Cinematic Realism In Cinema

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.

In Jean-Louis Comolli and Jean Narboni’s essay “Cinema/Ideology/Criticism,” they put forward the central argument that film is a commercial product in the capitalist system and therefore also the unconscious instrument of the dominant ideology which produces it. In opposition to the classic film theory that applauds camera as an impartial device to reproduce reality, they argue that what the camera reproduces is merely a refraction of the prevailing ideology. Therefore, the primary and political task for filmmakers is to disrupt this replication of the world as self-evident and the function of film criticism is to identify and evaluate that politics. Comolli and Narboni then suggest seven categories of films confronting ideology in different ways, among which the second category resists the prevailing ideology on two levels. Films of this group not only overtly deal with political contents in order to “attack their ideological assimilation” (Comolli and Narboni 483), but also achieve their goal through breaking down the conventional way of depicting reality.

Poetic Realism was a film movement in France during the 1930’s that combined qualities of both Impressionism and Surrealism to create a unique way to tell stories through narratives, long, continuous shots, and sets that took a slice of reality and made it their own. The various techniques used to create shots “more real than life itself” were groundbreaking for this time period. In the past, sets of films were unrealistic and exaggerated; they were telling stories outside of reality, so their sets were not attempting to immerse their viewer in the film’s location. The 1920 film The Cabinet of Dr. Caligari used very simplistic sets to tell its story, but the filmmakers did not expect or want the audience to take them as reality. They were entirely aware that the walls

Realism, according to Howells, is ordinary he believes the novel should “be the sincere and conscientious endeavor to picture life just as it is” (552). Therefore, the story should be portrayed as close as possible to the lives of ordinary people

This paper will discuss various elements of mise-en-scene, specifically; character development, lighting, performance, costume, makeup in the film "Casablanca".(Michael Curtiz,1942) The setting of the story sets the tone for the entire film. Shots of tanks and planes show the violence of war that coincides with the cutthroat city that is Casablanca. From there, those sentiments are reinforced when a man is shot in the street while another man pick pockets someone whom is distracted. The mood of the movie stays on the dark side of things when we enter Rick's Café, where we meet our protagonist played by Humphrey Bogart. In this scene we are treated to the jaded portrayal of night club owner. We see his utter disregard for a French woman

Literary realism’s goal is to invoke compassion within its readers. By learning and experiencing something of the characters’ lives in the story, one of the hopes for realism is that by invoking sympathy within the reader, social injustice may be dealt with.

During the time that this story was written, realism was a trending topic. Realism is a style and type

When one thinks of the 17th century theatre, one might imagine low quality plays,maybe with opera,inappropriate jokes and inferior special effects, due to a lack of technology and low resources. However, when imagining twenty- first century films an individual often invisions high graphics,HD,3-D, action, just altogether better. Le Bourgeois Gentilhomme was written by Mollière in the 17th century.It was about a middle class man who had recently come into “new money” and his attempt to live the noble man lifestyle. Although these two time periods are viewed at being complete opposites of each other, through analysis one can gather that though they are different, some similarities exist. In this essay, an effort will be made to point out these

Realism is the artistic attempt to recreate life as it is in the context of an artistic medium. It began as a revolt against the conventions of the classic view of art in the late 1800s in America and Europe in the form of an artistic movement (McConnel, R. 1997). There are many themes involved with realism that shall be discussed. These include accuracy and independence.

In this essay, I will explain why a documentary is always more realistic than a fiction film. I will show my thesis by exploring elements that influence how realistic a film is: film editing and format, genre, and transparency. I will use the documentary of Armadillo (2010), by Janus Pedersen, and the fiction film of The Chronicle of Anna Magdalena Bach (1968), by Danièle Huille as examples.

For Rodowick and Prince, perceptual realism has to do with how the viewer mentally processes the digital effects in cinema. They articulate how referential realism in photographic cinema does not appear to be incredibly believable for a long period of time. Their main argument is photographic cinema and digital cinema work together to create perceptual realism. Rodowick argues how digital cinema comes from photographic cinema because cameras already pick up the physical effects and cues that digital effects try to replicate on the computer to be more believable (Rodowick 5). He is saying that digital just recycles what photographic already does.

The introduction of sound films in the late 1920’s was a divisive issue among those involved and interested in the emerging motion picture industry. Even though it wasn’t the sudden breakthrough it is often perceived to be, the addition of sound and voice to mainstream cinema revolutionized movie making and led to conflicting viewpoints as to whether or not this innovation was a positive progression for film as an art and as an industry.

In this essay I will look at the emergence of Italian neo-realist cinema and how Italian Neo-realism has been defined and classified in the film industry as well as how its distinct cinematic characteristics could only have been conceived in Italy and how these characteristics set the neo-realist style apart from other realist movements and from Hollywood.

Film Noir as a genre is set in a specific period of time. It is also a genre that is considered to be related to a specific society - that of America from 1940-1958. Film Noir as a genre is a term that French critic Nino Frank coined to describe the new “film movement” emerging from Hollywood in the 1940’s, which appeared to be black and white, crime and detective films. But these two prominent characteristics do not form the genre alone. Stylistic film features such as mood, style and tone are very eminent in Film Noir however it was not always considered as a film genre, but this is what makes the film genre so distinctive. Film Noir was a “new movement” or cycle of films as it consisted of expressionistic lighting techniques such as low

Naomi Greene once said that, “Pier Paolo Pasolini was the more protean figure than anyone else in the world of film.” This means that Pasolini was a versatile film director because he simplified cinema into the simplest way possible, while still visually embodying an important message to his cinematic viewers. Because of his encounter with Italy’s social changes, it influenced the writing and films he chose to write. His aspirations regarding his written work “Cinema of Poetry” explains how a writer usage of words and a filmmaker’s choice of images are linked to how cinema can be a poetry of language. He characterizes cinema as irrational and his approach on free indirect point of view is used to achieve a particular effect in his body of work. His claims made in the Cinema of Poetry illustrate why he stylized his films in the manner he did, such as Mamma Roma through the images he portrayed on screen. By examining Pasolini’s approach to poetic communication in the Cinema of Poetry, we can see that these cinematic attributes about reality and authenticity depicted in Mamma Roma are utilized to question cinematic viewer’s effortless identification of cinema with life. This is important to illustrate because Pasolini wants to motivate viewers to have an interpretative rather than a passionate relationship with the screen.