La Strada ( The Road )

I Cento Passi (one hundred steps), written by Marco Tullio Giordana in 2000, is a film of an explosive story of betrayal, murder, intrigue and the Mafia, set in Cinisi, a small Sicilian seaside. The town is run and controlled by head of the mafia, Don Tano. Peppino Impastato, a real character in history, fought against the mafia, despite his family’s connection and finally became a martyr for his cause. At a young age he became very aware of the harsh reality of the Mafia when his uncle, who he dearly loved, was blown up by a car bomb. He becomes a very active member of the Communist party in Sicily and fought back against the Mafia, which few Italians would ever do at the time or even in the present.

In the film, A Bronx Tale (1993) directed by Robert De Niro, the character Calogero Anello played by Lilo Brancato, demonstrates cinematic language. The cinematic language uses various visual codes in cinematic storytelling to convey the meaning of a film. The components of cinematic storytelling are portrayed through various techniques such as, camera movement, mise-en-scene, cinematography, sound, editing, and etc. within a film’s frame to help tell the story. The main character Calogero faces many obstacles throughout the film, but they mostly result in a battle of trying to receive acceptance from his father, Lorenzo Anello played by Robert De Niro. Through the course of the film, the director accordingly uses the setting of the film

up being driven mad by the guilt and she ends up taking her own life

And so life goes on for her, until she meets a couple of women that change her life around.

1. What is the title of this film? When was it made? Who wrote the original novel?

Although we do not know exactly what occurs, Oates provides some hints that she left with the

the doorway of the bunkhouse and talks to Lennie and George. She is 'heavily made

paintings, tore apart strings of beads that she had made, and set everything that his kids and wife

Because of the life that Christine leads, the role of mother and daughter are switched and Rayona often finds herself watching out for her mom. When Ray comes home from school, she would often learn that her mother had gone out to party. Times like

her younger brother Jonas, and her head strong mother are separated from their father and deported to

The critically acclaimed film, Goodfellas, is a gangster crime drama that features an incredible amount of talent. Household names such as: Robert De Niro (Jimmy Conway), Joe Pesci (Tommy DeVito), Paul Sorvino (Paul Cicero), and promising stars like Ray Liotta (Henry Hill) and Lorraine Bracco (Karen Hill), attracted numerous Oscar and Golden Globe nominations. That type of cast power, linked with the signature talent of Martin Scorsese as a director, made for cinematic gold. Unquestionably, the actors and actresses did an excellent job augmenting the verisimilitude of this film and compelling audiences to empathize with their characters. But the cinematography in this film plays just as large a role in having audiences feel what the characters are feeling at a specific moment. Through the use of freeze frames, we learn of significant moments that shape Henry into the man that he is. By means of first-person narration we are able to know exactly what is going through a particular character’s mind. Finally, wonderful editing made great use of point of view and multiple jump cuts, which added to the sensation that we are undergoing the same experiences as the characters on screen. I will go into further detail and specify scenes that convey these elements as the essay progresses. Altogether, Martin Scorsese’s Goodfellas effectively depicts paramount scenes and allows the audience to empathize with the characters by virtue of stylistic editing and cinematography.

Casablanca, the crowning achievement of director Michael Curtiz, which was released in 1942, is a film that had to work against the pressing concerns associated with World War II to stay relevant in both cinematic and general audiences. The writing, which was done by Julius J. Epstein, Philip G. Epstein, and Howard Koch, had to be inspirational yet uncontroversial. With actors like Humphrey Bogart as Rick Blaine, Ingrid Bergman as Ilsa Lund, Claude Rains as Captain Louis Renault, and Paul Henreid as the French revolutionary Victor Laszlo, Casablanca has a respectable cast. The movie initially appears to fit the film noir genre because of its smoky backdrops with muted colors,

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

All of these aspects of his personality, including his love for women and his incredible artistic qualities could be readily seen in his films. His most famous movies are often considered grotesque, many of which are scored by Nino Rota and starring Fellini's wife, Giulietta Masini. Fellini collaborated as a scriptwriter with Roberto Rosselini on the films The Open City and Paisan, which he directed some of. His first film as solo director was the White Shark, which as followed by I Vitelloni. La Strada won international recognition with its Oscar for best foreign film. Fellini's second Oscar was with the Nights of Cabiria.

Early neo-realist films such as Rossellini’s ‘Rome Open City’ (1945). Which received the Grand Prize at the Cannes Film Festival contained many of these elements which are associated with neo-realist cinema. However Rossellini was also able reverse the ideological and cultural emphasis of the film as discussed by Bondanella: