Italian Neorealism: Rebuilding the Cinematic CityWallflower Press, 2006 - 142 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
the origins of neorealism | 17 |
neorealisms first phase | 37 |
neorealism and the city | 63 |
the battle of neorealism | 80 |
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 Aristarco artistic Bicycle Thieves Bitter Rice Blasetti Bragana Bruno camera Camerini character Christian Democrats 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 Giuseppe Guido historical ideological important Italian cinema Italian city Italian film Italian neorealism Italian society Italy Italy's Journey to Italy Katherine Kracauer La terra trema landscape leftist Lizzani London Luigi Mario Miracle in Milan moral Mussolini Naples narrative neorealist cinema neorealist filmmakers neorealist films Nights of Cabiria Open City Ossessione Paisà Paola Pasolini Pier Paolo Pasolini political popular post-war Italian poverty presented production protagonists realism reality relationship representation Roman Rome Rossellini rural Santis script sense sequence Shoeshine Sica Sica's social socialist space street Stromboli studios terra trema tion trattoria Umberto D University Press urban modernity Visconti Vittorio working-class World York Zavattini
Popular passages
Page 8 - It is useless to delude oneself about it: neorealism was not a regeneration; it was only a vital crisis, however excessively optimistic and enthusiastic at the beginning.
Page 7 - Open City" ("Citta Aperta"), which arrived at the World last night, is unquestionably one of the strongest dramatic films yet made about the recent war. And the fact that it was hurriedly put together by a group of artists soon after the liberation of Rome is significant of its fervor and doubtless integrity. For such a picture as "Open City" would not likely be made under normal and established conditions.