It, too, carries a dark, gritty, even pessimistic awareness that tries to push cinema into an objective, non-theatrical light.
A comparative study of Italian neorealism and its effect upon the filmic, narrative structure — naturalism — will provide what is, on balance, a similar type of cinematic storytelling experience that distinguishes itself by true-to-life plots, realistic social problems, visual authenticity, and unobtrusive camera and editing techniques.
They believed that by using town-locals would not only cut back on costs, but more importantly that a greater sense of truth would be arrived at in character performances.
Non-paid, unskilled actors reflected real, ordinary and relatable lives that Italians believed mirrored reality.
This new cinema was a reactionary movement away from the implacable restrictions of Fascist cinema, as well as American imported, slap-happy, unreality films that failed to reflect Italian realities.
The movement was referred to as Italian neo-realism.Luchino Visconti’s (1942) was the first film to break the white-telephone mold.Film journalist Gianfranco Poggi describes Visconti’s courage to reflect the “true Italian reality” in the following way:“…the heat and the sounds and the dust of the flatland, the drabness, the disorder of the house interiors, the vulgar loudness of the local festivals and singing and contests, the tired pace of life in this setting, greed and the possessiveness of the people’s life in it: all these traits of the bare everyday reality [tore] apart the veil which had separated the camera’s eye from all those years of mystification and lies” (Poggi 14).He showed the blown out, war-torn landscapes of Italian life using natural lighting, actors with little or no make-up, and depicted social problems such as interrogation, torture, corrupt military violence, and rabid-poverty.His was a cinema of “looking critically” at the problems that Italy had inflicted upon itself (Gallagher 91).Pioneers like Rossellini, De Sica, and Visconti jumpstarted the neorealist movement and fought desperately throughout their careers to break away from prior theatrical, big-budgeted storytelling conventions.They highly criticized Italian society, avoided happy-endings, and glared social problems in the face without fear.To start, it will be helpful to prepare the grounds by first providing a basic overview of what Italian neorealism is, why the filmmakers of this movement felt compelled to react against the conventions of Fascist/Hollywood storytelling, and what this would mean for future filmmakers, both third-world and contemporary.Before the fall of Mussolini, the ‘white telephone’ era was in effect.To heighten the veracity of their films, the neorealists used town-locals as actors over professionally paid actors.This moved their cinematic style away from cleverly delivered lines to the unrefined nature of everyday language.
Comments Cesare Zavattini A Thesis On Neorealism
An Inn in Tokyo and Mr. Thank You Seen through the Lens of.
David Hanley uses Bazin's stated appreciation for Italian neorealism as the basis for a Bazinian analysis of An. Its main theoretician was Cesare Zavattini, who wrote the scripts for the Vittorio de. PhD thesis, University of Iowa, May 2000.…
Bicycle Thieves A Passionate Commitment to the. - Adrian Glass
By the time we reachBicycle Thieves, in 1948, the neorealist trajectory has. and Cesare Zavattini, a screenwriter who also served as one of neorealism's leading. Apologists like Zavattini, in positioning neorealism as the antithesis to.…
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Before the Indies and the French New Wave, the Italian Neo-realism. Poet and screenwriter Cesare Zavattini was the one who wrote the.…
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Another fine example of neorealism is The Bicycle Thief 1948, written by Cesare Zavattini and directed by Vittorio De Sica. The narrative of this film.…
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Monticelli also cites Cesare Zavattini, screenwriter for de Sica's Ladri di biciclette. neorealism and Hollywood cinema “the American position is the antithesis of.…
Bitter Rice A Field in Italy The Current The Criterion Collection
Especially in relation to the filmic depiction of landscape, a thesis he. work of the preeminent theorist of neorealism, Cesare Zavattini “We.…
Great American Movies Influenced by Italian Neo-Realism Taste.
And Rossellini, along with writers like Cesare Zavattini and others, were eager to. Elements of neo-realism characterized by the use of actual locations. neighborhood in South Central LA for his master thesis at UCLA.…
Dissertation or Thesis La storia di un altro adaptations and.
Cesare Zavattini and Vittorio De Sica played an important role in. of the Neorealist movement and have influenced generations of directors.…
Andre´ Bazin and Italian Neorealism - ePdf
Predictably, Bazin's thesis has been assailed for placing the metaphysical. neorealism to the world, De Sica's collaborator Cesare Zavattini—with whom.…