Italian Neorealism in Film
[2023-09-10 02:59:56]
Neorealism is a reaction to fascist movie style, which is typical of Italian movies under Mussolini (Prince, 2004, p. 353). Under Mussolini's control, the Italian film industry produced mainly epic historical films and sophisticated social melodies as a form of publicity to spread the size of the country to the world. Indeed, Italy is far from prosperous, suffering from unemployment, housing problems, serious poverty, and the population is suffering, but it is not reflected in the Italian film industry.
Italian neo-realism (Italian: Neorealismo), also known as the Golden Age, is a nationwide movie movement characterized by the poor and working class stories taken on the spot, often a non-professional I am using an actor. Italian neo-realism movies mainly face Italy's difficult economic and moral circumstances after World War II and change in the situation of Italian psychology and daily life including poverty, oppression, injustice and despair It shows. At the end of the Second World War, the emergence of new realism in Italy, the collapse of the Benito Mussolini regime brought about the loss of the center in the Italian film industry. Neo - realism is a characteristic of Italian culture change and progress of society. The movie studio in Cinecittà was severely damaged during the war, so the movie presents contemporary stories and thoughts, and often taken on the street.
Italian neo-realism is a short and influential movie movement that lasted from the end of World War II until 1951. Neo - realism comes from film critic 's work of film magazines These film critics have only to write politics against the popular Italian film industry under Mussolini. The main focus of the critic was the influx of TV broadcasts and Hollywood imports at the time. In stark contrast to these bourgeois-like escaped melodramas, Italian films were cited as liberal literature in the 1930's and poetic realism in French movies as examples of works by Jean Renoir. As a result, a series of Italian films recognized worldwide, Rossellini's Open City (1945), Pasan (1946), German Zeroer (1947), Visconte's Lateratratema (1947), Dessica's Shoes Shine (1947) 1946), Bicycle Thieves (1948), Umberto D (1951)
Some film historians tend to depict neorealism as a true movement with universally accepted style and theme. In fact, Italian neo-modernist movies are mixed tradition and more experimental techniques. In addition, the political convenience is to ignore the important elements of the continuity between the realist movie made in the fascist era and the realist movie made by the neolarian, and the postwar neo-realism Often cause explanation of. Since 1945, no one in the film industry wanted a connection between Mussorini and his disciplined dictatorship. Ignored