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Journal articles on the topic 'Neorealismus (film)'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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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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3

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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5

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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11

Dalle-Vacche, Angela, and Millicent Marcus. "Italian Film in the Light of Neorealism." SubStance 19, no. 1 (1990): 120. http://dx.doi.org/10.2307/3684858.

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12

Haworth, Rachel. "Fame amid the Ruins: Italian Film Stardom in the Age of Neorealism, Stephen Gundle (2020)." Journal of Italian Cinema & Media Studies 10, no. 1 (2022): 131–34. http://dx.doi.org/10.1386/jicms_00111_5.

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13

Forti-Lewis, Angelica. "Review: Italian Film in the Light of Neorealism." Forum Italicum: A Journal of Italian Studies 23, no. 1-2 (1989): 366–68. http://dx.doi.org/10.1177/001458588902300158.

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14

Johnson, Rachel. "A brutal humanism for the new millennium? The legacy of Neorealism in contemporary cinema of migration." Journal of Italian Cinema & Media Studies 8, no. 1 (2020): 61–77. http://dx.doi.org/10.1386/jicms_00005_1.

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Abstract This article proposes that the institutional construction of Italian cinema of migration in the new millennium may be conditioned by an enduring, implicit aspect of Neorealism's legacy: a 'brutal humanism' that posits the witnessing of bodies in crisis as an ethical act. Supplementing Karl Schoonover's theory of brutal humanism with Lacanian gaze theory, I argue that the Berlin International Film Festival's synopsis of a recent cause célèbre of Italian cinema, Fuocoammare (Fire at Sea) (Rosi, 2016), instantiates a 'brutal vision' directed towards the figure of the refugee, while the f

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O'Leary, Alan. "The Battle of Algiers at Fifty: End of Empire Cinema and the First Banlieue Film." Film Quarterly 70, no. 2 (2016): 17–29. http://dx.doi.org/10.1525/fq.2016.70.2.17.

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The fiftieth anniversary of the release of The Battle of Algiers (Gillo Pontecorvo, 1966) offers an occasion to challenge commonplaces about the film and to show that there remains much to be clarified about its character. Typically discussed in terms of its debt to Italian neorealism, The Battle of Algiers can also be related to Italian colonial cinema made during the fascist period. The film recounts the genesis of the Algerian nation, but it is at the same time a film about the end of the French empire. Meanwhile, an analysis of location in the film's little-discussed coda shows The Battle

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16

Fleming, David H. "Deleuze, the ‘(Si)neo-realist’ Break and the Emergence of Chinese Any-now(here)-spaces." Deleuze Studies 8, no. 4 (2014): 509–41. http://dx.doi.org/10.3366/dls.2014.0168.

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By creatively expanding Deleuze's concept of the time-image crystal, I productively fold together and engineer an encounter between two comparable cinematic movements otherwise separated by huge vistas of time and space. Here, I work to plicate the post-war Italian neorealist movement which Deleuze saw inaugurating the modern cinema, with a ‘postsocialist’ mainland Chinese movement that I playfully call ‘(si)neo-realism’. The films of both historical moments formulate comparable break-away cinemas which are often considered moral or socially responsible art cinemas best approached through Andr

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17

Gelley, Ora. "Europa 51: The Face of the Star in Neorealisms Urban Landscape." Film Studies 5, no. 1 (2004): 39–57. http://dx.doi.org/10.7227/fs.5.4.

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Although Europa 51 (1952) was the most commercially successful of the films Roberto Rossellini made with the Hollywood star, Ingrid Bergman, the reception by the Italian press was largely negative. Many critics focussed on what they saw to be the ‘unreal’ or abstract quality of the films portrayal of the postwar urban milieu and on the Bergman character‘s isolation from the social world. This article looks at how certain structures of seeing that are associated in the classical style with the woman as star or spectacle - e.g., the repetitious return to her fixed image, the resistance to pullin

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18

Gieri, Manuela. "From Motherhood to Fatherhood: The Eclipse of Reason in the Taviani Brothers’ Tu ridi." Quaderni d'italianistica 39, no. 2 (2019): 21–34. http://dx.doi.org/10.33137/q.i..v39i2.33259.

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The paper presents an in-depth analysis of Tu ridi, a free adaptation of some of Luigi Pirandello’s short stories, realized by Paolo and Vittorio Taviani in 1998. Within a filmography largely characterized by an attention to the historical, social, and political transformations that Italy experienced over the second half of the twentieth century, special attention should be paid to the films the Tavianis made in a close dialogue with literature, a closeness that has always been particularly fortunate for both art forms. Over the decades, they have recurrently practised the art of adaptation br

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19

Bachman, Erik, and Evan Calder. "Reopening the Matarazzo Case." Film Quarterly 65, no. 3 (2012): 59–65. http://dx.doi.org/10.1525/fq.2012.65.3.59.

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Looking back at the postwar films of Raffaello Matarazzo (specifically, Chains, Tormento, Nobody's Children, and The White Angel), this essay comparatively resituates Italian melodrama in terms of nationally marked conceptions of the popular that help produce an alternative critical perspective onto the period to that offered by neorealism.

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20

Aji, Fajar. "STILISTIK REALISME GENRE HOROR SINEMA INDONESIA PASCA REFORMASI: Studi Kasus Film Keramat 2009." Capture : Jurnal Seni Media Rekam 10, no. 1 (2019): 101. http://dx.doi.org/10.33153/capture.v10i1.2182.

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<p>Artikel ini bertujuan untuk mendeskripsikan eksplorasi stilistik film <em>Keramat</em>. <em>Form</em> dan <em>style </em>dijadikan titik awal untuk mengetahui eksplorasi stilistik film. Informasi data diidentifikasi berdasarkan kesamaan dengan gerakan sinema yang mempengaruhinya. Subjektivitas sebagai pendekatan pada proses deskriptif dengan melakukan analisis interpretatif. Hasil penelitian menunjukkan bahwa <em>Cinema Verite</em> dan <em>Neorealisme Italia</em> mempengaruhi formula khas stilistik dalam film <em>Kerama

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21

WEINBERGER, STEPHEN. "The Cyclist (Bicycleran)." Film Quarterly 59, no. 4 (2006): 47–50. http://dx.doi.org/10.1525/fq.2006.59.4.47.

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ABSTRACT Mohsen Makhmalbaf, onetime Iranian revolutionary and self-taught filmmaker and humanist, has made a series of highly acclaimed and deeply personal films. The Cyclist has much in common with the style and content of Vittorio De Sica's neorealist classic, The Bicycle Thief. However, despite the similarities, Makhmalbaf, like his fellow filmmakers, has made neorealism distinctively Iranian.

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22

Rocchio, Vincent F. "Patriarchy Has Failed Us: The Continuing Legacy of Neorealism in Contemporary Italian Film." Quarterly Review of Film and Video 29, no. 2 (2012): 147–62. http://dx.doi.org/10.1080/10509200903004688.

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23

BOOTH, PHILIP. "Fellini's La Strada as Transitional Film: The Road From Classical Neorealism to Poetic Realism." Journal of Popular Culture 44, no. 4 (2011): 704–16. http://dx.doi.org/10.1111/j.1540-5931.2011.00858.x.

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24

O’Rawe, Catherine. "Back for good: melodrama and the returning soldier in post-war Italian cinema." Modern Italy 22, no. 2 (2017): 123–42. http://dx.doi.org/10.1017/mit.2017.18.

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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. However, this article argues that viewing this period of Italian cinema solely through the lens of neorealism has obscured the importance of the affective charge of melodrama in constituting an alternative ethics of representation in the late 1940s and early 1950s in Italy, one that worked via an appeal to the emotions. It posits that the traumas of Fascism, war, occupation, and Resistance were worked through by Italian cinema after the war in a r

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25

Catrickes, Maria Alexandra. "Saverio Giovacchini and Robert Sklar (eds), Global Neorealism: The Transnational History of a Film Style." Forum Italicum: A Journal of Italian Studies 48, no. 1 (2014): 153–55. http://dx.doi.org/10.1177/0014585813518104.

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26

Paranyuk. "An Anxious Love Affair: The Presence and Absence of Italian Neorealism in Soviet Film Culture." Film History 33, no. 2 (2021): 118. http://dx.doi.org/10.2979/filmhistory.33.2.05.

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27

Francese, Joseph. "Of shame and humiliation in Ladri di biciclette: 'Ciccio formaggio' and 'Tammurriata nera'." Journal of Italian Cinema & Media Studies 8, no. 2 (2020): 237–54. http://dx.doi.org/10.1386/jicms_00019_1.

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Abstract In what follows I analyse how two Neapolitan songs enhance viewer perspective of the personalities of the protagonists of the classic film of Italian neorealism, Ladri di biciclette (Bicycle Thieves) by De Sica (1948), Antonio Ricci and his son Bruno. The first, 'Ciccio formaggio', casts into relief Antonio's masculine self-image, particularly his reaction to the impact of unemployment on his traditional role of pater familias and to the possibility of public humiliation, should he fail to retrieve his bicycle. While 'Ciccio' sheds light on the tension in the marital relationship, 'Ta

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28

Bonifazio, Paola. "Work, welfare, bio-politics: Italian and American film propaganda of the Reconstruction in the age of neorealism." Italianist 31, no. 2 (2011): 155–80. http://dx.doi.org/10.1179/026143411x13051090964578.

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29

Borjan, Etami. "Cesare Zavattini’s Poetics of Objectivity." Anafora 7, no. 2 (2020): 505–20. http://dx.doi.org/10.29162/anafora.v7i2.10.

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Cesare Zavattini was an acclaimed neorealist screenwriter and a theorist of neorealism. He has played a pivotal role in the critical rethinking of the new postwar Italian cinema although many of his concepts were considered avant-garde for that period. He stood for a direct, spontaneous, and immediate cinema with real people and real events. Despite his desire to eliminate all that was fictional from his films, Zavattini’s concept of new realist cinema cannot simply be described as a documentary approach. He was not so much interested in making documentary films but in making documentary-like

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30

Laviosa, Flavia. "Six continents at the Centro Sperimentale di Cinematografia in Rome: Flavia Laviosa in conversation with Alfredo Baldi." Journal of Italian Cinema & Media Studies 9, no. 2 (2021): 261–70. http://dx.doi.org/10.1386/jicms_00065_7.

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In this interview Alfredo Baldi, historian of the Centro Sperimentale di Cinematografia (CSC) in Rome, gives a detailed overview of the political, cultural and artistic reasons for the prevalent presence of students from about 100 countries and six continents in all the specializations offered at the CSC in Rome (directing, photography, set design and acting), since its foundation in 1935. More specifically, Baldi explains why the CSC was popular in the 1930s and 1940s among students from the Axis nations in pre-war Europe, mentions the fascination of world artists with Italian neorealism, att

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KASSEM, HADI SHAKEEB. "The Sixties in Berlin and in Hollywood: City with a Wall in Its Center—The Attempt to Erase the German Past." Advances in Politics and Economics 4, no. 3 (2021): p49. http://dx.doi.org/10.22158/ape.v4n3p49.

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Berlin was the location in which most of the intelligence operations in Europe have taken place in the first twenty years of the conquest and the Cold War. In November 27, 1958, Khrushchev issued a formal letter to the Allies, demanding that the western Allies evacuate Berlin and enable the establishment of an independent political unit, a free city. He threatened that if the West would not comply with this, the soviets would hand over to the East Germany’s government the control over the roads to Berlin. In the coming months Moscow conducted a war of nerves as the last date of the end of the

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32

Uhde, Jan. "P. Ramlee and Neorealism." Kinema: A Journal for Film and Audiovisual Media, April 15, 2015. http://dx.doi.org/10.15353/kinema.vi.1323.

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P. RAMLEE AND NEOREALISM P. Ramlee was one of the legendary filmmakers of Southeast Asia a multifaceted artist considered to be the most important creative asset of the "golden age" of cinema of Singapore and Malaysia in the 1950s and 60s. Born Teuku Zakaria bin Teuku Nyak Puteh in Penang, the Straits Settlements (now Malaysia) in 1929, he spent most of his professional career in Singapore, then a regional film production centre, working for the Shaw Brothers' Malay Film Productions. In 1964 he returned to Malaysia to work for its fledgling Merdeka (Independence) Film Productions in Kuala Lump

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Clogher, Paul. "The “Space Between”: Pasolini’s Il Vangelo Secondo Matteo and the Mediation of Scripture." Biblical Interpretation, October 12, 2020, 1–26. http://dx.doi.org/10.1163/15685152-00284p16.

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Rooted in Italian neorealism, Marxist theory, and centuries of Christian art and music, Pier Paolo Pasolini’s Il Vangelo secondo Matteo reactivates the Gospel against the backdrop of Italian Marxism and social life in the mid-twentieth century. Through a hermeneutical reflection, this paper argues for the film as a central moment in the mediation and reception of the Christian story. Pasolini’s transgressive and poetic cinema partakes in and expands a hermeneutical dynamic at the core of the Christian story. The film’s documentary style, political subtexts, and eclectic setting highlight how t

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Longo, Regina M. "Between Documentary and Neorealism: Marshall Plan Films in Italy (1948-1955)." California Italian Studies 3, no. 2 (2012). http://dx.doi.org/10.5070/c332013271.

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35

Ellwood, David. "Fame amid the Ruins. Italian Film Stardom in the Age of Neorealism STEPHEN GUNDLE, 2020." Historical Journal of Film, Radio and Television, January 5, 2021, 1–3. http://dx.doi.org/10.1080/01439685.2020.1865677.

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Ospina Léon, Juan Sebastián. "Moving Stills: Portraiture and Superficial Ties in Two Visconti Films." Fotocinema. Revista científica de cine y fotografía, no. 7 (July 11, 2013). http://dx.doi.org/10.24310/fotocinema.2013.v0i7.5925.

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Este ensayo se centra en dos películas dirigidas por Luchino Visconti, La terra trema (1948) y Rocco e i suoi fratelli (1960) estudiadas bajo la lente de discursos sobre la Cuestión Meridional (la subyugación del sur por el norte propia del proceso de consolidación nacional italiana). Analizo dos cuestiones concomitantes: la configuración de lazos de parentesco y cuerpos sociales meridionales mediante retratos fotográficos; y la relación de éstos últimos con imágenes en movimiento y narrativa fílmica. Consecuentemente en mi análisis estilístico pongo en duda afirmaciones de realismo documental

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Parsemain, Ava Laure. "Crocodile Tears? Authenticity in Televisual Pedagogy." M/C Journal 18, no. 1 (2015). http://dx.doi.org/10.5204/mcj.931.

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This article explores the role of authenticity in televisual teaching and learning based on a case study of Who Do You Think You Are?, a documentary series in which celebrities go on a journey to retrace their family tree. Originally broadcast by the British Broadcasting Corporation, this series has been adapted in eighteen countries, including Australia. The Australian version is produced locally and has been airing on the public channel Special Broadcasting Service (SBS) since 2008. According to its producers, Who Do You Think You Are? teaches history and promotes multiculturalism:We like ma

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