Neo-Realism by Italian Film Makers

To capture the hardships of everyday life in a broken country, postwar Italian filmmakers made their own movie words. Regardless of its revolutionary influence, neolitism has not stopped the past completely. Its origin has penetrated works of Italy and distant directors and has been foreseeing the style theme and formal revolution that will be one of the most influential sports in the movie in the past few decades . While paying attention to the postwar working class and the difficulties of daily fighting in Italy, the neolaristic film established a new social consciousness.

The Italian coach sometimes has to rely on neo-realism in order not to have money, but it is not so. In addition to a new realistic director like De Sica, other Italian directors produced a movie that appeared expensive at this time. Neo-realism is an artistic choice influenced by American black movies and is "poetic realism" by French director like Renoir. It represents a crucial shift to Mussorini's preferred luxurious "white phone" style for Marxist theme, highlighting the poverty and despair experienced by lower classes under the occupation of the United States.

The movie is directed by Italian Neolibiristic director Vittorio Dessica. This is also his most famous work. Italian neo-realism is an important movement in the European film industry. It makes the history of the movie a way of expression for Germans. It had a great influence on subsequent movements such as French New Wave and British social realism. It was proposed after the Second World War and it is response to society. It aims to break the tradition of traditional Italian movies and reflects the reality of this country. Many people are suffering from the lack of unemployment, housing poverty, and poverty. In this movie, these problems are very obvious.

Film production after the war in Italy affected the image of Hollywood Americans. Italian filmmakers are committed to raising the realism of the movie and evoking the movement called Italian New Realism (Benshoff & Griffin, 2004). Films made by this movement are very popular and often call the Italians poor and working class. As a result, the depiction of the United States began to represent the Italians "working up to the earth", the working class in the movies like Marty (1955) and The Rose Tattoo (1955). Another interesting phenomenon is included in the last few years of the second phase defined by Cortez. Italian and American filmmakers revived the stereotypes of popular Italian lovers detailed in the 1920s Rodolph Valentino movie. Italian actress Sophia Loren, Gina Rollobrigida, Anna Magnini are known for their sexual behavior not to be expressed in their words