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Topic: Italian neorealism

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	Italian neorealism - Wikipedia, the free encyclopedia (via CobWeb/3.1 planetlab2.cs.umd.edu) (Site not responding. Last check: 2007-10-13)
		Italian neorealism is a film movement often considered to have started in 1943 with Ossessione and ended in 1952 with Umberto D. The movement is characterized by stories set amongst the poor and working class, filmed in long takes on location, frequently using nonprofessional actors for secondary and sometimes primary roles.
		Italian neorealist films mostly contend with the difficult economical and moral conditions of postwar Italy, reflecting the changes in the Italian psyche and the conditions of everyday life: defeat, poverty, and desperation.
		Italian neorealism was inspired by French cinéma vérité (and deeply inspired the French New Wave), German Kammerspiel, and influenced the U.S. documentary movement and the Polish Film School.
	en.wikipedia.org.cob-web.org:8888 /wiki/Italian_neorealism (1006 words)

	Publicity Games of Film Journalism (Site not responding. Last check: 2007-10-13)
		Italian cinema in general, and neorealism in particular, were considered excellent from the very beginning.
		When Italian neorealism betrayed its mission and was declared dead, and when historical spectacles and light village farces started to flood from Italy to Finland, Finnish critics just had to swallow their disappointment.
		Neorealism finally managed to rid film traders of their prejudices, and the end justified the means.
	users.utu.fi /arikiv/art1/neorea.html (759 words)

	Italian Cinema - Neorealism
		The crisis of neorealism was rooted in an objective general fact: in the involution of the Italian society or, if we wish to use another expression, in the restoration of capitalism in Italy.
		To understand the Italian situation in the late sixties and seventies which came to a head in acts of terrorism that would continue to unsettle the country in future years, it is helpful to look back into Italy's post-Fascist history.
		The unrest and violence that characterised Italian life in the sixties and seventies had other causes apart from the Christian Democrats' failure to respond to the needs of the changing political and social climate.
	www.aber.ac.uk /~labwww/euro_lang/italian/ital_cinema/index.html (3614 words)

	Italian Academy Celebrates the Rise and Fall of Neorealism in Italian Cinema
		The Italian Academy for Advanced Studies in America will host "The Rise and Fall of Italian Neorealism" film festival beginning on Thursday, February 7, at the Italian Academy, 1161 Amsterdam Avenue.
		Guest speaker Flora Ghezzo is a post-doctoral fellow in the Italian department at Columbia and teaches courses on 19th and 20th century Italian literature.
		She is currently co-editing a collection of essays on distinguished Italian writer Anna Maria Ortese and working on a book-length study on gender and self-representation in women's literature under fascism.
	www.columbia.edu /cu/news/02/02/italian_academy_film.html (706 words)

	Italian Cinema
		Italian culture in the industrial era, 1880-1980: cultural industries, politics, and the public.
		Sorlin examines Italian cinema within the context of Italian society, exploring the concept of national identity by focussing on the relationship between Italian cinema and its domestic and foreign audiences.
		The folklore of consensus: theatricality in the Italian cinema, 1930-1943.
	www.utoronto.ca /innis/library/italianfilm.html (2010 words)

	FIERI Boston - Cinema
		Great Italian Films is a superior introduction to the Italian cinema, acquainting the reader with major directors such as De Sica, Rossellini, Monicelli, Fellini, Antonioni, and Visconti.
		Italian Film examines the extraordinary cinematic tradition of Italy, from the silent era to the present.
		Her study traces how social institutions--school, family, the Church--as well as Italian notions of masculinity and femininity are dealt with in cinema and how they are central to the conceptions (and misconceptions) of national identity.
	www.fieri-boston.org /cinema_books.htm (686 words)

	Untitled Document
		Neorealism is characterized by social consciousness, simple stories of the common worker, and location shooting.
		Among the outstanding films produced during the height of neorealism between 1945 and 1952 were Open City (1945), Paisan (1947), La Terra Trema (1948), and The Bicycle Thief [1948].
		Italian neorealism as a film style developed as a result of social and economic unrest in Italy that accompanied the end of World War II.
	italian.vassar.edu /federico/genres.html (466 words)

	Tocce on Bondanella
		For someone unfamiliar with the evolution of Italian cinema this text is a good introduction to how film in Italy transformed during and after the post war period.
		Some might comment on Rossellini and the emergence of 'Italian neorealism', but few are aware of what predated these popular names.
		In fact, had it not been for the earlier fascist cinema many of the characteristics that we associate with neorealism and Italian cinema as a whole would not have come to be.
	www.film-philosophy.com /vol2-1998/n10tocce (1011 words)

	filmjourney.org : I Vitelloni, neorealism
		A short-lived but potent eruption in postwar Italian literature and filmmaking (roughly '45-'53), it is commonly identified with the aesthetics and particularities of its first critical and popular success, Roberto Rossellini's Open City (1945): simple plots and location shooting, nonprofessional actors playing working class people whose lives are complicated by social turmoil.
		Thus, any discussion of Italian neorealism must be broad enough to encompass a wide diversity of cinematic styles, themes, and attitudes.
		No single or specific approach was taken and, therefore, much of the discussion which arose in the next decade over the "crisis" of neorealism or its "betrayal" by various directors was essentially groundless and founded upon ideological disagreements between various critics rather than any abrupt change on the part of the filmmakers themselves.
	filmjourney.weblogger.com /2004/04/02 (838 words)

	Italian Studies (Site not responding. Last check: 2007-10-13)
		All courses must be directly relevant to the Italian culture, to be selected in consultation with adviser to ensure that the student follows a well-balanced and cohesive program of study.
		All courses must be directly relevant to the Italian culture, to be selected in consultation with adviser to ensure that the student follows a well-balanced and cohesive program of study (See attached appendix of applicable courses).
		Dana Renga: Italian literature and culture from the enlightenment to the present day, Italian cinema, Fascism (and Neo-fascism) in Italy, relations between fascist Italy and nazi Germany, representations of gender, intersections between poetry and cinema, postmodernism.
	www.coloradocollege.edu /dept/RL/italian_studies.htm (1358 words)

	Rome, Open City: Neorealism Wasn't Built in a Day. By George Kaltsounakis
		Anyone with a superficial grasp of that revolutionary advance in cinematic conventions known as Italian neorealism would no doubt be perplexed by the disparity between the term’s purported stylistics and the aesthetics of Rossellini’s landmark, Rome, Open City (1945), the flagship of the “movement” (a group with no clear leader or manifesto).
		Made partly in reaction to the Italian “white telephone” dramas, facile Hollywood imports, and apolitical genre films, it is very much a bridge between its period’s dominant modes of storytelling and the future of cinema, a bridge conceived as much out of necessity as design.
		The author is indebted to Peter Bondanella’s Italian Cinema from Neorealism to the Present.
	www.cinema-scope.com /cs24/spo_kaltsounakis_rome.htm (785 words)

	italy, neorealism
		The film is about the protagonist getting a job (at the time of the movie, 25% of the Italian workforce was jobless) and in order to get to work, the protagonist has to get his bicycle out of hock.
		Levels of income were surpassing prewar levels, most Italians liked American cinema and the vision of a desolate, poverty-stricken country outraged politicians anxious for democracy and prosperity.
		Where Italian neorealism aimed at psychological analysis and ultimate description of feelings, Fellini left the interior of his characters unrevealed.
	film.vtheatre.net /italy.html (1163 words)

	Italian Neorealism and Global Cinema - Kristi M. Wilson and Laura E. Ruberto (Site not responding. Last check: 2007-10-13)
		This collection examines the impact of Italian neorealism beyond the period of 1945–1952, the years conventionally connected to the movement, and beyond the postwar Italian film industry where the movement originated.
		The fourteen essays in Italian Neorealism and Global Cinema consider films from Italy, India, Brazil, Africa, the Czech Republic, postwar Germany, Hong Kong, the United States, and Great Britain.
		Each essay explores neorealism’s complex relationship to a different national film tradition, style, or historical period, illustrating the profound impact of neorealism and the ways that it continues to complicate the relationship between ideas of nation, national cinema, and national identity.
	wsupress.wayne.edu /film/worldcinema/wilsonrf/wilsonb.html (202 words)

	Italian Cinema: Reviews and Articles about Selected Films in the UC Berkeley Libraries
		The folklore of consensus : theatricality in the Italian cinema, 1930-1943 / Marcia Landy.
		Carlo Lizzani explores the development of Italian Neorealism in post-World War II cinema, when films such as La Terra Trema and Ladri di Biciclette brought prestige to the industry even as it struggled with financial problems.
		The Taviani Brothers discuss their relationship to Italian neorealism, their experimentation with film language, innovative use of music and sound effects and the political function of their films.
	www.lib.berkeley.edu /MRC/italianambib.html (10490 words)

	Cinema of Italy - Wikipedia, the free encyclopedia
		The Italian film industry took shape between 1903 and 1908, led by three major organizations - the Roman Cines, the Ambrosio of Turin and Itala Film.
		His films (often with Peppino De Filippo and almost always with Mario Castellani) expressed a sort of neorealistic satire, in the means of a guitto as well as with the art of the great dramatic actor he also was, like Pier Paolo Pasolini would have shown.
		Some of the most notorious films faced legal challenges in the United Kingdom, after the Video Recordings Act or 1984, it became a legal offence to poses a copy of such films as Cannibal Holocaust and SS Experiment Camp.
	en.wikipedia.org /wiki/Italian_cinema (1920 words)

	MoMA \| Press \| Releases \| 2001 \| POSTWAR ITALIAN CINEMA
		By screening quality prints of important Italian films that were never released or have fallen out of distribution in this country, the series aims to foster an appreciation for the richness and variety of Italian cinema over the last five and a half decades.
		One of the most gifted and cultured Italian directors of his generation, Germi was underrated for his enthusiastic exploration of genres, from melodrama (The Railway Man) to Western (In the Name of the Law).
		Adapting a masterpiece of Italian literature, Germi decides to follow the rules of a thriller and finds a solution in the unsolved mystery of the novel.
	www.moma.org /about_moma/press/2001/italian_cinema_4_30_01.html (1432 words)

	Italian Language and Literature
		The department recognizes that good preparation in Italian literature is unusual at the college level and so suggests that applicants begin as soon as possible to acquire a broad general knowledge of the field through outside reading.
		This course focuses on Petrarch’s grand project of re-founding culture, and seeks to define its substance and contours: his rediscovery of “discourse” of Rome; his engagement with Saint Augustine’s sense of political foundation; the reconfiguration of the “self”; his debts to and polemics with the sciences; and his rethinking of the medieval traditions of encyclopedism.
		This course, which is taught in Italian, deals primarily with Alessandro Manzoni’s critical reading of the Baroque as well as with the exploration of the kinship between the Baroque and romanticism.
	www.yale.edu /bulletin/html/grad/ital.html (1012 words)

	english 1810 : introduction to film (Site not responding. Last check: 2007-10-13)
		Italian Neorealism was born as a rejection of such contrived plots and artificial stories of the national Italian cinema that was established under Mussolini in 1935.
		Italian Neorealist films implicitly ask their viewers to ponder what can be done to alleviate these failures.
		Even when the focus is on one individual character, he or she is representative of a large class of characters.
	www.missouri.edu /~engwest/courses/film1/handouts/11.29-lecture.html (309 words)

	FRIT M390 2422 Studies in the Italian Film (Site not responding. Last check: 2007-10-13)
		Topic: Rossellini, De Sica, and the Heritage of Italian Neorealism in Film and Literature.
		Italian neorealism will be examined in terms of its genesis within Fascist cinema, its brief but influential flowering in a single decade immediately following the end of WWII, and its subsequent "crisis" and evolution.
		As neorealism represents Italy's major cinematic tradition, an understanding of it is crucial to any study of Italy's film history.
	www.indiana.edu /~deanfac/blspr00/frit/frit_m390_2422.html (276 words)

	Literatures Languages and Cultures Graduate School - Film Studies
		In studying some of the remarkable Italian productions of the 1940s such as Visconti's Ossessione, Rossellini's Open City, De Sica's Bicycle Thief and De Santi's Bitter Rice, this course will initially explore the validity of the notion of Neorealism in Italian cinema and examine various aspects of content as well as film style.
		Interrelations between film and other art forms such as literature, theatre and photography, and the impact of other European film developments on the Italian cinema, will be investigated with particular reference to affinities as well as divergences in working method and style.
		The Italian film production over the last 25 years is radically different from the golden period in Italian cinema (roughly identifiable with neo- realismo and the Italian comedy.
	www.filmstudies.llc.ed.ac.uk /italian_cinema.html (218 words)

	Italian Crs Descr Spring 2005
		An introduction to Italian literature from the eighteenth century to the present, with emphasis on significant literary currents.
		The importance of Neorealism in Italian culture will be explored; we will discover why directors like Rossellini, Visconti and De Sica, besides being successful in Italy, have become famous in the United States.
		Through an in-depth analysis of written and spoken Italian, the course will focus on the study of the contemporary language with emphasis on idiomatic usage and styles of expression.
	ase.tufts.edu /romlang/Italian_course_description_Spring_2005.htm (1131 words)

	Roberto Rossellini and his Italian Cinema: The Search for Realism (Site not responding. Last check: 2007-10-13)
		Quite often, Italian Neorealism is considered a phenomenon which exploded onto the cinema scene when the Fascist regime fell, giving Italian film makers the artistic freedoms which were denied to them for over 20 years.
		Neorealism's prescription for cinematic realism, set forth by film scholars and critics, called for the use of non-professional actors, regional dialects, current subject matter, authentic locations, documentary aspects, and the use of the film as a social statement.
		In 1945, Roberto Rossellini was hailed "The Father of Neorealism" with his first international success "Rome, Open City" which was consistent with the neorealist prescription.
	ccat.sas.upenn.edu /italians/resources/Amiciprize/1996 (518 words)

	IT30610 - ITALIAN CINEMA: NEOREALISM
		Neorealism as a movement was very short-lived, yet associated with it are the names of some of the best known film directors, artists and writers of the fifties: from Rossellini and Visconti to Fellini, from Vittorini and Pasolini to Calvino.
		Despite running rapidly into the hostility of the Italian establishment its influence was profound and long-lasting both within Italy and abroad.
		After the long years of Fascist propaganda and mystification it distinguished itself for its keen sense of social responsibility, moral commitment and for its increasingly unwelcome determination to bring to public's attention human, political and social problems.
	www.aber.ac.uk /modules/2004/IT30610.html (400 words)

	english 1810 : introduction to film (Site not responding. Last check: 2007-10-13)
		The neorealist movement lasted only about a decade (from the late 1940s to the mid-1950s), but it was hugely influential on world cinema, shaping the films of the French and British New Waves and even Hollywood.
		The historical context for Italian neorealism is of considerable importance.
		The filmmakers of neorealism felt they had a moral obligation to use their films to encourage social change.
	www.missouri.edu /~engwest/courses/film1/handouts/11.27-bicycle.html (1001 words)

	Major Films of Italian Neorealism
		However, in Vital Crises In Italian Cinema, the critic P. Adams Sitney diverts our attention from the film's "look" to how it "effectively propagandizes for Italian unity." A central theme of the movie is solidarity and mutual sacrifice among antagonistic groups when faced with an evil that threatens their very existence.
		Part of Rossellini's genius was to embody those groups with the most appealing of actors, such as Anna Magnani and Aldo Fabrizi.
		All the hallmarks of neorealism are here: non-professional actors (especially children), harsh urban street settings, and the resourceful use of the camera.
	www.inblackandwhite.com /ItalianNeorealismv2.0/neo-films.html (1038 words)

	History of Italian Cinema
		This course introduces the students to the world of Italian Cinema and its visual language.
		Students will study Italian Neorealism, a cinematic phenomenon that deeply influenced the ideological and aesthetic rules of film art.
		Together with masterpieces such as “Open City” and the “Bicycle Thief”, the screenings will include films which mark the decline of Neorealism and the talent of “new” auteurs such as Fellini and Antonioni.
	www.saci-florence.org /academics/faculty/syllabi/fall/italiancinema.htm (221 words)

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