Cinema And Neorealism In Cinema

“Crocicchio” by Ardengo Soffici is a poem written in the era of the historic avant-garde in which Italy was facing a technological revolution; railways, cars and trams were all being transformed and as such the country saw a rise in the Italian Futurist movement. This movement praised all things modern by exploring new forms and technologies, treating them as a spectacle to be revered. The influence of these futuristic ideologies is clear in Crocicchio as Soffici paints a series of pictures of city life characterised by the chaos and activity which he experiences in his passing.

The gangster genre within films in America has accomplished numerous positive criticisms and constant willing audiences due to containing outstanding spectacles and mind-blowing action. The Godfather, being second on the IMDb Top 250 Movies, has set a new popular concept to life within the Mafia from their point of view. Doing so, creating a positive association. Yet within Italy, the same topic contains a complete different view. Movies such as I Cento Passi demonstrate unenthusiastic view by those whom are outside yet negatively affected by those members. Unlike American films, the gangsters are not as often viewed at the protagonist and are the main causes for the problematic events. But how different is Italian Mafia and American

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,

This film was created after the fall of Benito Mussolini’s government, Rossellini wanted to create the film to show the realism and the after effect of the war, the films were created majority on the streets of Rome all the buildings and the infrastructures were damaged the film was well thought out Neorealism was a sign of cultural change and social progress that Italy was going through.

To begin with we view unemployment at its highest in the opening scene where we are introduced to the primary character Antonio Ricci. The director used a low angle medium shot of a man outside standing on a stairway in front of a building, calling out people’s names to offer them jobs. This shot informs the audience that this man has power over any other person in this scene as a result of the position of the camera which automatically makes him look taller and stand out from the crowd. We are able to watch all the struggling people crowding against him in need of a job. Based on the first scene the audience can feel the desperation of the people; they

Article Three – Author: David Bordwell / Title of Article: The Art Cinema as a Mode of Film

Italian Fascism is an authoritarian and nationalistic system of government and social organization, it was the political result of the relationship between socialist and nationalist rhetoric. It is a form of governance which employs intolerant views and practices, advocating traditionalism, interventionism and sameness rather than individualism. In order to promote their totalitarian ideals during the 1930s to 1945 fascist politicians such as Benito Mussolini, who had previously been a socialist newspaper editor, employed propaganda that included virtually all modes of media: the press, posters and film. The widespread dissemination of totalitarian ideals infiltrated into the school system where young Italians born from 1910 to 1935 were taught to “obey and fight.” The purpose of this paper is to analyse the diffusion of the Italian Identity through fascist propaganda from 1922-1943 and the identity that was diffused as a result of the exploitation of Mussolini’s various propaganda mediums. Did fascist propaganda contribute to the diffusion of an Italian identity? If so, what identity was diffused?

“ They rely on a viewer's preconceived idea of how a particular person or ethnic group should act and merely fulfill these expectations. External signs and cues are used to indicate and suggest the veneer of culture. Dress, eating habits, and language accents are exaggerated…” Even though the directors of the movie did not directly refer to Italian Americans, the way they portrayed the characters based on their language, clothes, food and etc. indirectly told the audience that the characters were of Italian background. By seeing this occur in every movie and show, the public got accustomed to seeing Italian Americans as the mafia and failed to recognize that the mafia was only a small percentage of Italian Americans and the rest were just like ordinary people trying to make a better life.

In this Italian neighborhood, where Calogero grew up, there were many different dynamics. His father was a bus driver for the city, and always looked out for his son not to get into trouble. One of the main deviant influences in the film was an Italian mafia that

	Another fine example of neorealism is The Bicycle Thief (1948), written by Cesare Zavattini and directed by Vittorio De Sica. The narrative of this film unfolds in post-W.W.II times. The film is a portrait of the post-war Italian disadvantaged class (the majority) in their search for self-respect. It is a time of struggle for the Italian people, amplified by a shortage of employment and lack of social services. In the first scenes of the film, these conditions are evident as Antonio Ricci (Lamberto Maggiorami) meets his spouse Maria (Lianalla Carell) on his way back home. We see the "men" arguing at the employment "office" as the "women" argue about the shortage of water. Although the director's

The time is the 1900’s and young Paolo Calefati comes from a long line of farmers, who have crafted their trade within the hills of the mountainous village of San Vito. As a thirteen-year-old boy his grandfather passed onto him the family legacy of the Deva before his death. Paolo’s thoughts have always been to remain with his family cultivating the family business and using his gift. However, that all changes when he kills the head of the crime syndicate Donte DelVecchio’s son Lembo for the attempted rape and death of the woman Paolo loves. With a price on his head his father knows there is no other choice except to send the now twenty-one-year-old

Italian neorealism (1945-1953), through directors like Roberto Rossellini and Vittorio De Sica, made its trademark on cinematic history not only in Italy, but also throughout the world. It was films such as Rome Open City (Roma città aperta, 1945), The Bicycle Thief (Ladri di biciclette, 1948), and Umberto D., (1952) whose style of depicting the harsh economic and social realities of the poor and working class of Italy took off as a new cinematic style after World War II. Neorealism is a response to desperate economic situations and often illustrates suffering, poverty, injustice, and/or discrimination. Many argue that neorealism is a way of seeing reality without prejudice due to the documentary-like technique of the film and its ability

Set in the depression times of post-World War II Italy, Graziadei and De Sica’s (1948) The Bicycle Thief narrates the story of Antonio Ricci (Lamberto Maggiorani), who, after finding a job as a bill poster, loses his bicycle to a young thief. He tries to look for it with his son Bruno (Enzo Staiola); however, despite seeing the thief, he fails to recover his bicycle. Desperate, he tries to steal a bike himself but is easily thwarted by a group of bystanders. They plan to bring him to the police station until the owner notices the weeping Bruno and, in an act of compassion, ask others to release the thief. In this paper, I argue that The Bicycle Thief

In Italy, directors focused on the moral and economic conditions that came with the postwar generation quickly after the war and addressed the war instead of not acknowledging as German cinema did for so long. Unlike Alice in the Cities and The Bitter Tears of Petra von Kant, films such as Bicycle Thieves depicted dislocation during the postwar period in the Neorealist style, made in 1948, this film differs greatly from the two former films discussed. In Bicycle Thieves, Vittorio De Sica delivers a political message regarding the difficulty of survival in postwar Italy, but also conveys a sense of psychological dislocation through the character development of Antonio Ricci. In many ways, Italy’s economy is much to blame for Ricci’s two-year unemployment in which the film begins, however, Ricci has as many internal struggles as he does externally. Neorealism lies heavily on the depiction of real life problems depicting common people and often used people from the street as actors, in this film the man who played Ricci, Lamberto Maggiorani, actually was a factory worker, which helps solidify the film’s authenticity. Towards the end of Bicycle Thieves, Ricci’s efforts to retrieve his stolen bicycle fail when the people that live near the boy who stole it side with the epileptic boy as he has a

The Italian Neo-Realist movement began to emerge with the fall of Mussolini's Fascist regime in 1943 and was able to entirely establish itself with the end of World War II with the end of German occupation. This caused audiences all around the globe to be “suddenly introduced to Italian films” (Historical Origins of Italian Neo-realism, n.d.) through works by “Roberto Rossellini