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Italian Film . Twenties – lackluster industry devastated by war Influence of fascism (1922) Thirties – Under fascist control Combination of propaganda and entertainment So-called white telephone films Mother Earth (Allessondro Blasetti 1931) Forties Neo-realism

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italian film

Italian Film

Twenties – lackluster

industry devastated by war

Influence of fascism (1922)

Thirties – Under fascist control

Combination of propaganda and entertainment

So-called white telephone films

Mother Earth (Allessondro Blasetti 1931)

Forties Neo-realism

Ossessione (Luchino Visconti1942)

Moving camera

Long take shooting

Blunt and gritty prose

Desperation in contemporary Italy

Rome: Open City (Roberto Rossellini 1946)

The Bicycle Thieves (Vittorio De Sica)

Cesare Cavattini

precepts of neorealism
Precepts of Neorealism
  • Show things as they are not as we wish them to be
  • Use facts rather than fiction
  • Depict common man not heroes
  • Reveal the everyday not the exceptional
  • Show man’s relationship to his real society rather than his romantic dreams

He above part of the credo championed by Zavattini

themes of neorealism
Themes of neorealism
  • Social issues
    • End of war devastation
    • Poverty of lower classes
    • Unfeeling nature of bureaucracy
  • Common man
    • Workers
    • Unprofessional actors
  • Anti-fascist
    • Left oriented movement
    • Opposed by centrist to right government
open city
Open City
  • Roma citta aperta (more place specific title)
  • Roberto Rossellini
  • Film of Italian partisans in WWII
  • Mix of neorealism and melodrama
the bicylcle thief
The Bicylcle Thief
  • Ladri di biciclette (The Bicycle Thieves)
  • Vittorio de Sica
  • All non professional actors
  • Too critical for right
  • Not critical enough for left
legacy of neorealism
Legacy of Neorealism
  • Brief movement 1945-1951)
  • Influenced films of Third World Cinema
  • Non glossy productions
  • Non professional actors
  • Interest in social conditions not entertainment
  • Gave name of a style of unadorned filmmaking