Yahoo Web Search

  1. About 8,940 search results
  1. Italian neorealism, 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. Italian neorealism films mostly contend with the difficult economic and moral conditions of post-World War II Italy, representing changes in the Italian psyche and conditions of everyday life, including poverty, oppression, injustice, and desperation.

    • 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 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. Among neorealists are Michelangelo Antonioni and Federico Fellini. Related pages. Criterion article

  3. People also ask

    What was the relationship between film and neorealism in Italy?

    Who are some famous people from Italian neorealism?

    What was the impact of poetic realism on film?

    What did Antonioni and Visconti do in neorealism?

  4. 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.

    • 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...

    • History
    • Characteristics
    • Impact
    • Significant Works
    • Major Figures
    • See Also
    • External Links

    Ital­ian ne­o­re­al­ism came about as World War II ended and Ben­ito Mus­solini's gov­ern­ment fell, caus­ing the Ital­ian film in­dus­try to lose its cen­tre. Ne­o­re­al­ism was a sign of cul­tural change and so­cial progress in Italy. Its films pre­sented con­tem­po­rary sto­ries and ideas and were often shot on lo­ca­tion as the Cinecittàfilm stu­dios had been dam­aged sig­nif­i­cantly dur­ing the war. The ne­o­re­al­ist style was de­vel­oped by a cir­cle of film crit­ics that re­volved around the mag­a­zine Cin­ema, in­clud­ing: 1. Luchino Visconti 2. Gianni Puccini 3. Cesare Zavattini 4. Giuseppe De Santis 5. Pietro Ingrao Largely pre­vented from writ­ing about pol­i­tics (the ed­i­tor-in-chief of the mag­a­zine was Vit­to­rio Mus­solini, son of Ben­ito Mus­solini), the crit­ics at­tacked the Tele­foni Bianchi ("white tele­phone") films that dom­i­nated the in­dus­try at the time. As a counter to the pop­u­lar main­stream films, some crit­ics felt that Ital­ian cin­ema should t...

    Ne­o­re­al­ist films were gen­er­ally filmed with non­pro­fes­sional ac­tors, al­though in a num­ber of cases, well-known ac­tors were cast in lead­ing roles, play­ing strongly against their nor­mal char­ac­ter types in front of a back­ground pop­u­lated by local peo­ple rather than ex­tras brought in for the film. They were shot al­most ex­clu­sively on lo­ca­tion, mostly in run­down cities as well as rural areas. Ne­o­re­al­ist films typ­i­cally ex­plore the con­di­tions of the poor and the lower work­ing class. Char­ac­ters often exist within a sim­ple so­cial order where sur­vival is the pri­mary ob­jec­tive. Per­for­mances are mostly con­structed from scenes of peo­ple per­form­ing fairly mun­dane and quo­tid­ian ac­tiv­i­ties, de­void of the self-con­scious­ness that am­a­teur act­ing usu­ally en­tails. Ne­o­re­al­ist films often fea­ture chil­dren in major roles, though their char­ac­ters are fre­quently more ob­ser­va­tional than par­tic­i­pa­tory. Open City es­tab­lished se...

    The pe­riod be­tween 1943 and 1950 in the his­tory of Ital­ian cin­ema is dom­i­nated by the im­pact of ne­o­re­al­ism, which is prop­erly de­fined as a mo­ment or a trend in Ital­ian film rather than an ac­tual school or group of the­o­ret­i­cally mo­ti­vated and like-minded di­rec­tors and scriptwrit­ers. Its im­pact nev­er­the­less has been enor­mous not only on Ital­ian film but also on French New Wave cin­ema, the Pol­ish Film School and ul­ti­mately on films all over the world. It also in­flu­enced film di­rec­tors of India's Par­al­lel Cin­ema move­ment, in­clud­ing Satya­jit Ray (who di­rected the award-win­ning Apu Tril­ogy) and Bimal Roy (who made Do Bigha Za­meen [1953]), both heav­ily in­flu­enced by Vit­to­rio De Sica's Bi­cy­cle Thieves(1948). Fur­ther­more, as some crit­ics have ar­gued, the aban­don­ing of the clas­si­cal way of doing cin­ema and so the start­ing point of the French New Wave and the Mod­ern Cin­ema can be found in the post-war Ital­ian cin­ema and in...

    Precursors and influences

    The ex­tent to which Ital­ian ne­o­re­al­ism was truly in­no­v­a­tive con­tin­ues to be de­bated among film his­to­ri­ans. De­spite its wide in­flu­ence, some have ar­gued that it was more a re­vival of ear­lier Ital­ian cre­ative works than a ground­break­ing move­ment. Im­por­tant fore­run­ners of Ital­ian ne­o­re­al­ism in­clude: 1. The verismo literary movement, characterized by the works of Giovanni Verga and Luigi Capuana 2. Poetic realism 3. Lost in Darkness (Nino Martoglio, 1912) 4. W...

    Main works

    1. Ossessione (Luchino Visconti, 1943) 2. The Children Are Watching Us (Vittorio De Sica, 1944) 3. Open City (Roberto Rossellini, 1945) 4. Shoeshine(Vittorio De Sica, 1946) 5. Paisan(Roberto Rossellini, 1946) 6. Germany, Year Zero(Roberto Rossellini, 1948) 7. Bicycle Thieves(Vittorio De Sica, 1948) 8. The Earth Trembles(Luchino Visconti, 1948) 9. Bitter Rice (Giuseppe De Santis, 1949) 10. Stromboli(Roberto Rossellini, 1950) 11. Bellissima(Luchino Visconti, 1951) 12. Miracle in Milan(Vittorio...

  5. › wiki › NeorealismNeorealism - Wikipedia

    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.

  1. People also search for