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

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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10

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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11

Carnicé, Mur Marga. "La Política de l'actriu en l'obra d'Anna Magnani." Doctoral thesis, Universitat Pompeu Fabra, 2017. http://hdl.handle.net/10803/401858.

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Tradicionalment considerat com un intèrpret d’obres alienes o com un instrument a mans del director, l’actor no ha estat contemplat en la historiografia del cinema ni en els discursos essencials que articulen la teoria fílmica. Aquesta tesi aborda el conjunt d’interpretacions de l’actriu italiana Anna Magnani (1908-1973) des de la següent pregunta: Pot l’obra d’una actriu reflectir un univers estilístic propi? –i si n´és el cas- En quina mesura aquesta pot testimoniar les principals inquietuds i mutacions estètiques del cinema del seu temps? L’estudi es centra en la majoria de les interpretac

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12

Kleck, Doris. "Die Erweiterung des Sicherheitsbegriffs am Beispiel der Migrationsthematik." St. Gallen, 2007. http://www.biblio.unisg.ch/org/biblio/edoc.nsf/wwwDisplayIdentifier/01651637004/$FILE/01651637004.pdf.

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13

Aaron, Alex F. "The Good Killing." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/td/1719.

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This paper will provide a far-ranging analysis of the relevant aspects of the filmmaking process as it pertains to the development and production of the thesis project, The Good Killing. This analysis will include both a detailed, biographic overview of the making of the film, as well as an in-depth critique of the creative decision-making and practical methodology that guided the production. In this regard, special attention will be first be given to how the project was initially conceived, and, broadly speaking, what was originally intended. Secondly, proceeding sections will examine key ele

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14

Lagamba, Jonette Lauren. "Shaping Identity: Male and Female Interactions in Cinema." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4116.

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ABSTRACT Since the inception of cinema, women have been portrayed with the typical identities of emotionally and physically weak characters; this portrayal led to their subsequent dependence on men. Men were usually the protagonists and/or the heroes, following their archetypal journey. Thus, women's position in early cinema was to exemplify what men were not, placing the former in the diminutive position of the Other. One may conclude that men were often defined by what women lacked, and the women were defined by their relationships with these heroic men. As time progressed in the history of

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15

Iannone, Pasquale. "Childhood and the Second World War in the European fiction film." Thesis, University of Edinburgh, 2011. http://hdl.handle.net/1842/5654.

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The classically idyllic, carefree world of childhood would appear to be diametrically opposed to the horrors of war and world-wide conflict. However, throughout film history, filmmakers have continually turned to the figure of the child as a prism through which to examine the devastation caused by war. This thesis will investigate the representation of childhood experience of the Second World War across six fiction films: Roberto Rossellini’s Paisan (1946) and Germany Year Zero (1947), René Clément’s Forbidden Games (1952), Andrei Tarkovsky’s Ivan’s Childhood (1962), Jan Nemec’s Diamonds of

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16

Pourvali, Bamchade. "L'"Essai filmé" comme forme de la modernité cinématographique, 1953-1997." Thesis, Paris Est, 2014. http://www.theses.fr/2014PEST0034.

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La modernité cinématographique désigne une remise en cause de la représentation classique au moment de la Seconde Guerre mondiale qui se manifeste par un retour au documentaire. Celui-ci se traduit de deux manières : au sein du cinéma hollywoodien, comme en témoignent la fin du Dictateur de Charlie Chaplin et le début de Citizen Kane d’Orson Welles; et dans l’Europe de l’après-guerre avec le néo-réalisme italien. Dans ce contexte, la critique cinématographique définit l’essai comme une des finalités du cinéma moderne alliant ontologie et langage comme en témoignent les textes d’Alexandre Astru

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17

Hallé, Esther. "Antonio Pietrangeli, critique et création (1940-1965). : pensées du réalisme cinématographique." Thesis, Normandie, 2017. http://www.theses.fr/2017NORMC042.

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Antonio Pietrangeli (1919-1968) est une figure incontournable du paysage cinématographique italien, en tant que critique tout au long des années 1940, puis comme réalisateur à partir de 1953. Formé par les débats critiques qui ont accompagné l’élaboration du néoréalisme, il place son premier film (Le Soleil dans les yeux, 1953) sous les auspices d’une saison néoréaliste finissante, ensuite réélaborée à travers un réalisme conçu sous les termes de la perte et de l’inachèvement, dont on trouve un écho dans son attention à la condition féminine. La présente étude propose une première monographie

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18

Dubravka, Lazić. "Neorealizam u italijanskom filmu i fotografiji - etiologija, interpozicija i specifičnosti dela." Phd thesis, Univerzitet u Novom Sadu, Akademija umetnosti u Novom Sadu, 2013. http://www.cris.uns.ac.rs/record.jsf?recordId=94769&source=NDLTD&language=en.

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Tema ovog rada bazira se na neorealističkom pokretu i istraživanju uzročnika koji su doveli do njegovog nastanka, specifičnostima koje on, kao intenzivan umetnički pokret, poseduje i korelaciji između dela koje čine njegovo jezgro. Poseban osvrt načinjen je ka analizi odnosa i interpoziciji fotografske i filmske umetnosti kao vizuelnim, ontolo&scaron;ki bliskim, medijima.Istraživanje fenomena italijanskog neorealizma, ukazalo je na ogromni izvor raznovrsnog sadržaja koji se mogu istraživati i analizirati na vi&scaron;e različitih principa. Stoga su i ciljevi istraživanja postavljeni prema potr

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19

Gheller, Enrico. "La politique et les auteurs : le néoréalisme italien au prisme de la cinéphilie française (1946-1956)." Thesis, Normandie, 2021. http://www.theses.fr/2021NORMC005.

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Le cinéma italien d’après-guerre a sa place légitime dans l’Histoire sous l’étiquette du « néoréalisme ». C’est une panthéonisation encore difficile à remettre en cause aujourd’hui, qui schématise souvent l’image de ce cinéma de manière arbitraire. Une des particularités de ce courant serait sa facilité d’adaptation au-delà des Alpes : en effet, ce mouvement cinématographique a éveillé, en France, un débat très virulent qui a vu la participation de toutes les couches de l’intelligentsia. Le canon néoréaliste se consolideà partir d’une poignée de films et grâce au travail critique de quelques i

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20

Procházková, Anna. "Moraviovy Římské povídky ve filmu." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-358289.

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This thesis aims to introduce Moravia's Roman Tales as inspiration for several 1950's and 1960's Italian films. Individual chapters focus on literary and historical context, characteristics of film and literature relationship, an analysis of selected stories and an analysis of films with respect to their linking with their literary basis. Based on the analysis of the selected short stories and films, the concluding part summarizes how individual elements (environment, characters, plot) are worked with, whether the choice of the cast manifested itself, how were the film means, which literature

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21

Döge, Frank Ulrich [Verfasser]. "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 / Frank Ulrich Döge." 2004. http://d-nb.info/972701370/34.

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22

Rozumová, Markéta. "Obraz italské filmové tvorby v československých filmových periodikách v letech 1965-1975." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-347559.

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This diploma thesis - The image of Italian films in Czechoslovak film journals in years 1965- 1975 is devoted to the manner of display, presentation and evaluation of Italian cinematography in the magazines Kino and Film a doba. The first part of this work describes the social and political environment in Czechoslovakia and in Italy, with an emphasis on culture, film and print media. The attention is focused on the end of the 1960's, when in Czechoslovakia the totalitarian political development was strengthened after an effort to democratize society, whilst in Italy the democratic development

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23

Sucharovová, Lucia. "Život římské periferie v Pasoliniho filmové a narativní tvorbě." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-338215.

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In this thesis I chose the topic of the history of modern Italian literature, namely the period of neorealism. Literary production exceeds its framework and passes into another kind of art, into filmmaking. So thesis gains interdisciplinary character. Furthermore, for me, this period significant for its ethical and aesthetic values of the human society. The first part summarizes important books about the life of Pier Paolo Pasolini. In the central part is based on mutual comparison works, novels and films, the opinions of experts works drawn from secondary literature. It is currently the focus

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24

Hulecová, Pavla. "Aspekty neorealismu v italské literatuře a ve filmu : porovnání vybraných témat." Master's thesis, 2010. http://www.nusl.cz/ntk/nusl-315795.

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This thesis is aimed to compare aspects and poetics of Neo-realism in Italian literature and cinema based on selected literary works and movies of this period. The theoretical part introduces Italian neoralism, his development, poetics, periodisation, magazines and authors in two main fields, literature and cinema. Further, the teoretical part is focused on literary and cinematic techniques, cinematic language, narrative techniques and directors' style of directing. The aim of the practical part are partial comparative analyses of selected literary works and movies regarding their content and

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25

"The audience and the film: A reader-response analysis of Italian Neorealism." UNIVERSITY OF COLORADO AT BOULDER, 2008. http://pqdtopen.proquest.com/#viewpdf?dispub=3303881.

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26

Almeida, Teresa Oliveira. "É hasteada a bandeira do Novo Cinema Português : Ernesto de Sousa e Dom Roberto." Master's thesis, 2014. http://hdl.handle.net/10400.14/18141.

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“É Hasteada a Bandeira do Novo Cinema Português” dá título à presente dissertação que aborda o cinema produzido em Portugal durante o Estado Novo. Trata-se de uma viagem empreendida desde os anos 30 e 40, designada como a época de ouro do cinema português, passando pelo Movimento Cineclubista e pelo Neorrealismo nos anos 50, terminando na década de 60, com o Novo Cinema Português. Dom Roberto (1962), realizado por Ernesto de Sousa, é o filme que dá início a este último movimento. É também ele, enquanto objecto cinematográfico, que constitui o centro deste trabalho. Dom Roberto é um film

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