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  1. Italian neorealism - Wikipedia › wiki › Italian_neorealism

    Italian neorealism (Italian: Neorealismo), also known as the Golden Age, is a national film movement characterized by stories set amongst the poor and the working class, filmed on location, and frequently using non-professional actors.

    • History

      Italian neorealism came about as World War II ended and...

    • Characteristics

      Neorealist films were generally filmed with nonprofessional...

    • Impact

      The period between 1943 and 1950 in the history of Italian...

    • Significant works

      The extent to which Italian neorealism was truly innovative...

    • Rome, Open City

      Rome, Open City (Italian: Roma città aperta, also released...

    • Iranian New Wave

      Iranian New Wave refers to a movement in Iranian cinema.It...

    • Poetic Realism

      Poetic realism was a film movement in France of the 1930s....

  2. Italian neorealism - Simple English Wikipedia, the free ... › wiki › Italian_neorealism

    You can help Wikipedia by finding good sources, and adding them. (April 2013) Italian neorealism describes a movement in Italian cinema. Films such as Rome, Open City and Bicycle Thieves, from the 1940s, were filmed in the streets rather than a studio and told stories about poor people living difficult lives.

  3. People also ask

    When did neorealism become a movement in Italy?

    What was the relationship between film and neorealism?

    What are some of the best Italian neorealist films?

    When did Vittorio De Sica start the neorealist movement?

  4. Women in Italian neorealism - Wikipedia › wiki › Women_in_Italian_neorealism

    Italian neorealism was a movement that, through art and film, attempted to "[recover] the reality of Italy" for an Italian society that was disillusioned by the propaganda of Fascism. Representations of women in this era were influenced heavily by the suffrage movement and changing socio-political awareness of gender rights.

  5. Talk:Italian neorealism - Wikipedia › wiki › Talk:Italian_neorealism
    • Untitled
    • Spaghetti Westerns?
    • History and Attributes
    • New Articles to Cover More Ground
    • Terminal Station
    • Calligraphist Films?
    • External Links Modified

    All of the years on the films mentioned are exactly one year ahead except for Ossessione (1942) and Umberto D. (1952). You must have based your years per film on the imported release in America versus the domestic release in italy. La Terra Trema and The Bicycle Thief are both 1947 not 1948. If you are going by IMDB, they are wrong. Pick up a copy of the Cook Book (as it is referred to) titled "A History of Narrative Film" by David A Cook. Also, almost all film genres, so to speak, were born out of war. The Italian neorealist films of the 40s and 50s were no different. World War one gave birth to the musical and the gangster picture in america. The horror film, still the longest lasting genre, was born in Germany with the german expressionism films like The Cabinet of Dr. Caligari (1920), also shortly after WWI. And to be completely accurate, you may want to mention Cabiria directed by Giovanni Pastrone (1914) as a contrast to the italian neo-realists, who are oftem mentioned as fil...

    I'd say we need to clarify why spaghetti Westerns were influenced by neorealism. Right now this sounds like a bit of a stretch, IMHO. -- Mabuse15:17, 16 November 2006 (UTC)

    One of the major influences not cited in the main body of the is that of writer Giovanni Verga, whose realist novels and stories hold many of the major themes of Neorealism, and whose novel I malavoglia is the basis for Visconti's La terra trema. There are a few flaws in conventions being attributed to Neorealism and its history, for example: The statement that children play a large role in substantially wrong, even if the role is 'observational'. While De Sica sometimes used children (Ladri di biciclette, Sciuscià) and Rossellini's Germania anno zero has a teenage protagonist, works like La terra trema, Paisà, Stromboli (both Rossellini), Riso amaro and Caccia tragica (both De Santis) have few, if any, scenes with children. Instead, the films can be said to focus more generally on the plight of communities and family. This article may want to clarify to difference between realism, particularly social realism, and Neorealism. As shown by the multiple entries on realism, it can refer...

    Neorealism in film extends far more than in just Italy. For example, there was a Bengali (Indian) neorealist movement in cinema around the same time as De Sica and others were making films. Of course, these other traditions owe their styles in part to the Italian one, but they deserve their own articles. GautamDiscuss02:57, 1 May 2007 (UTC) 1. There is an article on the Indian movement at Parallel Cinema. It can certainly be improved but it's a start. - AKeen17:26, 1 May 2007 (UTC)

    NPR mentions Terminal Station (film) with reference to this genre; is it generally considered to be part of it? -- Beland (talk) 00:20, 6 October 2013 (UTC)

    "In addition, many of the filmmakers involved in neorealism developed their skills working on calligraphist films (though the short-lived movement was markedly different from neorealism)." What on earth are calligraphist films"? Calligraphy is a writing style not a way to make movies. Looking it up on google returns this result and a Chinese forum asking what it is. — Preceding unsigned comment added by Williambellwisdo (talk • contribs) 17:45, 20 October 2016 (UTC)

    Hello fellow Wikipedians, I have just modified one external link on Italian neorealism. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQfor additional information. I made the following changes: 1. Added archive to 2. Added {{dead link}} tag to When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs. As of February 2018, "External links modified" talk page sections are no longer generated or monitored by InternetArchiveBot. No special action is required regarding these talk page notices, other than regular verification using the archive tool instructions below. Editors have permission...

  6. Neorealism - Wikipedia › wiki › Neorealism

    From Wikipedia, the free encyclopedia. Jump to navigation Jump to search. Neorealism may refer to: Neorealism (art) Italian neorealism (film) Indian neorealism or parallel cinema. Neorealism (international relations) New realism (philosophy) Parallel cinema.

  7. Neorealism (cinema) - Wikipedia › wiki › Neorealism_(cinema)
    • Istoric
    • Regizori Importanți Din Neorealism
    • Filme importante Din Neorealism
    • Legături Externe

    Mișcarea artistică filmică a neorealismului italian este larg acceptată a începe după căderea guvernului fascist al lui Benito Mussolini și întoarcerea armelor de către rezistența italiană împotrica nazismului, la sfârșitul celui de-al doilea război mondial, fapte istorice ce au determinat pierderea centrului artistic de către industria de film italiană. De asemenea, neorealismul a fost semnul istoric clar al schimbărilor sociale și ideologice, precum și a progresului cultural și social din Italia post-fascistă.

    Printre reprezentanți de frunte ai neorealismului cinematografic se pot menționa: 1. Roberto Rossellini 2. Vittorio De Sica 3. Cesare Zavattini 4. Luchino Visconti 5. Giuseppe De Santis 6. Suso Cecchi d'Amico 7. Federico Fellini

    1945 Roma, oraș deschis - Roma, città aperta(Roberto Rossellini)
    1947 Vânătoare tragică - Caccia tragica(Giuseppe De Santis)
    1949 Orez amar - Riso amaro(Giuseppe De Santis)
    1950 Suflete zbuciumate (Il cammino della speranza), regia Pietro Germi
    en Criterion— Despre neorealismul italian;
    en Interviucu Suso Cecchi d'Amico, unul din cei mai cunoscuți scenariști ai perioadei neorealismului italian;
    en Film Reference— Despre neorealismul italian.
  8. Neorealism (art) - Wikipedia › wiki › Neorealism_(painting)
    • in Literature
    • in Painting
    • in Cinema
    • See Also

    Portuguese neorealism was a marxist literary movement that began slightly before Salazar's reign. It was mostly in line with socialist realism.

    Neo-realism in painting was established by the ex-Camden Town Group painters Charles Ginner and Harold Gilman at the beginning of World War I. They set out to explore the spirit of their age through the shapes and colours of daily life. Their intentions were proclaimed in Ginner’s manifesto in New Age (1 January 1914), which was also used as the preface to Gilman and Ginner’s two-man exhibition of that year. It attacked the academic and warned against the ‘decorative’ aspect of imitators of Post-Impressionism. The best examples of neorealist work is that produced by these two artists; Howard Kanovitz and also Robert Bevan. For Robert Bevan he joined Cumberland Market Groupin 1914.

    Neorealism is characterized by a general atmosphere of authenticity. André Bazin, a French film theorist and critic, argued that neorealism portrays: truth, naturalness, authenticity, and is a cinema of duration. The necessary characteristics of neo-realism in film include: 1. a definite social context; 2. a sense of historical actuality and immediacy; 3. political commitment to progressive social change; 4. authentic on-location shooting as opposed to the artificial studio; 5. a rejection of classical Hollywood acting styles; extensive use of non-professional actors as much as possible; 6. a documentary style of cinematography.

  9. Cinema of Italy - Wikipedia › wiki › Cinema_of_Italy

    While neorealism exploded after the war, and was incredibly influential at the international level, neorealist films made up only a small percentage of Italian films produced during this period, as postwar Italian moviegoers preferred escapist comedies starring actors such as Totò and Alberto Sordi.

  10. What is Italian Neorealism? A beginner's guide — Movements In ... › italian-neorealism

    The movement gained international attention when Roberto Rossellini’s Rome, Open City won the Grande Prize at the 1946 Cannes Film Festival, and Italian Neorealism's brutally honest portrayals of the working class and their enduring struggles became known as the country's cinematic 'golden era' – a title that it undeniably deserves.

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