ITALIAN NEO-REALISM Struggling against reality in Italian film

ORIGINS OF MOVEMENT  As you might recall from our earlier discussions of film, the struggle between realism and “spectacle,” “fantasy” or non-realistic films is an old one.

ORIGINS OF MOVEMENT  Remember the films of Georges Melies (A Trip to the Moon) which is very abstract like later German Expressionist films (Nosferatu, The Cabinet of Dr. Caligari)

ORIGINS OF MOVEMENT  By contrast to filmmakers like Melies, early filmmakers such as the Lumiere Brothers attempted a more realistic / naturalistic viewpoint in films such as The Great Train Robbery that led, in part, to some of the gritty realism of noir films such as The Third Man or Double Indemnity.

ORIGINS OF MOVEMENT  Although no film (perhaps short of an unscripted documentary) can truly capture reality, the Italian Neo-Realistic movement was in reaction to heavily scripted and artificial representations of real life in films up to that time.

ORIGINS OF MOVEMENT  Italian Neo-Realism was a reaction to simplistic, American-style films that had been so popular during the WWII years.  Under Fascist dictator; Benito Mussolini (from 1924 through the end of the war) films called “White Telephone” (“Telefono Bianco) were popular and in contrast to later Neo-Realist films. They included elements such as: Social conservatism Emphasized respect for authority Stressed rigid class hierarchy Utilized expensive Art Deco sets (indicating upper class wealth)

Elements of Neo-Realism  “Neorealism emerged as a product of the Resistance in an effort to show reality and utilize the screen as a self-reflective tool for building a new national identity as a reaction to fascism. Film served as a platform for political and civil awareness, sometimes even acting as a political battleground. The plotlines are extremely dramatic and usually focus on a humble protagonist who stereotypically goes against the myth of the superhero. This character is then used to convey a message about society, often acknowledging the brutal past, bleak present, and expressing hope for a better future. The influence of Italy’s convoluted history is evident in all plotlines and characters as the audience is left to infer meaning from cultural significance encoded into many films.” (“Italian Neorealism Film Techniques”)

American Influences  American cinema of the WWII era (overly simplistic plots / happy endings) where life was shown as a “paradise on earth” according to Neo-Realist filmmaker Frederico Fellini, gave rise to Film Noir, which influenced the filmmakers of Neo-Realism. They appreciated the gritty realism of Noir.  American literature was increasingly realistic as seen in authors such as John Steinbeck and Ernest Hemingway. This embracing of realism began to influence the make-up of Post WWII Italian film.

Key Elements of Neo- Realism  Socially conscious (focusing attention on real problems of society / shaking the status quo)  Extremely dramatic  A humble protagonist (every man / anti-superhero)  Almost (but not quite) documentary style - still has narrative elements  Stressed group over the individual  Tiny moments drive the plot

Key Elements of Neo- Realism  Scenes shown in real-time  No manipulative editing  Scenes are shot on location  No professional extras and often a largely unprofessional cast.  Set in rural areas or working-class neighborhoods  Stories focus on everyday people, often children, with an emphasis on the unexceptional routines of ordinary life.

Noteworthy Neo-Realistic Films  The Bicycle Thief – Caesar Zavattini  Toni – Jean Renoir  1860 – Alessandro Blassetti  Roma – Roberto Rossellini  Paisa - Roberto Rossellini  Germania Anno Zero - Roberto Rossellini  La Terra Trema – Luchino Visconti  Shoeshine – Vittorio De Sica

Selected Sources  masterworks-italian-neo-realism masterworks-italian-neo-realism    