Neorealist cinema
The characters displayed in the majority of the movies mainly identified through narrative machinery like “theme park customers strapped into a roller coaster.” Through the shrieks of terror, the narrators can describe, as well as predetermine, ups, and downs bringing in the audience with them. However, those actions, the people in the movie seem to move within the film freely, they make their choices, and mistakes, and are aware that things could turn different. Robert Rossellini’s, an Italian director from the open city in Rome, explained that the films displaying the stylistic devices labelled as the neo-realist showed uniqueness. Still, through their moment in time, working-class protagonists, critical examination of recent history, all these traits hold the neo-realist together. Therefore with the right influence, then there is the presence of long-lasting documentaries related to neo-realism.
The proposal from Scorsese indicated that neo-realism was away the Italians announced the humanism after the Fascist rule the Italians faced. Most of the films displayed in Italy showed a new movie in Italy War-torn cities. Therefore the real experiences were encapsulated, and poverty, together with the pessimism of ordinary people was the main focus. The indication that the results were scares was indicated through the Post-war austerity. The external influences focusing on neo-realism include the “19th-century verismo literature, and contemporary American literature by Faulkner, Hemingway, and James M Cain (De Luca, 2015). The characteristics bases on the ideology of the Italian NeorealismNeorealism include a new democratic spirit with an emphasis on ordinary people values. Through a point of view displaying compassion and the refusal of making easy moral judgments, and finally, through the preoccupation of Italy’s Fascist past all caused am aftermath of devastation, and wartime. Therefore through the basic neorealism tenets, the systematic approach that led to different shifts used in studying stated different behaviour. The neorealist fundamentals were six in total which were able to introduce the different types of sections such as anarchy, structure, power distribution, capability, national interest, and polarity (De Luca, 2015).
Italy in the 1960s presents a turbulent period, and not only to Italy alone, but to the rest of the world as well, the values given by Italy displayed economic boom that was newly resurgent. The turbulent shift in both the art viewing, and making became prominent in the artistic, and commercial purposes in the world during the tumultuous period. The economic miracle came about in Italy, and the landscape reshaped, and the Italian films began to seem more real from the conveyance to the external world (Fabbri, 2015). With the reconstruction of the culture of Italy in the late 1950s, economical but favourable conditions created, the terms neutralized the arguments from the neorealist that were impassioned, all these arguments were against dire poverty, and lack of development. The government became dishonest through the display of uneven patterns and characterized growth in “miracle.”
The reconstruction period from the Economic Boom created significant cultural, social, political changes which occurred in Italy. Also, through the exploration of the presence of disillusionment within different films took in a journey through the social messages presented in films from the mind of directors. The Italian reconstruction period that took place after the World War 11 alongside the film perspectives that brought in as new films in the neo-realism through the independence works directed by various directors among them being Vittorio De Sica (Fabbri, 2015). Generally, in neo-realist, they were no better expressions presented in films than in disillusionment. Italy in the 1940s was a country that needed reconstruction after World War 11. Italy became poor, was in ruins especially in the regions that affected the Southern areas, this led to the people living in Italy at that time to move to the northern regions to look for ways to provide for their families.
The film industry was affected through the Cinecitta destructions that caused the shoots done by filmmakers to give rise to the Italian NeorealismNeorealism. The films that were contemporary main focus were on the reality face through the difficulties face by the filmmakers. Famous examples of the movie made in the late 1940s include the Bicycle Thieves written by Vittorio De Sica. In the late 1950s, Italy experienced an “European Economic Community which by that time it helped in boosting the country as well as industry reconstructions. The situation led to the country’s rapid growth which improves as the years progressed. Through NeorealismNeorealism, people decline, and they were no longer interested in themes that faced bleaker of different styles giving different optimistic ideas. Therefore, neorealism focus changed from life’s realities to human conditions in nature by the late 1960s through Federico Fellini’s La Dolce Vita (Fabbri, 2015).
An aspiring journalist Marcello Rubini became a constant figure in the events that brought about scandals through celebrity parties in the cities. Throughout the movie, we get to see Marcello also become a spectator in events hosted by socialites. Though he was a tabloid reporter, his main attributes were just as a witness. The movie goes ahead to show the various interactions within people around Rome, and he goes ahead to give lessons he learnt throughout his journey (Parasecoli, 2015). Michelangelo Antonioni films were mostly about how she was lonely. Therefore the theme was loneliness. Majority of individuals, especially those seeking for social institutions to provide support for the, in areas majoring their relationships tend to absorb them. However, most of these institutions often don’t sustain them; therefore, the same people tend to look for homes.
Antonioni in the 20th century enjoyed an international success through greater European auteurs and their peers. Through visual grammar, he became influential, he did long take through the modern architecture, and through the painting of his colour, he began feeling like an art more than a cinema. Giorgio de Chirico, the surreal painter, became renowned for his empty eerily urban landscapes that seemed to haunt Antonioni’s work. The films made by Antonioni mainly featured jaded lovers in the urban settings who appeared to be from a middle-class background (Parasecoli, 2015). He was able to open-ended plots that were elliptical, experimental, and elusive in the provision of materials that seemed to be fruitful for both of his ardent admirers, and harshest critics
No one can be held more responsible for the appreciation of Silmutaneous misunderstanding of the Italian Cinema than Andre Bazin. The impinged firm became the world most viewed film after a report from the foreign journalists in February 1960. Fellini became spat on the Milan premiere, and with that, it brought excitement as the movie viewed. The main character of the film was Marcello Rubini who initially was a writer from the provincial middle-class family; he had set aside his major ambitions, to become a movie star. Federico Fellini’s had a groundbreaking in 1960 after the satire La Dolce Vita Put Italian Cinema through his marked milestones his critical stages recorded (Teo, 2015). Felini also won two Oscars for Best Foreign Language Film in the 1950s. In the film, Marcello was an unfaithful lover drawn to a rich nymphomaniac Maddalena. Therefore through one of the most significant eras in the making of the film was after the World War 11 aftermath collectively known as the neo-realism which was a new genre of films created out of the turbulent pathetic social environment
References
De Luca, T. (2015). Slow cinema. Edinburgh University Press.
Fabbri, L. (2015). Neorealism as ideology: Bazin, Deleuze, and the avoidance of fascism. The Italianist, 35(2), 182-201.
Parasecoli, F. (2015). Tasting a New Home: Food Representations in Italian Neorealist Cinema. Food and Foodways, 23(1-2), 36-56.
Teo, S. (2015). Chinese martial arts cinema. Edinburgh University Press.