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Italian neo-realism

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  1. Introduction
  2. Popular wall paintings
  3. Painting in Society
  4. Instrumentalization and commodification

The subject of this paper is to introduce the neo-realist genre, specifically the neo-realist cinema of the Italian qualifier used for the first time by the editor, Mario Serandrei. It deals with diabolical Lovers (Obsession, 1942) as described by Luchino Visconti. This new film movement that emerged in the last hours of the Second World War is an heir of the films but also written realistically and naturally. Since the invention of cinematography, the filmmakers strive to create a cinema in touch with reality. Some examples are Vendémiaire (1918) by Louis Feuillade and naturalistic films of Andre Antoine, the Earth (1921) and Swallow and the Chickadee (1920) that foreshadows the Italian neorealist movement. Similarly, some German films dig in that direction. However, these are only isolated initiatives rather than an art school. It was the French Marcel Pagnol, with Angela (1934), and Jean Renoir, Toni (1934), who laid the foundations of comprehensive vocabulary which will be based on the neo-realism, although he specifically Italian roots, show Serpe (1919) Roberto Roberti, Sole (1929) Rails (1929) and Mario Camerini Four steps in the clouds (1942) Alessandro Blasetti. Yet, at the time of onset of neorealism, Italian cinema was limited to non-realistic comedies, melodramas and grandiose fascist propaganda films. Censorship reigned and films conveyed an image of Italy, which corresponded primarily to the will of power: that of a model country, populated only by people who are happy and healthy. This is in response to this thought control that neorealists intend to leave the field of illusion, created by censorship, and establish a profound link with the real world.

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