Italian neorealism

the rest? How can one film connect to many people around the world and appeal to their emotions in an immense way. With the use of the Italian Neo-Realism films did just that. This movement allowed filmmakers to represent life as it is lived by the people. Normal people were given to chance to watch real world problems on the big screen. The movement Italian Neo-Realism was born at the end of World War II. During this time Italy was going to through major changes in society, these changes were also effecting the world of cinema. Filmmakers used cinema to spread messages and portray real life problems. A great example of how cinema used neorealism to spread message is through the movie The Bicycle Thieves.…

Italian neorealism is a style of filming in Italy after World War II, created by a concern for social issues and often shot on location with unexperienced actors. Truth a very important opinion of Italian neorealism because truth makes a film realistic. This can be seen through the truth of the characters, lighting, location, decoration, and camera angles and editing. The storyline being as simple as the search for a bicycle. Likewise, the actual characters in the film are everyday normal…

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…

ANTONIONI IN NEO-REALISM ITALIAN CINEMA Introduction The Italian neorealism is a film movement characterized by stories set amongst the poor and working class, filmed on location, frequently using nonprofessional actors for secondary and sometimes primary roles which lasted from about 1943 to 1952. According to Piepergerdes (2007) assert that the “emerging out of the ashes of Fascism, Italian Neorealist films were inexorably tied to the social, political, and economic reorganization of the…

The two post World War Two movements that affected the development of film narrative and style were neorealism and the new wave. Neorealism was not as original as historians once thought, but it did create a distinct approach to fictional filmmaking that had an enormous influence on cinema in other countries (FH 330). One of the most vivid Italian films to represent postwar suffering was Vittorio De Sica’s Ladri di biciclette (The Bicycle Thief) in 1948. This story is of a worker whose…

Italian neorealism also known as the Golden Age of Italian Cinema, is a national film movement that helped shaped the 1948 Vittorio De Sica’s film The Bicycle Thieves. Familiar to Italian neorealism, they story follows Antonio a character amongst the poor and the working class. Neorealism is a strong aspect to the film because of the use of being filmed on location and often using nonprofessional actors that are going through post World War II tough economic and moral conditions. The conditions…

In contrast, Giuseppe Tornatore’s Cinema Paradiso illustrates cinema as a modern social force. From the beginning of the film until the 7.00 minute mark, we see a clay pot on a ledge. Beyond it is the blue sea, the Mediterranean. Camera backs slowly as credits reveals a doorway, a bowl of lemons on a table. Then we hear an older woman's voice on the telephone. "Yes, Salvatore de Vita." The older woman moves into the frame. She identifies herself as his mother. She gains no information. Shot…

The Image of the Woman Through the Neo-Realist Lens The image of the woman in Italian neo-realist cinema was controversial in nature and driven by visual pleasure and a modern attitude of sexuality. The image of the woman, though, was a dynamic component of cinema that did not remain stagnant. From the demure and homely character of Maria of The Bicycle Thief, to the progressive Sylvia of La Dolce Vita who carried an adventurous auroa - unafraid of spontaneous sexual escapades. The sexual…

Competent Italian filmmaker, Matteo Garrone, who over the last few years has been giving us memorable films such as “Gomorrah” and “Reality”, hauls us into three Baroque tales from the 17th century, in which the real and unreal go hand in hand. The director, who exquisitely and efficaciously brings in mystical elements and dreamlike sequences, mixing them with the ethereal music by Alexandre Desplat, combines fulgurant medieval settings to host the odd stories, loosely adapted from the…

I believe the term “minimalism” used in this context is derived from the zeitgeist of Italian cinema — and society in general — during the the post 1960s and 1970s era in which “social unrest” pushed new directors to try to “distance themselves from controversial socio-political subjects.” Additionally, in Laviosa’s article, it is said that this move away from political and moral cinematic themes meant a move towards “profit making TV projects,” in the 1980s. During the 1980s this meant that new…