Italian Neorealism: Film Style of Post-War Europe

Between 1943 and 1950, Italian movies were dominated by neo-realism which became the most important movie style in Europe after the war. Founded in 1936, the promoter opened the name "Centro Sperimentaledi Cinematografia" of the modern Shinkitsuta Studio and Film School. When such a school opened, the campaign will include a group of film directors, including Carlo Montuori who created one of the most famous movies of "Bicycle Thieves" (1948), with his classical technique, I gave an annual contract. It was created by the neolarist movement.

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.

It is clear that Italian neo-realism and the postwar life formed the movie "Bicycle Thief" (1948). However, after much discussion, it can be argued that the sentimental nature of movies overwhelming movies is highly likely to give strong political statements. See the important scene in the movie, the application of principles and emotions in Italian neo-realism; people can rationally assert that a powerful political statement is not overwhelmed by emotions, and in fact movies Will enhance the information intended to be released.

More contemporary Italian Neolariist theorists describe it as a feature of a consistent style, like the relationship between film practice and postwar Italian social reality. Millicent Marcus depicts that there is no consistent movie style in neorealism movies. Peter Brown and Marcia Landy both decomposed the use of rewritten movie formats at Rossellini in open city. Using psychoanalysis, Vincent Rocchio describes the properties of neolitic film as a structure that constantly introduces anxiety structure into the plot itself.