http___en.wikipedia.org_wiki_Italian_neorealism.xml
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Италиански неореализъм Италиански неореализъм (от италиански: Neorealismo) e направление в изкуството на кинематографията зародило се в Италия в годините след втората световна война (1943-1955). Течението се характеризира с разказване на истории за хора и социални групи от бедната работническа класа, филмирани на действителния терен вместо в комфорта на филмовите студия. Често за поддържащите роли са използвани непрофесионални актьори от местното население. Неореализмът изважда на преден план трудностите в икономически и морален аспект в следвоенните години, рефлектиращи в характерната италианска народопсихология. Съдържание Зараждане[редактиране | редактиране на кода] Италианският неореализъм е развит от група филмови критици в кръга на италианското списание „Cinema“. Сред тях са Микеланджело Антониони, Лукино Висконти, Джани Пучини, Чезаре Дзаватини, Джузепе Де Сантис и Пиетро Инграо. Поради наложени ограничения за писане на статии директно за политика (главен редактор е Виторио Мусолини - син на Бенито Мусолини), критиците атакуват т.нар. „филми на белите телефони“ (telefono bianco films), които доминират в киноиндустрията през 1930-те и 1940-те години. Това са филми копиращи американските холивудски лековати продукции от това време, показващи небрежен и безгрижен начин на живот на фона на луксозна интериорна сценография. От там идва и названието - белият телефонен апарат, за времето си, е символ на заможната буржоазна класа. В противовес на това, критиците прокламират тезата за обръщане на италианското кино към произведенията на писателите реалисти от началото на века. Неореалистите са силно повлияни от течението на френския Поетически реализъм. Двама от изявените им водачи, Антониони и Висконти са работили с видния представител на жанра - френския режисьор Жан Реноар. Два от най-значимите филми, предшественици на неореализма са Toni (1935) на Реноар и 1860 (1934) на Бласети. Главни автори[редактиране | редактиране на кода] Важни произведения[редактиране | редактиране на кода] Предшественици[редактиране | редактиране на кода] - Работите на Джовани Верга - Поетически реализъм - 1860 (Алесандро Бласети, 1934) - An Inn in Tokyo (Ясуджиро Одзу, 1935) - Toni (Жан Реноар, 1935) - La nave bianca (Роберто Роселини, 1941) - Aniki-Bóbó (Мануел де Оливейра, 1942) - Христос се спря в Еболи (новела, Карло Леви, 1947) - Ossessione (Лукино Висконти, 1943) Главни филми[редактиране | редактиране на кода] - Roma, città aperta (Роберто Роселини, 1945) - Sciuscià (Виторио Де Сика, 1946) - Paisà (Роберто Роселини, 1946) - Germania, anno zero (Роберто Роселини, 1948) - Крадци на велосипеди (Ladri di biciclette) - (Виторио Де Сика, 1948) - La terra trema (Лукино Висконти, 1948) - Bitter Rice (Джузепе Де Сантис, 1949) - Stromboli (Роберто Роселини, 1950) - Bellissima (Лукино Висконти, 1951) - Umberto D. (Виторио Де Сика, 1952) — заснет през 1951 година, излязъл по екраните през 1952 година. Много филмови историци определят края на течението на неореализма със зародилите се публични атаки към този филм.[1] - I Vitelloni (Федерико Фелини, 1953) Източници[редактиране | редактиране на кода] - ↑ Bordwell, David & Thompson, Kristin. Film Art; An Introduction. 8th edition. p. 461
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Italian neorealism Italian Neorealism (Italian: Neorealismo) is a national film movement characterized by stories set amongst the poor and the working class, filmed on location, frequently using nonprofessional actors. Italian Neorealist films mostly contend with the difficult economic and moral conditions of post-World War II Italy, reflecting the changes in the Italian psyche and the conditions of everyday life: poverty and desperation. [edit] History Italian Neorealism came about as World War II ended and Benito Mussolini's government fell, causing the Italian film industry to lose its center. Neorealism was a sign of cultural change and social progress in Italy. Its films presented contemporary stories and ideas, and were often shot in the streets because the film studios had been damaged significantly during the war. The neorealist style was developed by a circle of film critics that revolved around the magazine Cinema, including Luchino Visconti, Gianni Puccini, Cesare Zavattini, Giuseppe De Santis and Pietro Ingrao. Largely prevented from writing about politics (the editor-in-chief of the magazine was Vittorio Mussolini, son of Benito Mussolini), the critics attacked the white telephone films that dominated the industry at the time. As a counter to the poor quality of mainstream films, some of the critics felt that Italian cinema should turn to the realist writers from the turn of the 19th to 20th century. Both Antonioni and Visconti had worked closely with Jean Renoir. Additionally, many of the filmmakers involved in neorealism developed their skills working on calligraphist films (though the short-lived movement was markedly different from neorealism). Elements of neorealism are also found in the films of Alessandro Blasetti and the documentary-style films of Francesco De Robertis. Two of the most significant precursors of neorealism are Toni (Renoir, 1935) and 1860 (Blasetti, 1934). In the Spring of 1945, Mussolini was executed and Italy was liberated from German occupation. This period, known as the "Italian Spring," was a break from old ways and an entrance to a more realistic approach when making films. Italian cinema went from utilizing elaborate studio sets to using the countryside and the city streets to provide a more "realistic" setting.[1] The first neorealist film is generally thought to be Ossessione by Luchino Visconti (1943), while Aniki-Bóbó by Manoel de Oliveira remained generally unnoticed since its release in 1942. Neorealism became famous globally in 1946 with Roberto Rossellini's Rome, Open City, when it won the Grand Prize at the Cannes Film Festival as the first major film produced in Italy after the war. Italian Neorealism rapidly declined in the early 1950s. Liberal and socialist parties were having a hard time presenting their message. Levels of income were gradually starting to rise and the first positive effects of the Ricostruzione period began to show. As a consequence, most Italians favored the optimism shown in many American movies of the time. The vision of the existing poverty and despair, presented by the neorealist films, was demoralizing a nation anxious for prosperity and change. The views of the postwar Italian government of the time were also far from positive, and the remark of Giulio Andreotti, who was then a vice-minister in the De Gasperi cabinet, characterized the official view of the movement: Neorealism is "dirty laundry that shouldn't be washed and hung to dry in the open." Italy's move from individual concern with neorealism to the tragic failure of the human condition can be seen through Federico Fellini's films. His early works Il bidone and La Strada are transitional movies. The larger social concerns of humanity, treated by neorealists, gave way to the exploration of individuals. Their needs, their alienation from society and their tragic failure to communicate became the main focal point in the Italian films to follow in the 1960s. Similarly, Antonioni's Red Desert and Blow-up take the neo-realist trappings and internalize them in the suffering and search for knowledge brought out by Italy's post-war economic and political climate. [edit] Characteristics They are generally filmed with nonprofessional actors--although, in a number of cases, well known actors were cast in leading roles, playing strongly against their normal character types in front of a background populated by local people rather than extras brought in for the film. They are shot almost exclusively on location, mostly in poor neighborhoods and in the countryside. The subject matter involves life among the impoverished and the working class. Performances are mostly constructed from scenes of people performing fairly mundane and quotidian activities, devoid of the self-consciousness that amateur acting usually entails. Neorealist films often feature children in major roles, though their characters are frequently more observational than participatory. Open City established several of the principles of neorealism, depicting clearly the struggle of normal Italian people to live from day to day under the extraordinary difficulties of the German occupation of Rome, consciously doing what they can to resist the occupation. The children play a key role in this, and their presence at the end of the film is indicative of their role in neorealism as a whole: as observers of the difficulties of today who hold the key to the future. Vittorio De Sica's 1948 film Bicycle Thieves is also representative of the genre, with non-professional actors, and a story that details the hardships of working-class life after the war. In the period from 1944–1948, many neorealist filmmakers drifted away from pure neorealism. Some directors explored allegorical fantasy, such as de Sica's Miracle in Milan, and historical spectacle, like Senso by Visconti. This was also the time period when a more upbeat neorealism emerged, which produced films that melded working-class characters with 1930s-style populist comedy, as seen in de Sica's Umberto D.[2] At the height of neorealism, in 1948, Visconti adapted I Malavoglia, a novel by Giovanni Verga, written at the height of the 19th century realist verismo movement (in many ways the basis for neorealism, which is therefore sometimes referred to as neoverismo), bringing the story to a modern setting, which resulted in remarkably little change in either the plot or the tone. The resulting film, The Earth Trembles, starred only non-professional actors and was filmed in the same village (Aci Trezza) as the novel was set in. More contemporary theorists of Italian Neorealism characterize it less as a consistent set of stylistic characteristics and more as the relationship between film practice and the social reality of post-war Italy. Millicent Marcus delineates the lack of consistent film styles of Neorealist film.[3] Peter Brunette and Marcia Landy both deconstruct the use of reworked cinematic forms in Rossellini's Open City.[4] Using psychoanalysis, Vincent Rocchi characterizes neorealist film as consistently engendering the structure of anxiety into the structure of the plot itself.[5] [edit] Impact The period between 1943 and 1950 in the history of Italian cinema is dominated by the impact of neorealism, which is properly defined as a moment or a trend in Italian film, rather than an actual school or group of theoretically motivated and like-minded directors and scriptwriters. Its impact nevertheless has been enormous, not only on Italian film but also on French New Wave cinema, the Polish Film School and ultimately on films all over the world. It also influenced several Indian film directors including Bimal Roy, who made Do Bigha Zameen (1955), after watching Vittorio De Sica's Bicycle Thieves (1948).[6] Furthermore, as some critics have argued, the abandoning of the classical way of doing cinema and so the starting point of the Nouvelle Vague and the Modern Cinema can be found in the post world-war II Italian cinema and in the neorealism experiences. [7] [8] In particular, this cinema seems to be constituted as a new subject of knowledge, which it-self builds and develops. It produces a new world in which the main elements have not so many narrative functions as they have their own aesthetic value, related with the eye that is watching them and not with the action they are coming from. [edit] Significant works [edit] Precursors and influences - The works of Giovanni Verga - Poetic realism - 1860 (Alessandro Blasetti, 1934) - An Inn in Tokyo (Yasujirō Ozu, 1935) - Toni (Jean Renoir, 1935) - La nave bianca (Roberto Rossellini, 1941) - Four Steps in the Clouds (Alessandro Blasetti, 1942) - People of the Po Valley (Michelangelo Antonioni, 1947) - filmed in 1943. [edit] Main works - Ossessione (Luchino Visconti, 1943) - Open City (Roberto Rossellini, 1945) - Shoeshine (Vittorio De Sica, 1946) - Paisan (Roberto Rossellini, 1946) - Germany, Year Zero (Roberto Rossellini, 1948) - Bicycle Thieves (Vittorio De Sica, 1948) - The Earth Trembles (Luchino Visconti, 1948) - Bitter Rice (Giuseppe De Santis, 1949) - Stromboli (Roberto Rossellini, 1950) - Bellissima (Luchino Visconti, 1951) - Miracle in Milan (Vittorio De Sica, 1951) - Rome 11:00 (Giuseppe De Santis, 1952) - Umberto D. (Vittorio De Sica, 1952) — filmed in 1951, but released in 1952. Many film historians date the end of the neorealist movement with the public attacks on the film.[10] [edit] Major figures - Vittorio De Sica - Alberto Lattuada - Roberto Rossellini - Luchino Visconti - Giuseppe De Santis - Cesare Zavattini [edit] See also - Cinema of Italy - French New Wave - Kitchen sink realism (British New Wave) - Indian New Wave - Japanese New Wave - L.A. Rebellion - Polish Film School [edit] References - ^ Thompson, Kristin. Bordwell, David. "Film History: An Introduction, Third Edition". McGraw Hill. - ^ Bordwell, David. Thompson, Kristin. Film History: An Introduction. Postwar European Cinema: Neorealism and Its Context, 1945-1959. - ^ Marcus, Italian Film in the Light of Neorealism (Princeton University Press, 1987) ). - ^ Brunette Roberto Rosellini (Oxford University Press, 1987) and Landy "Diverting clichés: femininity, masculinity, melodrama, and neorealism in Open City" in Roberto Rosellini's Rome Open City (Cambridge University Press, 2004) ). - ^ Rocchio, Cinema of Anxiety: A Psychoanalysis of Italian Neorealism (UT Press, 1999) ). - ^ Anwar Huda (2004). The Art and science of Cinema. Atlantic Publishers & Dist. p. 100. http://books.google.co.in/books?id=HiA3X6RLLnYC&pg=PA100&dq=Bandini+%281963+film%29#v=onepage&q=Bandini%20%281963%20film%29&f=false. - ^ Miccichè, Lino (1975) (in Italian). Il neorealismo cinematografico italiano. Venezia: Marsilio. http://books.google.com/books?id=3cEbAQAAIAAJ&q=miccich%E9+lino+neorealismo&dq=miccich%E9+lino+neorealismo. - ^ Daniele, Romina (2011). Ascenseur pour l'échafaud, Il luogo della musica nell'audiovisione. Milan: RDM. http://books.google.com/books?id=Ol0P0uHrn7AC. - ^ Sainati, Augusto (1998) (in Italian). Supporto, soggetto, oggetto: forme di costruzione del sapere dal cinema ai nuovi media, in Costruzione e appropriazione del sapere nei nuovi scenari tecnologici. Napoli: CUEN. - ^ Bordwell, David & Thompson, Kristin. Film Art; An Introduction. 8th edition. [edit] Further reading - Mario Verdone, Il Cinema Neorealista, da Rossellini a Pasolini (Celebes Editore, 1977).