World Film History II, 2 Italian Neorealism and its successors.

Presentazione sul tema: "World Film History II, 2 Italian Neorealism and its successors."— Transcript della presentazione:

1 World Film History II, 2 Italian Neorealism and its successors

2 Luigi Chiarini: ”Neorealism betrayed” (1955) Men derived from the audiences' own reality replaced the pre-conceived characters in conventional narratives of the past The chronicle (if we can call it that), events and facts culled from the daily existence of men, replaced the prefabricated adventures of novels and comedies The throbbing photographic document replaced pictorial and figurative virtuosity The cities and countryside, with people effectively living there, replaced the papier-maché scenery of the past

3 Geoffrey Nowell-Smith’s criteria for neorealism (1968) Realistic treatment of subject matter Popular environments Social content Historical accuracy Political commitment

4 Felix A. Morlion, “The philosophical basis of Italian cinematic neorealism” Neo-realism's thesis is that the screen is a magic window which opens out on to the "real"; that cinematic art is the art of recreating, through the exercise of free choice upon the material world, the most intense vision possible of the invisible reality inherent in the movements of the mind. The basis of every good work of art is not what people think about reality, but what reality actually is. Through a shared vision of existence, both artists and audiences forget with pleasure those artistic inventions which merely served as means for the creation of that new-born thing... The neo-realist school has taken a great step forward. It has forsworn vanity to reach the true aim of cinema: to express reality.

5 Neorealism: major directros and their films LUCHINO VISCONTI: Ossessione (1942), La Terra trema (1948) ROBERTO ROSSELLINI: Roma, citta aperta (1945), Paisa (1946), Germania anno zero (1947) VITTORIO DE SICA: Sciuscià (1946) Ladri di biciclette (1948), Umberto D (1952) ALBERTO LATTUDA: Senza pietà (1948) PIETRO GERMI: In nome delle legge (1949) GIUSEPPE DE SANTIS: Riso amaro (1948)

6 ”Neorealismo rosa” ROBERTO CASTELLANI: Sotto il sole di Roma (1948), Due soldi di speranza (1952) LUIGI COMENCINI: Pane, amore e fantasia (1953), Pane, amore e gelosia (1954) DINO RISI: Pane, amore e... (1955), Poveri ma belli (1954)

7 Toward new cinema ROBERTO ROSSELLINI: Stromboli (1949), Viaggio in Italia (1953) MICHELANGELO ANTONIONI: Le Amiche (1955), Il Grido (1957) FEDERICO FELLINI: Lo Sceicco bianco (1952), I Vitelloni (1953), La Strada (1954), Il Bidone (1955)