Italian Neorealism

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Italian Neo-realism Thesis

It sought to deal realistically with the events leading up to the war and with their resulting social problems. Rooted in the 1920s, it was similar to the verismo ("realism") movement, from which it originated, but differed in that its upsurge resulted from the intense feelings inspired by fascist repression, the Resistance, and the war.
Italian aesthetic movement that flourished especially after World War II.

Neorealism in film embraced a documentary-like objectivity; actors were often amatuers, and the action centred on commonplace situations. Often crudely and hastily made, Neorealist productions stood in stark contrast to traditional escapist feature films.

It must be said that neorealist
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A year later Paisà (Italy 1946) took the process of nation-building further by not only attempting to unite different regional communities together in its six different episodes but also explicitly bringing spaces together in the map of the Italian peninsula which gradually becomes uniformly white as the forces of liberation are shown moving upwards along the Italian boot. It's significant, suggests Restivo in an aside, that Rossellini doesn't end up showing the Italian boot completely whitened by the movement of liberation but rather allows a "stain"to remain in the northeastern sector, approximately at the place of Salò (Italy/France, 1975).
Nevertheless, as is well-known, Neorealism itself failed and, in a sense, was destined to fail. On the one hand its commitment to an "aesthetics of reality"was self-defeating since Italy's millenarian regionalism worked against the construction of anything but the most fictionalised national unity. On the other hand the radical political openness that had existed briefly after the war which had allowed Neorealism to project an Italy fashioned along the lines of Partisan dreams, was greatly reduced by the 1948 elections and reduced further as the Christian Democrat party consolidated its power in the early 1950s. Neorealism thus disappeared and left the representation of the fragmented "real"Italy, in
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