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Italian neorealism

October 20, 2023

Italian neorealism (Italian: Neorealismo), also known as the Golden Age, was a national film movement characterized by stories set amongst the poor and the working class. They are filmed on location, frequently with non-professional actors. They primarily address 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 Edit

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 and social change in Italy. Its films presented contemporary stories and ideas and were often shot on location as the Cinecittà film 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:

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 turn to the realist writers from the turn of the 20th century.

 
Wandering Musicians by Italian neorealist artist Bruno Caruso (1953)

Many of the filmmakers involved in neorealism developed their skills working on Calligrafismo films in the early 1940s (although the short-lived movement was markedly different from neorealism). Elements of neorealism are also found in the films of Alessandro Blasetti and the documentary-style films of Francesco De Robertis. Two of the most significant precursors of neorealism are Jean Renoir's Toni (1935) and Blasetti's 1860 (1934). Both Visconti and Michelangelo Antonioni worked closely with Renoir.

In the spring of 1945, Mussolini was executed and Italy was liberated from German occupation. This period, known as the "Italian Spring," broke from old ways and fostered a more realistic approach to making films. Italian cinema went from utilizing elaborate studio sets to shooting on location in the countryside and city streets in a realist style.[1]

Although the true beginning of neorealism has been widely contested by theorists and filmmakers, the first neorealist film is generally thought to be Visconti's Ossessione, released in 1943, during the occupation. Neorealism became famous globally in 1946 with Roberto Rossellini's Rome, Open City, when it won the Grand Prize at the Cannes Film Festival as the first major film produced in Italy after the war.

Italian neorealism rapidly declined in the early 1950s. Liberal and socialist parties were having difficulties presenting their message. The vision of the existing poverty and despair, presented by neorealist cinema, was demoralizing a nation anxious for prosperity and change. Additionally, the first positive effects of the Italian economic miracle period—such as gradual rises in income levels—caused the themes of neorealism to lose their relevance. As a consequence, most Italians favored the optimism shown in many American movies of the time. The views of the post-war Italian government of the time were also far from positive, and the remark of Giulio Andreotti, who was then a vice-minister in the De Gasperi cabinet, characterized the official view of the movement: Neorealism is "dirty laundry that shouldn't be washed and hung to dry in the open".[2]

Italy's move from individual concern with neorealism to the tragic frailty of the human condition can be seen through Federico Fellini's films. His early works La Strada (1954) and Il bidone (1955) are transitional movies. The larger social concerns of humanity, treated by neorealists, gave way to the exploration of individuals. Their needs, their alienation from society and their tragic failure to communicate became the main focal point in the Italian films to follow in the 1960s. Similarly, Antonioni's Red Desert (1964) and Blow-up (1966) take the neorealist trappings and internalise them in the suffering and search for knowledge brought out by Italy's post-war economic and political climate.

In the early 1950s the neorealist torch was picked up by artists like Sicily's Bruno Caruso, whose work focused on the warehouses, shipyards and psychiatric wards of his native Palermo.[3]

Characteristics Edit

 
Bicycle Thieves by Vittorio De Sica (1948)

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 several of the principles of neorealism, depicting clearly the struggle of normal Italian people to live from day to day under the extraordinary difficulties of the German occupation of Rome, consciously doing what they can to resist the occupation. The children play a key role in this, and their presence at the end of the film is indicative of their role in neorealism as a whole: as observers of the difficulties of today who hold the key to the future. Vittorio De Sica's 1948 film Bicycle Thieves is also representative of the genre, with non-professional actors, and a story that details the hardships of working-class life after the war.

 
Miracle in Milan by Vittorio De Sica (1951)
 
Umberto D. by Vittorio De Sica (1952)

In the period from 1944 to 1948, many neorealist filmmakers drifted away from pure neorealism. Some directors explored allegorical fantasy, such as de Sica's Miracle in Milan, and historical spectacle, like Senso by Visconti. It was also the time period when a more upbeat neorealism emerged, which produced films that melded working-class characters with 1930s-style populist comedy, as seen in de Sica's Umberto D.[4]

At the height of neorealism, in 1948, Visconti adapted I Malavoglia, a novel by Giovanni Verga, written during the 19th century realist verismo movement, bringing the story to a modern setting, which resulted in remarkably little change in either the plot or the tone. The resulting film, The Earth Trembles, starred only nonprofessional actors and was filmed in the same village (Aci Trezza) in which the novel was set.

More contemporary theorists of Italian neorealism characterize it less as a consistent set of stylistic characteristics and more as the relationship between film practice and the social reality of post-war Italy. Millicent Marcus delineates the lack of consistent film styles of neorealist film.[5] Peter Brunette and Marcia Landy both deconstruct the use of reworked cinematic forms in Rossellini's Open City.[6][7] Using psychoanalysis, Vincent Rocchio characterizes neorealist film as consistently engendering the structure of anxiety into the structure of the plot itself.[8]

Impact Edit

The period between 1943 and 1950 in the history of Italian cinema was dominated by the impact of neorealism, which was 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, Brazilian Cinema Novo 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).[9]

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 the neorealism experiences.[10][11] In particular,

this cinema seems to be constituted as a new subject of knowledge, which itself builds and develops. It produces a new world in which the main elements have not so many narrative functions as they have their own aesthetic value, related with the eye that is watching them and not with the action they are coming from.[12]

Although Umberto D. is considered the end of the neorealist period, later films such as Federico Fellini's La Strada (1954) and De Sica's 1960 film Two Women (for which Sophia Loren won the Oscar for Best Actress) are grouped with the genre. Director Pier Paolo Pasolini's first film, Accattone (1961), shows a strong neorealist influence.[13] The Neorealist period is often simply referred to as "The Golden Age" of Italian cinema by critics, filmmakers and scholars.

Significant works Edit

Precursors and influences Edit

 
What Scoundrels Men Are! by Mario Camerini (1932)

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:

Main works Edit

 
Shoeshine by Vittorio De Sica (1946)
 
The Earth Trembles by Luchino Visconti (1948)

Major figures Edit

 
Vittorio De Sica, a leading figure in the neorealist movement and one of the world's most acclaimed and influential filmmakers of all time.[16]

See also Edit

References Edit

  1. ^ Thompson, Kristin; Bordwell, David (2010). Film History: An Introduction. McGraw Hill. pp. 330–331. ISBN 978-0070384293.
  2. ^ Cuter, Elisa; Kirsten, Guido; Prenzel, Hanna (2022). Precarity in European Film: Depictions and Discourses. Vol. 1. Walter de Gruyter GmbH & Co KG. p. 88. ISBN 978-3110707816.
  3. ^ "Ink & Oils". Retrieved 18 November 2022.
  4. ^ Thompson, Kristin; Bordwell, David (2010). "Postwar European Cinema: Neorealism and Its Context, 1945–1959". Film History: An Introduction. McGraw Hill. p. 333. ISBN 978-0070384293.
  5. ^ Marcus, Millicent (1987). Italian Film in the Light of Neorealism. Princeton University Press. ISBN 978-0691102085.
  6. ^ a b Brunette, Peter (1987). Roberto Rosellini. Oxford University Press. ISBN 978-0195049893.
  7. ^ Gottlieb, Sidney (2004). "Diverting clichés: femininity, masculinity, melodrama, and neorealism in Open City". Roberto Rosellini's Rome Open City. Cambridge University Press. ISBN 978-0511617133.
  8. ^ Rocchio, Vincent (1999). Cinema of Anxiety: A Psychoanalysis of Italian Neorealism. UT Press. ISBN 978-0292771017.
  9. ^ Anwar Huda (2004). The Art and science of Cinema. Atlantic Publishers & Dist. p. 100. ISBN 81-269-0348-1.
  10. ^ Miccichè, Lino (1975). Il neorealismo cinematografico italiano (in Italian). Dharavi: Marsilio. ISBN 978-88-317-7237-2.
  11. ^ Daniele, Romina (2011). Ascenseur pour l'échafaud, Il luogo della musica nell'audiovisione. Milan: RDM. p. 41. ISBN 978-88-904905-9-0.
  12. ^ Sainati, Augusto (1998). Supporto, soggetto, oggetto: forme di costruzione del sapere dal cinema ai nuovi media, in Costruzione e appropriazione del sapere nei nuovi scenari tecnologici (in Italian). Napoli: CUEN. p. 154.
  13. ^ a b Bergan, Ronald (2011). The Film Book. Penguin. p. 154. ISBN 9780756691882.
  14. ^ Wagstaff, Christopher (2008). Italian Neorealist Cinema : an Aesthetic Approach. University of Toronto Press. ISBN 978-1-4426-8567-3. OCLC 958572098.
  15. ^ Bordwell, David; Thompson, Kristin (2010). Film Art; An Introduction. McGraw-Hill Education. p. 461. ISBN 978-0071220576.
  16. ^ "Vittorio De Sica: l'eclettico regista capace di fotografare la vera Italia" (in Italian). 6 July 2020. Retrieved 14 January 2022.

Further reading Edit

  • Verdone, Mario (1977). Il Cinema Neorealista, da Rossellini a Pasolini. Celebes Editore.[ISBN unspecified]

External links Edit

  • on Italian Neo-Realism
  • Video-Essay explaining Neorealism, based on the two versions of Terminal Station

October 20, 2023
italian, neorealism, italian, neorealismo, also, known, golden, national, film, movement, characterized, stories, amongst, poor, working, class, they, filmed, location, frequently, with, professional, actors, they, primarily, address, difficult, economic, mora. Italian neorealism Italian Neorealismo also known as the Golden Age was a national film movement characterized by stories set amongst the poor and the working class They are filmed on location frequently with non professional actors They primarily address 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 Italian neorealismA still shot from Rome Open City by Roberto Rossellini 1945 Years active1943 1952CountryItalyMajor figuresRoberto Rossellini Vittorio De Sica Cesare Zavattini Luchino Visconti Giuseppe De Santis Suso Cecchi d Amico Federico Fellini Bruno Caruso Michelangelo AntonioniInfluencesPoetic realism Marxism Christian humanismInfluencedFrench New Wave Cinema Novo Iranian New Wave Contents 1 History 2 Characteristics 3 Impact 4 Significant works 4 1 Precursors and influences 4 2 Main works 5 Major figures 6 See also 7 References 8 Further reading 9 External linksHistory EditItalian 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 and social change in Italy Its films presented contemporary stories and ideas and were often shot on location as the Cinecitta film 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 Luchino Visconti Gianni Puccini Cesare Zavattini Giuseppe De Santis Pietro IngraoLargely 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 turn to the realist writers from the turn of the 20th century nbsp Wandering Musicians by Italian neorealist artist Bruno Caruso 1953 Many of the filmmakers involved in neorealism developed their skills working on Calligrafismo films in the early 1940s although the short lived movement was markedly different from neorealism Elements of neorealism are also found in the films of Alessandro Blasetti and the documentary style films of Francesco De Robertis Two of the most significant precursors of neorealism are Jean Renoir s Toni 1935 and Blasetti s 1860 1934 Both Visconti and Michelangelo Antonioni worked closely with Renoir In the spring of 1945 Mussolini was executed and Italy was liberated from German occupation This period known as the Italian Spring broke from old ways and fostered a more realistic approach to making films Italian cinema went from utilizing elaborate studio sets to shooting on location in the countryside and city streets in a realist style 1 Although the true beginning of neorealism has been widely contested by theorists and filmmakers the first neorealist film is generally thought to be Visconti s Ossessione released in 1943 during the occupation Neorealism became famous globally in 1946 with Roberto Rossellini s Rome Open City when it won the Grand Prize at the Cannes Film Festival as the first major film produced in Italy after the war Italian neorealism rapidly declined in the early 1950s Liberal and socialist parties were having difficulties presenting their message The vision of the existing poverty and despair presented by neorealist cinema was demoralizing a nation anxious for prosperity and change Additionally the first positive effects of the Italian economic miracle period such as gradual rises in income levels caused the themes of neorealism to lose their relevance As a consequence most Italians favored the optimism shown in many American movies of the time The views of the post war Italian government of the time were also far from positive and the remark of Giulio Andreotti who was then a vice minister in the De Gasperi cabinet characterized the official view of the movement Neorealism is dirty laundry that shouldn t be washed and hung to dry in the open 2 Italy s move from individual concern with neorealism to the tragic frailty of the human condition can be seen through Federico Fellini s films His early works La Strada 1954 and Il bidone 1955 are transitional movies The larger social concerns of humanity treated by neorealists gave way to the exploration of individuals Their needs their alienation from society and their tragic failure to communicate became the main focal point in the Italian films to follow in the 1960s Similarly Antonioni s Red Desert 1964 and Blow up 1966 take the neorealist trappings and internalise them in the suffering and search for knowledge brought out by Italy s post war economic and political climate In the early 1950s the neorealist torch was picked up by artists like Sicily s Bruno Caruso whose work focused on the warehouses shipyards and psychiatric wards of his native Palermo 3 Characteristics Edit nbsp Bicycle Thieves by Vittorio De Sica 1948 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 several of the principles of neorealism depicting clearly the struggle of normal Italian people to live from day to day under the extraordinary difficulties of the German occupation of Rome consciously doing what they can to resist the occupation The children play a key role in this and their presence at the end of the film is indicative of their role in neorealism as a whole as observers of the difficulties of today who hold the key to the future Vittorio De Sica s 1948 film Bicycle Thieves is also representative of the genre with non professional actors and a story that details the hardships of working class life after the war nbsp Miracle in Milan by Vittorio De Sica 1951 nbsp Umberto D by Vittorio De Sica 1952 In the period from 1944 to 1948 many neorealist filmmakers drifted away from pure neorealism Some directors explored allegorical fantasy such as de Sica s Miracle in Milan and historical spectacle like Senso by Visconti It was also the time period when a more upbeat neorealism emerged which produced films that melded working class characters with 1930s style populist comedy as seen in de Sica s Umberto D 4 At the height of neorealism in 1948 Visconti adapted I Malavoglia a novel by Giovanni Verga written during the 19th century realist verismo movement bringing the story to a modern setting which resulted in remarkably little change in either the plot or the tone The resulting film The Earth Trembles starred only nonprofessional actors and was filmed in the same village Aci Trezza in which the novel was set More contemporary theorists of Italian neorealism characterize it less as a consistent set of stylistic characteristics and more as the relationship between film practice and the social reality of post war Italy Millicent Marcus delineates the lack of consistent film styles of neorealist film 5 Peter Brunette and Marcia Landy both deconstruct the use of reworked cinematic forms in Rossellini s Open City 6 7 Using psychoanalysis Vincent Rocchio characterizes neorealist film as consistently engendering the structure of anxiety into the structure of the plot itself 8 Impact EditThe period between 1943 and 1950 in the history of Italian cinema was dominated by the impact of neorealism which was 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 Brazilian Cinema Novo 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 9 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 the neorealism experiences 10 11 In particular this cinema seems to be constituted as a new subject of knowledge which itself builds and develops It produces a new world in which the main elements have not so many narrative functions as they have their own aesthetic value related with the eye that is watching them and not with the action they are coming from 12 Although Umberto D is considered the end of the neorealist period later films such as Federico Fellini s La Strada 1954 and De Sica s 1960 film Two Women for which Sophia Loren won the Oscar for Best Actress are grouped with the genre Director Pier Paolo Pasolini s first film Accattone 1961 shows a strong neorealist influence 13 The Neorealist period is often simply referred to as The Golden Age of Italian cinema by critics filmmakers and scholars Significant works EditPrecursors and influences Edit nbsp What Scoundrels Men Are by Mario Camerini 1932 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 The verismo literary movement characterized by the works of Giovanni Verga and Luigi Capuana Poetic realism Lost in Darkness Nino Martoglio 1912 What Scoundrels Men Are Mario Camerini 1932 the first Italian film shot entirely on location 13 1860 Alessandro Blasetti 1934 An Inn in Tokyo Yasujirō Ozu 1935 Toni Jean Renoir 1935 Men on the Sea Floor Francesco De Robertis 1941 The White Ship Roberto Rossellini 1941 Aniki Bobo Manoel de Oliveira 1942 People of the Mountains Istvan Szots 1942 Four Steps in the Clouds Alessandro Blasetti 1942 Desire Marcello Pagliero 1946 was to begin production in 1943 under the name Scalo merci with Roberto Rossellini directing and Giuseppe De Santis writing but production was halted by Allied bombing 6 14 People of the Po Valley Michelangelo Antonioni 1947 filmed in 1943Main works Edit nbsp Shoeshine by Vittorio De Sica 1946 nbsp The Earth Trembles by Luchino Visconti 1948 Ossessione Luchino Visconti 1943 The Children Are Watching Us Vittorio De Sica 1943 Rome Open City Roberto Rossellini 1945 Shoeshine Vittorio De Sica 1946 The Last Shoeshine Gibba 1946 The only Animated example of Neorealism O sole mio Giacomo Gentilomo 1946 Paisan Roberto Rossellini 1946 Germany Year Zero Roberto Rossellini 1948 Bicycle Thieves Vittorio De Sica 1948 The Earth Trembles Luchino Visconti 1948 Bitter Rice Giuseppe De Santis 1949 Stromboli Roberto Rossellini 1950 Bellissima Luchino Visconti 1951 Miracle in Milan Vittorio De Sica 1951 Rome 11 00 Giuseppe De Santis 1952 Europe 51 Roberto Rossellini 1952 Umberto D Vittorio De Sica 1952 filmed in 1951 but released in 1952 Many film historians date the end of the neorealist movement with the public attacks on the film 15 Journey to Italy Roberto Rossellini 1954 Major figures Edit nbsp Vittorio De Sica a leading figure in the neorealist movement and one of the world s most acclaimed and influential filmmakers of all time 16 Giuseppe De Santis Vittorio De Sica Federico Fellini Alberto Lattuada Roberto Rossellini Luchino Visconti Cesare Zavattini Suso Cecchi D Amico Bruno Caruso Art See also Edit nbsp Film portal nbsp Italy portalCinema of Italy French New Wave Kitchen sink realism British New Wave Indian New Wave Japanese New Wave Iranian New Wave L A Rebellion Polish Film School My Voyage to ItalyReferences Edit Thompson Kristin Bordwell David 2010 Film History An Introduction McGraw Hill pp 330 331 ISBN 978 0070384293 Cuter Elisa Kirsten Guido Prenzel Hanna 2022 Precarity in European Film Depictions and Discourses Vol 1 Walter de Gruyter GmbH amp Co KG p 88 ISBN 978 3110707816 Ink amp Oils Retrieved 18 November 2022 Thompson Kristin Bordwell David 2010 Postwar European Cinema Neorealism and Its Context 1945 1959 Film History An Introduction McGraw Hill p 333 ISBN 978 0070384293 Marcus Millicent 1987 Italian Film in the Light of Neorealism Princeton University Press ISBN 978 0691102085 a b Brunette Peter 1987 Roberto Rosellini Oxford University Press ISBN 978 0195049893 Gottlieb Sidney 2004 Diverting cliches femininity masculinity melodrama and neorealism in Open City Roberto Rosellini s Rome Open City Cambridge University Press ISBN 978 0511617133 Rocchio Vincent 1999 Cinema of Anxiety A Psychoanalysis of Italian Neorealism UT Press ISBN 978 0292771017 Anwar Huda 2004 The Art and science of Cinema Atlantic Publishers amp Dist p 100 ISBN 81 269 0348 1 Micciche Lino 1975 Il neorealismo cinematografico italiano in Italian Dharavi Marsilio ISBN 978 88 317 7237 2 Daniele Romina 2011 Ascenseur pour l echafaud Il luogo della musica nell audiovisione Milan RDM p 41 ISBN 978 88 904905 9 0 Sainati Augusto 1998 Supporto soggetto oggetto forme di costruzione del sapere dal cinema ai nuovi media in Costruzione e appropriazione del sapere nei nuovi scenari tecnologici in Italian Napoli CUEN p 154 a b Bergan Ronald 2011 The Film Book Penguin p 154 ISBN 9780756691882 Wagstaff Christopher 2008 Italian Neorealist Cinema an Aesthetic Approach University of Toronto Press ISBN 978 1 4426 8567 3 OCLC 958572098 Bordwell David Thompson Kristin 2010 Film Art An Introduction McGraw Hill Education p 461 ISBN 978 0071220576 Vittorio De Sica l eclettico regista capace di fotografare la vera Italia in Italian 6 July 2020 Retrieved 14 January 2022 Further reading EditVerdone Mario 1977 Il Cinema Neorealista da Rossellini a Pasolini Celebes Editore ISBN unspecified External links EditGreenCine primer on Italian Neo Realism Comprehensive interview with Suso Cecchi d Amico the legendary screenwriter from the Neo Realism period Video Essay explaining Neorealism based on the two versions of Terminal Station Retrieved from https en wikipedia org w index php title Italian neorealism amp oldid 1176782029, wikipedia, wiki, book, books, library,

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