Italian Neorealism In Italian Cinema

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Italian neorealism which is also known as the “Golden Age of Italian Cinema”, was a national film movement characterised by the stories set among the poor and working Italian class, mostly filmed on location and frequently using non-professional actors. Italian neorealism films mostly dealt with the difficult economic and moral conditions of post-war Italy, representing changes in the Italian mind and conditions of daily life, including the issues of poverty, oppression, injustice, and desperation. In this essay, I am going to talk about this movement, its rich history, the impact it had on cinema, some significant work and the things from this movement which have inspired me as a filmmaker.
The neorealist movement started in Italy towards
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As the magazine was kept away from explaining administrative issues (the article supervisor in-leader of the magazine was Vittorio Mussolini, offspring of Benito Mussolini), the observers ambushed the Telefoni Bianchi films that directed the business at the time. As a counter to the predominant standard motion pictures, a couple of observers felt that Italian cinema should swing to the logical thinking creators from the turn of the twentieth century. Antonioni and Visconti had worked intimately with Jean Renoir. Furthermore, a significant number of the movie producers associated with neorealism built up their aptitudes taking a shot at calligraphist films (however the fleeting development was uniquely not quite the same as neorealism). Components of neorealism were also found in the movies of Alessandro Blasetti and the narrative style movies of Francesco De Robertis. Two of the hugest antecedents of neorealism are Jean Renoir's Toni (1935) and Alessandro Blasetti's 1860 (1934). In the spring of 1945, Mussolini was executed and Italy was freed from German occupation. This period, known as the "Italian Spring," was a break from old ways and a passage to a more reasonable approach of making films. Italian film went from using elaborate studio sets to shooting on area in …show more content…
The youngsters assume a key part in this, and their presence toward the finish of the film is characteristic of their part in neorealism all in all: as eyewitnesses of the troubles of today who hold the way to what's to come. Vittorio De Sica's 1948 film ‘The Bicycle Thief’ is also an illustration of the genre, with unprofessional actors, and a story that depicts the hardships of average workers’ life after the

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