Italian films

Italian Neorealism, a movement that focused on the arts began in 19th century post war Italy and “became the repository of partisan hopes for social justice in the post war italian state.” (Marcus, xiv) Even before the war, Italy had been under the dictatorship of Benito Mussolini and his corrupt form of government, Fascism, which caused oppression throughout the country. Neorealistic films allowed filmmakers to use common styles and techniques to finally reveal the world filled with anguish and

1948, was an Italian Neorealism film. It not only changed cinema, but it used cinema to approach reality in Italy during that time period. There are many differences between Italian Neorealism films and Hollywood Cinema. In the first scene when Ricci gets a job, it begins with a bus passing by to see a group of unemployed, working class men, waiting for a job. The audience is introduced to the social context first; to show us that real life is still going on, a key feature in Italian neorealism because

In the period between 1943 and 1950 Italian cinema was dominated by Neorealism which became the most significant film style of post-war Europe. Formation began back in 1936 when propagandists opened modern Cincitta studios and the film school name ‘Centro Sperimentaledi Cinematografia’. Along with the opening of schools such as this was a movement that placed a group of cinematographers under full-year contracts, among them was Carlo Montuori who used his classic techniques in creating ‘Bicycle Thieves’

Our analysis is on the film The Italian Job. While we view the movie and determine the various norms, behaviors, roles and interaction between group members, as well as individuals the examination within the realm of film can present many of the same components. Thus, our group selected this movie to analyze based on its formation of a cohesive problem-solving group full of unforgettable characters. The Italian Job portray many different theories and aspects of small group communication. This

Realism’s relationship with cinema and film form is one which has been debated since the beginnings of film theory. There are many different arguments on how best to capture realism on film. It came to the forefront of film theory in the 1930s and 40s through the Italian neorealism movement. Andre Bazin was a french film critic and theorist who is best known for his writing on realism in film. He argued that cinema is fundamentally realistic and that filmmakers should not alter what an audience views

I love movies. I especially adore those films with an artistic, literary quality that is timeless and classical. In my experience, Italian movies seldom fail to evoke such feelings in me, and Cinema Paradiso was no disappointment. This heartwarming story about a little boy’s love affair with movies, and his subsequent coming-of-age in the repressive environment of ecclesiastical censorship and hypocrisy stirred great emotion in me, as I expected it would. The young Toto made me feel his awe as

The War Experience in Italian Film The experience of war as it is presented throughout the history of Italian cinema is a uniquely composite display of historical reverence and cultural consecration. An analysis of this experience in all of its manifestations can be discerned from the evaluation of one or several works from the post-World War II period within the corpus of the Italian cultural signification. It follows from this approach that the essence of the results of this analysis

backdrop for two pertinent Italian films: Rossellini’s Roma Città Aperta, an authentic depiction of the daily lives of Italians in Nazi occupied Rome, and Visconti’s Rocco e i Suoi Fratelli, the journey of one Southern Italian family as they migrate to the North during the economic boom in search of prosperity. For both of these films, the ideas of resistance and struggle are two closely linked themes which play an integral part in the portrayal of this period of Italian history. In order to gain

The Italian image in Hollywood is very simple. Whening hear some typical Italian names, we can know that the person must be a Mafia underworld or rogue bully. From "The Godfather" , "West Side Story" to "Public Enemies", as long as a Italian appears, he must be a gangster. As an alternative Western country, Italy cannot enter the mainstream of the American society anyway. Hispanic's position has even under the Italian.Despite that the huge immigrants control the American society, but they are far

Flashback time to the 1980’s, where we are able to see when one of the best films were created. Do The Right Thing,1989 by director and actor Spike Lee, is a film that explores racial tensions in many different ethnic groups in New York. Racial tensions was prevalent in a multicultural mix of races such as; African-American/Black, Italians, Caucasian/White, and Asian communities. The main racial tensions in the film were Italian-Americans and African Americans. Spike Lee uses anger, violence, and fear