Italian Neorealism: Rebuilding the Cinematic CityColumbia University Press, 2006 M03 17 - 144 pages Italian Neorealism: Rebuilding the Cinematic City is a valuable introduction to one of the most influential of film movements. Exploring the roots and causes of neorealism, particularly the effects of the Second World War, as well as its politics and style, Mark Shiel examines the portrayal of the city and the legacy left by filmmakers such as Rossellini, De Sica, and Visconti. Films studied include Rome, Open City (1945), Paisan (1946), The Bicycle Thief (1948), and Umberto D. (1952). |
Contents
| 1 | |
1 The Origins of Neorealism
| 17 |
2 Neorealisms First Phase
| 37 |
3 Neorealism and the City
| 63 |
4 The Battle of Neorealism
| 80 |
5 Neorealisms Second Phase
| 96 |
Legacies of Neorealism
| 122 |
| 128 | |
| 139 | |
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Common terms and phrases
aesthetic Alberto Alicata amore André Bazin anti-fascist Antonio Antonioni architecture artistic became Bicycle Thieves Bitter Rice Blasetti’s Bragana camera Camerini character Christian Democrats Cinecittà city’s comedies commercial Communist crisis critical critique Cronaca director documentary emphasise especially everyday fascist regime Fellini film industry film’s final shot German Germany Year Zero Gino and Giovanna Giuseppe historical human ideological important Italian cinema Italian city Italian film Italian society Italy Italy’s Journey to Italy Katherine La terra trema landscape leftist Luigi Mario Miracle in Milan mise-en-scène moral Mussolini Naples narrative neorealism neorealist cinema neorealist filmmakers neorealist films ney to Italy Nights of Cabiria Open City Ossessione Paisà Paola political popular post-war Italian poverty presented production protagonists realism relationship representation Rome Rossellini Rossellini’s film rural Santis script sense sequence Shoeshine Sica Sica’s social socialist space street Stromboli terra trema tion trattoria Umberto Umberto D urban modernity Visconti vitelloni Vittorio White Sheik working-class Zavattini