Search icone
Search and publish your papers

Italian neo-realism

Or download with : a doc exchange

About the author


About the document

Published date
documents in English
5 pages
0 times
Validated by
0 Comment
Rate this document
  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.

Similar documents you may be interested in reading.

The murderers among us: Post-War German rubble films. The complexities of thematic and visual...

 Arts & media   |  Film studies   |  Term papers   |  04/26/2009   |   .doc   |   9 pages

To what extent the French New Wave may have influenced Canadian direct cinema and cinéma vérité...

 Arts & media   |  Film studies   |  Presentation   |  09/29/2010   |   .doc   |   10 pages

Top sold for film studies

Use game theory to analyze the dilemma faced by Paramount Pictures in setting the release date of...

 Arts & media   |  Film studies   |  Case study   |  04/27/2015   |   .doc   |   3 pages

Sociological concepts in Forrest Gump

 Arts & media   |  Film studies   |  Term papers   |  07/15/2009   |   .doc   |   3 pages