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Relevant bibliographies by topics / Neorealismus (film)

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Academic literature on the topic 'Neorealismus (film)'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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Journal articles on the topic "Neorealismus (film)"

1

Falke, Gustav. "Neorealismus im italienischen Film." Zeitschrift für Ideengeschichte 7, no. 4 (2013): 21–34. http://dx.doi.org/10.17104/1863-8937-2013-4-21.

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Falke, Gustav. "Neorealismus im italienischen Film." Zeitschrift für Ideengeschichte 7, no. 2 (2013): 21–34. http://dx.doi.org/10.17104/1863-8937-2013-2-21.

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Wohl jeder, der zum ersten Mal die Fahrraddiebe von Vittorio De Sica sieht, wird den Kopf schütteln, wie dieses Melodram zu seinem Ruhm kommen konnte. Der Protagonist ist ein armer Vorstadtrömer, der endlich eine Arbeit als Filmplakatkleber findet. Für seine neue Arbeit muss er ein Fahrrad stellen, das ihm jedoch gestohlen wird. Auf der Suche nach dem gestohlenen Rad irrt er zusammen mit seinem kleinen Sohn umher. Tatsächlich kommt er dem Dieb auf die Spur. Doch kann er ihm nichts nachweisen. Schließlich unternimmt er selbst – deshalb der Plural im Filmtitel – unter den beschämenden Blicken de

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Kartal, Esma. "Defining Italian Neorealism: A Compulsory Movement." CINEJ Cinema Journal 2, no. 2 (2013): 140–48. http://dx.doi.org/10.5195/cinej.2013.73.

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Being one of the most influential cinematic movements in film history, Italian neorealism has not been very easy to define. Although one can easily recognize a neorealist film, not all neorealist films share the exact same characteristics. In this paper, four films that have often been labeled as neorealist will be discussed in light of their makers’ views on neorealism and the general characteristics of neorealism as a movement. These films are Roberto Rossellini’s Germania anno zero (1948), Vittorio De Sica’s Ladri di biciclette (1948) and Umberto D. (1952), and lastly Federico Fellini’s La

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Brūveris, Klāra. "Alternative Networks of Globalisation: Latvian Neorealism in the Films of Laila Pakalniņa." Baltic Screen Media Review 4, no. 1 (2016): 38–59. http://dx.doi.org/10.1515/bsmr-2017-0003.

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Abstract This paper examines the development of neorealist tendencies in the oeuvre of contemporary Latvian filmmaker Laila Pakalnina. Her work is positioned within the global dissemination of cinematic neorealism, and its local manifestations, which, it is argued, develop in specific national contexts in reaction to dramatic societal and political changes. Pakalniņa’s films are examined as a documentation of the change from a communist satellite state to an independent democratic, capitalist country. Heavily influenced by the Riga School of Poetic Documentary, a movement in Latvian cinema tha

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Bradatan, Costica. "Mark Shiel (2006) Italian Neorealism: Rebuilding the Cinematic City." Film-Philosophy 11, no. 3 (2007): 177–83. http://dx.doi.org/10.3366/film.2007.0031.

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Akser, Murat. "Editorial." CINEJ Cinema Journal 2, no. 2 (2013): 1–3. http://dx.doi.org/10.5195/cinej.2013.75.

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This issue of CINEJ deals with approaches to films from different parts of the world ranging from India and China to Italy and Canada. Detailed analyses on films about Ghandi, docufictions on New York City, reflections of contemporary terror in historical cinema, Chinese Soft Film Movement, road movies, religious identification in films, documemory, Italian neorealism and female performance in Canadian cinema are presented in this issue.

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O'Rawe, Catherine. "Avanti a lui tremava tutta Roma: opera, melodrama and the Resistance." Modern Italy 17, no. 2 (2012): 185–96. http://dx.doi.org/10.1080/13532944.2012.665288.

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Italian neorealism is conventionally read as the authoritative cinematic chronicle of Italy's experience of the Second World War and the Resistance, through canonical films such as Rossellini'sRoma città aperta(Rome, Open City, 1945). It is important, however, to restore a full picture of the array of genres which narrated and refracted the Resistance experience in the post-war period. To this end, this article looks at a key genre that has been overlooked by scholarship, the opera film ormelodramma. In examiningAvanti a lui tremava tutta Roma(Before Him All Rome Trembled, Gallone, 1946), the

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Φραγκούλη, Νάντια Αυγερινός. "Ιταλικός κινηματογραφικός νεορεαλισμός και ελληνική μεταπολεμική πεζογραφία: Νεορεαλιστική γραφή στο Άνθρωποι και σπίτια του Αντρέα Φραγκιά." Σύγκριση 26 (25 лютого 2018): 81. http://dx.doi.org/10.12681/comparison.11038.

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The years 1951-1961 mark the reception of Italian neorealist cinema in Greece with the production of films influenced by neorealism and the discussion of the nature of neorealism by Greek film critics. The novel Anthropi ke spitia [Of Houses and Men] by Adreas Fragkias, published in 1955, four years after the first viewing of De Sica’s Bicycle Thief in Greece, shows significant similarities to the themes and style of the Italian neorealist cinema. Discussing unemployment as a crucial problem of post-war Greek society Anthropi ke spitia presents the life in a poor urban neighbourhood in a serie

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Klejsa, Konrad, and Anna Miller-Klejsa. "Almost as good as Soviet cinema: Reception of Italian neorealism in Poland: 1946‐56." Journal of Italian Cinema & Media Studies 9, no. 3 (2021): 367–84. http://dx.doi.org/10.1386/jicms_00082_1.

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With the onset of the Cold War, the cinema culture in the People’s Republic of Poland underwent rigorous transformation. One of its aspects was the new film import schema: most of the international sources dried up to be replaced, for the most part, by films from the Communist Bloc. However, Italian films constituted an important exception. This article investigates the critical reception of Italian neorealist films in Poland in the first decade after the war, focusing mainly on reviews published in Film, the most relevant Polish magazine dedicated to cinema culture. The first part of the arti

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Vermeulen, Timotheus. "Flat Film: Strategies of Depthlessness in Pleasantville and La Haine." Film-Philosophy 22, no. 2 (2018): 168–83. http://dx.doi.org/10.3366/film.2018.0071.

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In this essay I consider the device of depthlessness in film. I am interested in particular in the ways in which this device can determine, or at least raise questions about, the nature of the fictional world. Taking my cue from two films from the turn of the century – Gary Ross' 1998 film Pleasantville and Matthieu Kassovitz' 1995 La Haine – as well as, more broadly, arts historical and cultural theoretical debates, where rather more attention has been devoted to the issue of depthlessness, I focus on moments in which depth, that is, in Andre Bazin's oft-cited words, the “continuity” of the f

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Dissertations / Theses on the topic "Neorealismus (film)"

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Perinelli, Massimo. "Fluchtlinien des Neorealismus : der organlose Körper der italienischen Nachkriegszeit, 1943-1949 /." Bielefeld : Transcript, 2009. http://deposit.d-nb.de/cgi-bin/dokserv?id=3189202&prov=M&dok_var=1&dok_ext=htm.

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Römhild, Friederike [Verfasser]. "Ästhetik als ethischer Standpunkt: Neustrukturierungen von Bild- und Erzählprozessen im italienischen Neorealismus und in der deutschen Nachkriegsliteratur der 1940er bis 1960er Jahre / Friederike Römhild." Paderborn : Universitätsbibliothek, 2020. http://d-nb.info/1226097456/34.

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Döge, Frank Ulrich. "Pro- und antifaschistischer Neorealismus Internationale Rezeptionsgeschichte, literarische Bezüge und Produktionsgeschichte von La nave bianca und Roma aperta, die frühen Filme von Roberto Rossellini und Francesco De Robertis /." [S.l.] : [s.n.], 2004. http://www.diss.fu-berlin.de/2004/283/index.html.

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Böhm, Michal. "Historické kořeny minimalistického filmu." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2016. http://www.nusl.cz/ntk/nusl-262707.

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Mimalism represents a film style which still partially predominates on the contemporary art festivals although it reached its peak during in the beginning of the 21. century. Minimalism is a style which supresses the pallete of formalistic tools, expressive elements and typical narative structures and drama. It also works extensively with time and the depiction of everyday. Minimalistic cinema experience thus stimulates the audience to make their own interpretations of the story and the form altogether. The aim of this work is to analyze those historical cinema tendencies that bear most resemb

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Pavelek, Tomáš. "Světlo jako dramatický výrazový prostředek kinematografického obrazu." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2018. http://www.nusl.cz/ntk/nusl-392809.

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This thesis focuses on the importance of light as one of the main aspects of filmmaking and as a main tool for creation of atmosphere in cinematography. I mention some expressive cinematographer's styles in the history of cinematography and how different the work with light was in the context of the era. I focus on realistic and logical way of work with light and on technical and technological cinematographer's tools which enable this work and help him to create the light atmospheres and support the script to be perfectly visually translated.

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Piturro, Vincent. "The audience and the film: A reader-response analysis of Italian Neorealism." Connect to online resource, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3303881.

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DiSalvo, Mary Lorraine. "Redirecting Neorealism: Italian Auteur-Actress Collaborations of the 1950s and 1960s." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11518.

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The aftermath of Italy's cinematic movement neorealism left several directors searching for a new cinematic practice and a new directorial identity. Many of the most artistically intrepid directors of the era turned to women as a means of professional and personal reinvention. This study analyzes the collaborations of Vittorio De Sica, Roberto Rossellini, Federico Fellini, and Michelangelo Antonioni with the actresses Sophia Loren, Ingrid Bergman, Giulietta Masina, and Monica Vitti, respectively.<br>Romance Languages and Literatures

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Chan, Yan-chuen, and 陳仁川. "Neorealism and the Chinese ideology in Yamada Yoji's family films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2014. http://hdl.handle.net/10722/210180.

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Besides Tora-san series and samurai trilogy, veteran Japanese filmmaker Yamada Yoji also endeavors in making family films, however, his ‘home drama’1 genre has long been neglected in academia. To fill this gap, the aims of this research are to investigate firstly the aesthetics of his social realistic films; secondly, what are the family values revealed in his family films and thirdly, how ‘woman’ is portrayed in his ‘home drama’. Working under the ‘director system’ of Shochiku Studio, this research argues that auteur theory which advocates director as the author of a film is applicable to Y

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Heinrich, Tobias. "Die Aussenpolitik der Russischen Föderation seit dem Kosovokonflikt Analyse und Ausblick /." St. Gallen, 2008. http://www.biblio.unisg.ch/org/biblio/edoc.nsf/wwwDisplayIdentifier/05605498001/$FILE/05605498001.pdf.

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Muri-Rosenthal, Adam. "Residual Visions: Rubbish, Refuse and Marginalia in Italian Cinema from Neorealism to the Present." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11238.

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While the themes of garbage and refuse pervade many of the most important works of Italian cinema from the era of Neorealism to the present, thus far no scholarly attempts have been made to examine the commonalities germane to their portrayal and their relationship to larger questions of Italian cultural trends. The present study explores how filmmakers' depiction of the residual is synecdochic of an artistic vision that endeavors to capture reality at its most unprepared and, subsequently, comes to represent the increasing complexity of the mimetic undertaking in an Italian society thrust rap

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Books on the topic "Neorealismus (film)"

1

Italian film in the light of neorealism. Princeton University Press, 1986.

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Giovacchini, Saverio. Global neorealism: The transnational history of a film style. University Press of Mississippi, 2011.

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Oltre il neorealismo: Documentari d'autore e realtà italiana del dopoguerra. Bulzoni, 2004.

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Ciné: Neorealismo, nouvelle vague, coproduzioni : cento anni di collaborazione cinematografica italo-francese = néo-réalisme, nouvelle vague, coproductions : cent ans de collaboration cinématographique franco-italienne. C. Gallucci, 2008.

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Lehmann, Courtney. Ontological Shivers. Edited by Michael Neill and David Schalkwyk. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198724193.013.34.

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This essay explores major movements in film history through the lens of Romeo and Juliet adaptations, including films by Irving Thalberg and George Cukor, Renato Castellani, Franco Zeffirelli, Baz Luhrmann, and Deepa Mehta. More specifically, the essay offers a critical examination of theoretical developments in the notion of realism—including classical realism, neorealism, realismo rosa, and post-realism.

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Global Neorealism: The Transnational History of a Film Style. University Press of Mississippi, 2013.

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Luigi, Miccichè, ed. Pane, amore e fantasia: Un film di Luigi Comencini : neorealismo in commedia. Lindau, 2002.

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Bert, Cardullo, ed. After neorealism: Italian filmmakers and their films : essays and interviews. Cambridge Scholars, 2009.

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Bert, Cardullo, ed. After neorealism: Italian filmmakers and their films : essays and interviews. Cambridge Scholars, 2009.

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(Editor), Laura E. Ruberto, and Kristi M. Wilson (Editor), eds. Italian Neorealism and Global Cinema (Contemporary Approaches to Film and Television Series) (Contemporary Approaches to Film and Television Series). Wayne State Univ Pr, 2007.

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Book chapters on the topic "Neorealismus (film)"

1

Milli Konewko, Simonetta. "Neorealism and Films." In Neorealism and the "New" Italy. Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-52416-4_3.

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Cardullo, R. J. "Italian Neorealism, Vittorio De Sica, and Bicycle Thieves." In Teaching Sound Film. SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-726-9_4.

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Broe, Dennis. "The Wintering of the Italian Spring: From Neorealism to Film Noir via Verdi." In Class, Crime and International Film Noir. Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137290144_4.

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Hillrichs, Rainer. "Slum Affirmation and Magic Neorealism in One Fine Day Films' Soul Boy." In Representations & Reflections. Vandenhoeck & Ruprecht, 2021. http://dx.doi.org/10.14220/9783737013208.71.

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"Der Film der Nachkriegszeit." In Fluchtlinien des Neorealismus. transcript-Verlag, 2009. http://dx.doi.org/10.14361/9783839410882-002.

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Schenk, Irmbert. "Neorealismus. Ein Lexikoneintrag." In Film und Kino in Italien. Schüren Verlag, 2014. http://dx.doi.org/10.5771/9783741000225-125.

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Schenk, Irmbert. "Der italienische Neorealismus. Eine Vorlesung." In Film und Kino in Italien. Schüren Verlag, 2014. http://dx.doi.org/10.5771/9783741000225-108.

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Pitassio, Francesco. "Actors, Non-professional Actors, Starlets, and Stars." In Neorealist Film Culture, 1945-1954. Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789089648006_ch04.

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Film critics and film history celebrate neorealism for its use of nonprofessional performers in a number of masterpieces. However, as lucid observers such as André Bazin pointed out in the late 1940s, neorealist films relied on a mixture of professional and non-professional actors. This chapter describes the debate on film performance and its origins from the mid-1930s to the early 1950s and looks at how the use of non-professional performers was associated with neorealism’s aim to present a non-narrative cinematic representation. Moreover, the chapter examines the relationship between neorealism, non-professional performers, and phenomena such as popular theatre and new female stardom. The chapter ends with a case study of the most renowned neorealist actress, Anna Magnani.

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Yarza, Alejandro. "Surcos: Neorealism, Film Noir, and the Puppet Master." In The Making and Unmaking of Francoist Kitsch Cinema. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748699247.003.0005.

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Critically acclaimed as a milestone of Spanish cinema, Surcos (Furrows, J.A. Nieves Conde, 1951) is the film that single-handedly revolutionized Spanish cinema by introducing the spirit of Neorealism and Film Noir. Through a comparative analysis of the famous boarding sequence of Citizen Kane and few examples from Roberto Rossellini’s early films, this chapter argues that the film’s apparent appropriation of Italian neorealism and also Film Noir and, particularly, its internal strife between its progressive neorealist aesthetic and its fascist message, comes into sharper focus when seen through the lens of kitsch aesthetics. Despite its neorealist and noir appearance, Surcos is in fact a kitsch film that encapsulates Spanish fascist ideology even more insidiously than the previous ones precisely by not being an overtly propagandistic film.

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"Filme als Quelle einer materiellen Geschlechtergeschichte." In Fluchtlinien des Neorealismus. transcript-Verlag, 2009. http://dx.doi.org/10.14361/9783839410882-001.

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