Italian neorealism also called the Golden Age of Italian Cinema, is a national film movement portrayed by stories set amongst poor people and the regular workers, filmed on location, frequently using non-professional actors. Italian neorealism movies for the most part fight with the troublesome financial and good states of post-World War II Italy, representing changes in the Italian psyche and conditions of everyday life, including poverty, oppression, injustice and desperation. It mirrored the changing styles and states of mind of silver screen after WWII. Not just did Neorealism impact the way fictional movies were delivered in Italy, additionally in different nations too. While Neorealism served as a model for many of the films produced …show more content…
In A Short History of Film, Wheeler Dixon and Gwendolyn Foster credit the early female movie producer who worked in the 1920s named Elvira Notari as the "unheralded creator of Neorealist silver cinema" by indicating out the way she shot on location, concentrated on genuine individuals of the lower classes, utilized untrained on-screen characters, and in general the political slant of her narratives. These traditions initially seen in Notari's movies would later be adopted by the Neorealist directors working after WWII. This happened in Italy after WWI in blend with a resurgence of unrestrained ensemble pictures and the strongman movies. Strongman movies were movies made in Italy highlighting solid men so as to lift trust and present a picture of extraordinary, and maybe misrepresented manliness, and not very realistic by any means. In this way, the cinema in Italy straightforwardly after the principal war mirrored the extremes inside of the nation's general public. The individuals who swung to cinema as a way to get out favored the costume pictures with their over-the-top mise-en-scene. Then again, some cinema, especially those movies that can be named antecedents to the later Neorealist movies, concentrated on the dreary substances that confronted Italy and Europe after trench fighting. In 1923, L'Unione Cinematografica Educativa (LUCE) was framed by the fascist
Many films, and sometimes film genres, are dismissed as being part of the cinema of escapism. This assumes that in times of particular social or economic hardship (often on a national or international level), people go to movies for the sole purpose of “getting away from it all.” While some films may follow this overall trend, it is important to note that it cannot be a generalization made for all films. During the Weimar era in Germany, the nation was in the midst of a national struggle on many fronts. As a people, Germans attempted to deal with their past (the problems during World War I as well as the consequences of their loss) and move toward the future (finding a solution for their economic struggles and defining themselves culturally and socially). This period saw a resurgence of the horror genre, this time adapted to the new medium of film. However, the way horror was portrayed via film is the interesting part: it drew specifically on the struggles of the nation to instill horror. This is an exact reversal of the idea of cinematic escapism, since many Weimar era horror films used relatable struggles in order to both entertain and terrify (in this case, existing concurrently as well as dependently on each other). One of the clearest examples of this is through the film Nosferatu, a cinematic retelling of Bram Stoker’s novel Dracula directed by F.W. Murnau. The budding horror genre of the Weimar era, as exemplified by Nosferatu, succeeded because it drew parallels to the German people’s collective post-World War I mindset, including references to the terrible nature of the war itself and the fearful prospect of how to move forward.
The overall appeal of the cinema to the masses was particularly evident during the interwar era. Audiences worldwide wanted to watch the variety of films, particularly American produced films, and they always went back. The visibly attractive and glamorous Hollywood movies often depicted the success of the underdog over unjust authority. Values of cash over culture were often a theme in the early American films and societies with restricted social mobility, such as those in Europe, could dream of such a triumph. The working class and unemployed could fantasise about wealth, fame and freedom which America as a country was portrayed as offering.
Beginning the mid 1920s, Hollywood’s ostensibly all-powerful film studios controlled the American film industry, creating a period of film history now recognized as “Classical Hollywood”. Distinguished by a practical, workmanlike, “invisible” method of filmmaking- whose purpose was to demand as little attention to the camera as possible, Classical Hollywood cinema supported undeviating storylines (with the occasional flashback being an exception), an observance of a the three act structure, frontality, and visibly identified goals for the “hero” to work toward and well-defined conflict/story resolution, most commonly illustrated with the employment of the “happy ending”. Studios understood precisely what an audience desired, and accommodated their wants and needs, resulting in films that were generally all the same, starring similar (sometimes the same) actors, crafted in a similar manner. It became the principal style throughout the western world against which all other styles were judged. While there have been some deviations and experiments with the format in the past 50 plus ye...
A Bronx tale is a story of a father who tries to win back the love and pride of his son from a showy neighborhood mob boss. In my opinion this film is the best portrayal of work ethic. Lorenzo, played by Robert DeNiro, plays a father who tries to teach his son that discipline and hard work pay off from working, in the long. His son Calogero, played by Lillo Brancato, is exposed to the life of a mob boss Sonny, played by Chazz Palmenteri,, and doesn’t understand why he should live a life of difficulty when he can have a life of luxury. He tries to explain to his son that the men in the community don’t look up to him, but rather they fear him He also tries to make clear that it’s easy to do what he does, but try waking up every morning and working everyday, that’s a real man.
The postmodern cinema emerged in the 80s and 90s as a powerfully creative force in Hollywood film-making, helping to form the historic convergence of technology, media culture and consumerism. Departing from the modernist cultural tradition grounded in the faith in historical progress, the norms of industrial society and the Enlightenment, the postmodern film is defined by its disjointed narratives, images of chaos, random violence, a dark view of the human state, death of the hero and the emphasis on technique over content. The postmodernist film accomplishes that by acquiring forms and styles from the traditional methods and mixing them together or decorating them. Thus, the postmodern film challenges the “modern” and the modernist cinema along with its inclinations. It also attempts to transform the mainstream conventions of characterization, narrative and suppresses the audience suspension of disbelief. The postmodern cinema often rejects modernist conventions by manipulating and maneuvering with conventions such as space, time and story-telling. Furthermore, it rejects the traditional “grand-narratives” and totalizing forms such as war, history, love and utopian visions of reality. Instead, it is heavily aimed to create constructed fictions and subjective idealisms.
Classic 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...
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.
Vittorio De Sica put out two great milestones for Neorealist movement. The quality of the films and the popularity of the films were not directly correlated. The films did not suit the time period to become popular. The lack of success was what deterred Neorealist films, but that did not diminish the quality of the movies. Proven by, the fact, that even today film classes still watch these movies to learn about the many aspects that put together the Neorealist movement
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
The Second World War brought forth not only physical destruction to Germany, but also cultural destruction, particularly in its film industry. The film industry of West Germany, in particular, went under the inevitable control of the United States (US). American films became popular among the West German public, while prominent West German directors and actors chose to leave West Germany to pursue their careers in Hollywood, with many of them becoming highly successful. Yet, it did not take long for West Germany to become self-reliant in terms of reinvigorating its domestic film talents amidst the continued dominance of American films. The economic recovery, West Germany experienced in the mid-1950s, enabled its film industry to produce more domestic film outputs as it continuously featured American films, which enjoyed great commercial success during the period. The domineering control of the US over the distribution of American films in West Germany prompted the West German government to render support to domestic filmmakers – a move supported by the growing economy of the nation that time. Although West German films did not fare well commercially in the domestic market due to the continued dominance of American films in West Germany, international success did follow through the international acclaim of domestic filmmakers, many of them having gained working experience in Hollywood. The emergence of New German Cinema in 1962, through the Oberhausen Manifesto, was characterized by support coming from the West German government, the economic resurgence of the nation and the shift from nonpolitical and positive themes that somewhat denies the sordid political mishaps of Germany prior and during t...
Eurocentrism, a political term coined in the eighties, is often used to denote the historiographical trend that highlights the plight of the westerner as well as pander to European exceptionalism. The 1340s strand of the bubonic plague, referred to as the Black Death, is frequently, and often solely, tied to the impact and toll it brought upon the population of Europe between 1347 and 1350. However, the plague did not originate in Europe, nor was it divine wrath or providence; it was a pathogen that swept the globe, becoming one of the most deadly catalysts in recorded history. The societies that emerged from the Black Death still intact were changed forever as many people responded with greater faith in gods and religion while others pushed
Although in shambles, It did not take long for film to make a resurgence in France. Domestic production was boosted following the introduction of The Centre National de la Cinématographe, a government organization that provided assistance to the industry in the form of loans and training. Imported films, especially those from America, began flowing into France following its liberation by Allied forces, and moviegoers were suddenly exposed to years of new films they had been previously cut off from all at once. As the market for films began to heat up, French filmmakers were presented with two choices; continue producing films adapted from relatively outdated literary works in the classic French tradition, or imitate the Hollywood Studio system of production, creating big-budget features for an international audience with the assistance of the CNC. These contrasting styles of filmmaking...
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.
Italian Neorealism was a nationwide film movement that occurred between 1945-1952. It portrayed the psychological, physical and economical effects that were faced in a Post World War II society. Italian Neorealism was aimed to show the adverse outcomes; including hopelessness, pauperism and inequity — caused by the war.
The film Cinema Paradiso was originated in 1988, it is a drama film that was directed by Giuseppe Tornatore and it’s original title was Nuovo Cinema Paradiso. The film was an inspiring way of exploring Italian Cinema and how it’s importance to viewers it truly is. Salvator, who is the main character looked up to Alfredo as a child, who was his best friend and teacher who taught him everything he knows about film making. In Cinema Paradiso the film dealt with several elements such as scenery, photography, editing, sound, lighting. Cinema Paradiso film showed specific understanding of the Italian and American traditions place in the history of this film. Cinema Paradiso is a film that not only is strong in Italian culture but also shows the significance