aim of this report is to discuss italian neorealism, looking at how the movement played a significant element in european cinema during and after the times of benito mussolini’s fascist regime.
- Explains that italy was under great turmoil in the early 1920s suffering from major economic crisis, bank failures, and a collapsing government. benito mussolini took control as the 40th prime minister of italy in 1922.
- Explains that the brutish dictator recognized the potential power of media in the 1930s, when a special funding was given to the production of italian films, which sparked the appearance of early sound cinema.
- Compares the harsh reality of war under fascism with the glamour and wealth of what the white telephone films had depicted.
- Explains that the white telephone was a formal iconic feature of italian films during the 1930's. it displayed the opulence, monochromatic luminescence, and social privilege of modern, bourgeois settings/characters/dialogue.
- Explains that fascist ideology used the film industry as a persuasive tool to captivate their audiences into believing false preconceptions about their home nation.
- Explains that after the fall of benito mussolini and his fascist regime in 1943, the italian film industry took a new direction in filmmaking that would soon redefine the true meaning of realism.
- Explains that neorealist films rejected the visual style and working cinema methods created by the fascist and committed to visual realism, which in many ways can be seen as an act of leftism and democracy.
- Explains that neorealism is seen as a historical and cultural influence in cinema today, and as an unique technical art form which helps define the representation of what reality is in films. neorealists broke the traditional film making rules and began making their own unwritten rules.
- Explains that the realism of italian neorealism manifested itself in a distinctive visual style, typified by location filming, the use of non-professional actors, and the avoidance of ornamental mise-en-scene.
- Explains that the use of naturalistic aspects is one of the most essential elements in defining a neorealist film.
- Explains that although neorealism can be defined in terms of its technical characteristics, not all of the neorealist films had followed the same prescribed strategies and techniques as fore mentioned, they all have in common the fact they try to portray similar moods and desire to bring out afflicted emotions.
- Analyzes how neorealist filmmakers focused their attention on pressing problems like poverty, crime, oppression, unemployment, social injustice, and taboo subjects like adultery and prostitution, which explained the unpopularity of the films.
- Explains that neorealism ended in 1954 with la strada (dir. fellini, 1954) as the last known neorealist film, but its significance was influential throughout europe as it continues to be seen in today’s modern era of cinema.
- Explains how the french new wave was inspired by a film magazine called ‘cahiers du cinema’ and the italian influence can be seen by its founders, joseph-marie lo duca and andré bazin.
- Explains that french new wave adopted similar filmmaking principles such as low budgets, shooting on location, natural lighting, non-professional actors with improvised dialogues and the neorealist aspiration of portraying people's everyday lives.
- Cites roberts, j., and bonandella, p. (2010), italian cinema: from neorealism to the present, london: the continuum international publishing group.
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- Explains that italian neorealism is well-known today, but during the actual time of the movement it was quite unpopular. after the war, the people did not want to go to the movie theaters and watch a movie that was exactly like their daily lives.
- Analyzes how vittorio de sica's neorealist films did not suit the time period to become popular. the lack of success deterred them, but that didn't diminish the quality of the movies.
903 wordsRead More - Paint It Black: The Evolution of Film Noiranalytical essayClassic film noir originated after World War II. This is the time where post World War II pessimism, anxiety, and suspicion was taking the world by storm. Many films that were released in the U.S. Between 1939s and 1940s were considered propaganda films that were designed for entertainment during the Depression and World War II. During the 1930s many German and Europeans immigrated to the U.S. and helped the American film industry with powerf...
In this essay, the author
- Explains that classic film noir originated after world war ii, when pessimism, anxiety, and suspicion took the world by storm.
- Analyzes how the aesthetics of film noir are synonymous with german expressionism. the venetian blind shadows in the cabinet of dr. calgary give the film a surreal look.
- Explains that some cinematographers light only half of certain characters to show their emotion or lack there of. location shooting and night-for-night shooting were the norm on a noir set.
- Explains that classic film noir originated after world war ii, when pessimism, anxiety, and suspicion took the world by storm.
- Analyzes how the aesthetics of film noir are synonymous with german expressionism. the venetian blind shadows in the cabinet of dr. calgary give the film a surreal look.
- Explains that some cinematographers light only half of certain characters to show their emotion or lack there of. location shooting and night-for-night shooting were the norm on a noir set.
- Analyzes how the audience's hero is often the anti-hero in the world of the film. the diegeses of most noirs were non-linear and plot twisting.
- Analyzes how film noir emerged from a bleak and desolate time for people to offer an alternative perspective of the real world. after world war ii, films were no longer on the sunny side of life.
- Explains that voices in the dark: the narrative patterns of film noir, urbana, university of illinois press.
- Explains that film noir is a term used in cinema to describe visually styled crime dramas.
- Analyzes how film noir has changed since the maltese falcon. it explores the small dark side of america by capturing feelings, emotions, and tones of a cluster of people.
- Explains naremore, silver, and ursini's book, film noir reader 3: interviews with filmmakers of the classic noir period.
1564 wordsRead More - Italian Neo-Realism Cinemaanalytical essayIn 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.
In this essay, the author
- Analyzes how italian neo-realism has been defined and classified in the film industry and how its distinct cinematic characteristics could only have been conceived in italy.
- Explains that the italian neo-realist movement emerged with the fall of mussolini's fascist regime in 1943 and was able to completely establish itself after the end of world war ii.
- Explains that neo-realism is a film that focuses on life among the poor and the working class. its subject matter is mostly on location, and its performances are constructed from mundane day to day activities and tasks.
- Analyzes how italian neo-realism has been defined and classified in the film industry and how its distinct cinematic characteristics could only have been conceived in italy.
- Explains that the italian neo-realist movement emerged with the fall of mussolini's fascist regime in 1943 and was able to completely establish itself after the end of world war ii.
- Explains that neo-realism is a film that focuses on life among the poor and the working class. its subject matter is mostly on location, and its performances are constructed from mundane day to day activities and tasks.
- Explains that early neo-realist films such as rossellini's ‘rome open city’ (1945), which received the grand prize at the cannes film festival, contained many of these elements.
- Analyzes how roma città aperta continued many of the stylistic characteristics of cinema produced during the fascist era, but it embodied, at the same time, an antifascial ideology that attempted to reconcile all the different and conflicting political positions
- Analyzes how rossellini maintained his reversal of occupation era expressionism by keeping his primary focus on the character pina (anna magnani).
- Analyzes how 'rome, open city' combined the cinematic elements of the old german dominated realism and the new budding italian neo-realist cinema.
- Explains that children are often cast in neo-realist cinema to create a character for all audiences to sympathise with and as symbol for the future generations.
- Analyzes how ‘rome, open city’ features the clearest link between neo-realism and the resistance movement.
- Analyzes how visconti uses complex shots and long takes to convey the dismal world of his characters and how they interact with the world.
- Analyzes how the lack of professional actors in "the bicycle thieves" adds a gritty texture of realism to the film.
- Explains that de sica was the only director of the neo-realist movement who grew up in poverty. his films show the hardships that the italian people suffered during the immediate post war period.
- Concludes that neo-realism was a product that only post-war italy could have produced with its unique transition from german expressionist cinema to what is now known as neo-realistic cinema.
- Cites associated press's lamberto maggiorani obituary, which was published in the new york times.
1864 wordsRead More - I'm Not Scared by Niccolò Ammanitianalytical essayThe proscription from any domain of memorable works may be due to a major problem both in the novel and film: the ambiguous point of view adopted. The novel is geared for a transposition to the screen. It is no coincidence that the film was scripted by Niccolò Ammaniti, who adapted ...
In this essay, the author
- Analyzes how niccol ammaniti's novel and gabriele salvatores' homonymous film "i'm not scared" gained a conspicuous readership/spectatorship by travelling into the publicity-wagon of international distributors.
- Analyzes the suspenseful plot and exploration of the young protagonists' fears at coping with a habitat they must disavow. the problematic lack of depth in the novel and film lies precisely with its overly schematic construction.
- Explains the proscription from any domain of memorable works may be due to a major problem both in the novel and film: the ambiguous point of view adopted.
- Analyzes how niccol ammaniti's novel and gabriele salvatores' homonymous film "i'm not scared" gained a conspicuous readership/spectatorship by travelling into the publicity-wagon of international distributors.
- Analyzes the suspenseful plot and exploration of the young protagonists' fears at coping with a habitat they must disavow. the problematic lack of depth in the novel and film lies precisely with its overly schematic construction.
- Explains the proscription from any domain of memorable works may be due to a major problem both in the novel and film: the ambiguous point of view adopted.
- Explains that salvatores' book, "i'm not scared", is a work of fiction, based on his work with the director of photography, italo petriccione.
- Asks whether it's a sustained effort to report on the world from the viewpoint of children or adults disguised through the eyes and minds of pre-teens. the question is begged by what makes such ambiguity problematic.
- Analyzes how ammaniti struggled to explain what made "i'm not scared" appealing to different readers, and concluded that it delves into practical psychological tensions that almost any reader can identify with.
- Analyzes how ammaniti inserts common literary references and allusions to films in resemblance of a hotchpotch worth of most popular standard comic books.
- Narrates how jesus was making lazarus look a fool when he told him to rise and walk, especially if you're dead. jesus shook and bit him, leaving the dead alone.
- Analyzes how the narrator is unreliable and intrusive at the same time, and even omniscient at times.
- Narrates how they dreamed about monsters when they were small, but as an adult, they can't foil them anymore.
- Analyzes how michele overcomes lazarus' fears to save filippo's life. the narrator admits to being an adult.
- Analyzes how ammaniti and salvatores have avoided such ambiguity in the film. the film's concern is not depth of vision or feeling but an evenly paced narrative scored at regular intervals by a soothing quartet.
- Analyzes how salvatores and ammaniti have chosen to run in the middle of a forked path out of what appears to be marketing need to appeal to broader readers/spectators.
- Compares the memorial-tablet-like place given to the year 1978 in the book and movie, and the utter lack of reference to contingent and relevant events taking place.
- Analyzes how einaudi's novel, in its appeal and impact, represents a rare hybrid of serious literature and potboiler, of rite-of-passage classic and read-right-away pulp.
- Opines that bruni, frank, "whatever you do, little boy, don't look down," new york times, april 4, 2004.
- Explains that cohen, keith, ed., writing in a film age: essays by contemporary novelists, university press of colorado, 1991.
- Describes ginsborg, paul, a history of comtemporary italy: society and politics 1943-1988.
- Analyzes salvatores, gabriele, and perf. giuseppe cristiano and diego abatantuono.
- Narrates how a north american distributor's employee who attended the toronto 2003 release of the film, referred to the audience gathered in the first-rate theatre for its premiere.
- Explains that the scribe's enjoyment of both novel and film was limited to such light entertainment.
- Explains that the adolescent or pre-teen novel has never been an italian literary prerogative.
- Explains that the academy awards rejected salvatores' film despite the allegedly unanimous consensus gathered in the home country. the novel is a bestseller within educational circles in north america.
- Explains that the story of lazarus is learned at school from the schoolteacher, signorina destani.
- Analyzes how michele's voice assumes the narration in the initial race held with his neighboring peers. the incipit reads: "i was just about to overtake salvatore when i heard my sister scream."
- Compares pages 155-157, 201-203 of the book with the same scenes in the film.
- Explains that the effects of a filmic memory on the written word have been reason for study/confession of contemporary novelists.
2498 wordsRead More - The Venice Film Festival and the Cannes Film Festivalnarrative essayMartini, G. (2013) I Festival sono ancora necessari?, Spec. Issue of 8 ½- Numeri, visioni e prospettive del cinema italiano (2013).
In this essay, the author
- Describes turan, k., sundance to sarayevo, film festivals and the world they made.
- Explains that film festivals have become an object of study and scholars have written articles and books about their functions and characteristics, but little has been said about the utility, relevance, and impact they have on cinema.
- Explains that the question about the quality of films shown at festivals is central to their academic, professional, and personal interests.
- Describes turan, k., sundance to sarayevo, film festivals and the world they made.
- Explains that film festivals have become an object of study and scholars have written articles and books about their functions and characteristics, but little has been said about the utility, relevance, and impact they have on cinema.
- Explains that the question about the quality of films shown at festivals is central to their academic, professional, and personal interests.
- Describes the titles of the films that were screened at the venice biennale, including: cinquant'anni di cinema a venezia.
- Cites de valck, m., strauss, a.l. and glaser, b.g.
931 wordsRead More