Louis Giannetti Neorealism

Louis Giannetti Neorealism
Neorealism, as the name suggests, is a new realism. Louis Giannetti gives a definition in the book Understanding Movies that "Strongly realistic in its
techniques, neorealism emphasized documentary aspects of film art, stressing loose episodic plots, unextraordinary event and characters, natural
lighting, actual location settings, nonprofessional actors, a preoccupation with poverty and social problems, and an emphasis on humanistic and
democratic ideas." (Giannetti, 2004, 538). Bicycle Thieves and Pather Panchali are two movies that represent this style.
First, Bicycle Thieves is a representative work of Italian neorealism. Italian neorealism actually rose in frustration. After World War II, all neglected
matters in Italy were yet to be dealt with. Reflected in the area of film production, the war destroyed the film factory and created scarcity of resources.
The film industry was almost breakdown. In such an environment, low–budget film emerged as the time required. In Bicycle Thieves, the main
characters, the unemployed worker and his son, were played by two non–professional actors. Their acting is really powerful. The father's cry at the end
of the movie touches the heart. Maybe he had a natural good acting, but I prefer that the realistic experience brought up such ... Show more content on
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The actors in this kind of film may be not professional, but they are close to the characters; The directors do not want the best equipment and studio;
they even do not need professional post–production; they would not choose a big event, because they believe that small potatoes and little incidents
also can record society. Reflected in the specific works, Bicycle Thieves and Pather Panchali adopted this attitude. Both of these two movies seems full
of non–professional. But they use non–professional created miracle. Because of Indian background, Pather Panchali have more native style, which is
not focus on the aftermath of war, but the people in the bottom of
... Get more on HelpWriting.net ...

Annotated Bibliography Of The Films Of Federico Fellini
Annotated Bibliography: How do French, Italian, Japanese, and Indian arthouse–auteurist films affect the development of New Hollywood auteur
films. Bondanella, P. (2002). The Films of Federico Fellini. Cambridge, UK: Cambridge University Press. The Films of Federico Fellini examines
the career and work of Italy's most revered filmmakers. By analyzing the masterpieces of Fellini, the book attempts to categorize the influence of his
work, and explain some of his interests in fantasy, the irrational, and individualism. Bondanella essentially rejects more common ways of analyzing
Fellini's work and favors trying to explore the development of his unique and personal cinematic style. Bondanella highlights some of the major
accomplishments in the life of the renowned Italian filmmaker. One of the most striking features of Bondanella work is his ability to tell the story of
Fellini by using the works of the filmmaker. In particular, Bondanella is able to draw on a new archive of manuscripts, obtained from Fellini and his
scriptwriters. This level of in–depth analysis allows researchers to get a detailed view of Fellini's work that has inspired generations of not only Italian
filmmakers, but also in the rest of the world. The author suggests that Fellini's use of realism in film allows the audience to connect on a whole... Show
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One one hand, we have directors claiming the work because of the creative initiatives that they had to take in order to make the films, while the
production companies claim the films because they commissioned the director to make the films. This is the issue that Gerstner and Staiger try to
answer, the question of who owns the rights to a film. Auteurism is the belief that the director is the sole author of a film, and that it should reflect the
emotions and beliefs of the director. According to auteurism, we should see the vision of the director in the film, and thus he claims

Can Bollywood Go Global Case Study
Can Bollywood Go Global?
Case Analysis: Managerial Communication II
Section A
Submitted By
Ankur Jain
0069/52
Executive Summary
The movie Industry came into being towards the end of the 19th century and it has grown steadily over the years, incorporating several changes in its
outfit and presentation. From the French beginnings, to the British influence and then the American dominance after the 2nd world war, the
entertainment industry has seen it all.
Bollywood, the Hindi–language industry in Mumbai is considered by many to be the heart of the Indian film industry. Although the format of
Bollywood films has changed over the years, a typical film is melodramatic; long (three to four hours); filled with song and dance ... Show more content
on Helpwriting.net ...
With the end of colonialism, Indian popular cinema emerged as "India's sole model of national unity" and films were used as a tool for social critique.
1950 – 1960: A Golden Age of Indian Cinema
1950s saw the increasing popularity of cinema that derived its inspiration from realism. Foreign influence played a key role in this development. The
first International Film Festivals of India were held in 1952. The film festival helped Indian filmmakers learn more about French and Italian neo–realist
films.
Satyajit Ray, with his debut Bengali film, Pather Panchali (1955), became the pioneer of a genre of films that would come to be recognized as Indian
parallel cinema. The film won the Best Human Document award at the Cannes Film Festival and brought Indian cinema into the international limelight.
Ray's film also marked the beginning of the resurgence of Bengali cinema, where films targeted educated and sensitive viewers.
While Indian parallel cinema was making a mark in the festival circuits, traditional Bollywood was gaining popularity overseas. Raj Kapoor, who
both directed and acted in his films, played a key role in popularizing mainstream Indian cinema abroad. Kapoor's film Awara (1951), dubbed in
Turkish, Farsi, and Arabic, broke box office records in South East Asia and the Middle East. His films were also very popular in Russia and he

reached such heights of popularity that the Russians paid tribute to him as one of great

The Main Themes Of Feluda, By Satyajit Ray
Feluda was written by Satyajit Ray, one of West Bengal's most famous sons and was regarded as one of the greatest auteurs of world cinema. Both his
writing and directing were deeply inп¬‚uenced by Bengali culture and were primarily about connecting with the masses. His cre– ative voice was so
distinct that it shined through both studio interference and collective processes.
Targeted mainly at children and young adults, his various literary works remain an integral part of Bengali culture and have heavily inп¬‚uenced the
generations of Bengali writers that have followed. A main theme ran through most of his central characters that they were immediately likeable and to a
certain extent Bengali at heart. Be it the slightly eccentric Professor Shonku ... Show more content on Helpwriting.net ...
The whimsicality of Jatayu, the youth and innocence of Topshe, the villainy of Meghraj and the intensity and brilliance of Feluda all come together in
Ray's world to make a story that spans generations and has become an integral part of Bengali culture. What is most striking about Ray's version of the
investigator is that he isn't an im– possible character, Feluda loves sweets, scolds his younger cousin and acts the part of a Bengali gentleman in a
way that endears to him to young readers who look up to him as an elder

Does Film Play An Important Role On The Way People...
ABSTRACT:
Religion often plays an important role in film, but does film play an important role in religion? Perhaps the better question is, "Does film play an
important role in the way people understand religious concepts? And the answer to these questions is YES. Films or movies do play an important role
in shaping the mind sets of people in a certain way. There are various traditions and beliefs that have been followed by Hindu Indians since ancient
times. Also, many movies are made based on these customs and traditions which are mentioned below in the article. Also, religion is present. There are
many religion–based movies made and these movies also receive a good response from the people. But, like a coin has two sides, similarly there are
also negative effects of these. People also opposed to some parts of the movie made on it. But the main thing that they DO AFFECT the society.
All this is included in this article. And not only religion but also other areas like culture, rituals, customs, traditions, family, etc is shown through
movies and all these are also as important as religion and which play a significant role in movies... History of Indian Cinema
The Indian film industry is the largest in the world in terms of ticket sales and number of films produced annually (877 feature films and 1177 short
films were released in the year 2003 alone). India accounts for 73% of movie admissions in the Asia–Pacific region, and earnings are currently
estimated at US$8.9

Literary Criticism : ' The Free Encyclopedia '
Bildungsroman
From Wikipedia, the free encyclopedia
Jump to: navigation, search
In literary criticism, a Bildungsroman (German pronunciation: [Л€bЙ
ЄldКЉЕ‹s.КЃoЛЊmaЛђn]; German: "novel of formation, education,
culture"),[a] novel of formation, novel of education,[2] or coming–of–age story (though it may also be known as a subset of the coming–of–age story)
is a literary genre that focuses on the psychological and moral growth of the protagonist from youth to adulthood (coming of age),[3] in which character
change is extremely important.[4][5]
Contents [hide]
1 Origin
2 Plot outline
3 Examples 3.1 Precursors
3.2 17th century
3.3 18th century
3.4 19th century
3.5 20th century
3.6 21st century
4 See also
5 Notes
6 References
7 ... Show more content on Helpwriting.net ...
The genre evolved from folklore tales of a dunce or youngest son going out in the world to seek his fortune. Usually in the beginning of the story there
is an emotional loss which makes the protagonist leave on his journey. In a Bildungsroman, the goal is maturity, and the protagonist achieves it

gradually and with difficulty. The genre often features a main conflict between the main character and society. Typically, the values of society are
gradually accepted by the protagonist and he/she is ultimately accepted into society – the protagonist 's mistakes and disappointments are over. In some
works, the protagonist is able to reach out and help others after having achieved maturity.
There are many variations and subgenres of Bildungsroman that focus on the growth of an individual. An Entwicklungsroman ("development novel") is
a story of general growth rather than self–cultivation. An Erziehungsroman ("education novel") focuses on training and formal schooling,[citation
needed] while a KГјnstlerroman ("artist novel") is about the development of an artist and shows a growth of the self.[16] Furthermore, some memoirs
and published journals can be regarded as Bildungsroman although being predominantly factual (an example being The Motorcycle Diaries by Ernesto
"Che" Guevara).[17] The term is also more loosely used to describe coming–of–age films and related works in other genres.
Examples[edit]

Ecocide In Aranyak-Of The Forest-An Ecocide
Aranyak–Of the Forest– An Ecocide: The term ecocide refers to extensive damage done to the ecosystem of a territory due to human atrocities or to
such an extent that the normal living of the inhabitants is severely disturbed ("Ecosophy – Wikipedia", 2017). Human nature is essentially
anthropocentric which assumes the primacy of man over other organisms in the environment. We are committing ecocide by deforestation of a land,
burning fossil fuel, emitting green house gases from the industrial hubs, by exploiting natural ecocritical understanding of Aranyak–Of the Forest
(1976) in the light of ecocide. Ecocriticism is best exhibited in Aranyak–Of the Forest where the protagonist Satyacharan, a city dweller gets hypnotized
by nature. Initially urban lifestyle revolted against the loneliness of the forest. He has been sent to the forest as an estate manager to clear up a forest
land of 30 thousand bighas. But as the novel progresses he fell madly in love with nature. The novel is told in the manner of a reverie which ever
haunts his imagination. It is a good example of an ecocide. The narrator writes– ... Show more content on Helpwriting.net ...
By my hands was destroyed an unfettered playground of nature. I know too, that for this act the forest gods will never forgive me. I have heard that to
confess a crime in one's own words lightens somewhat the burden of the crime. Therefore, the story" (Aranyak: Of the Forest 3).
The novel deals with the protagonist Satyacharan's development of his attitude to Nature. The votary of urban life has transformed into a devoted
lover of nature in her pristine beauty. The city man Satyacharan was to draw up new tenants. His role was that of a colonizer to set up more human
habitation or industry in the forest. At first, he had hardly any care for the forest land and its so–called savage people. He

Satyajit Ray Protest And Rebellion
Protest and Negotiation in Satyajit Ray's Calcutta Trilogy
I. Introduction
Satyajit Ray (2 May, 1921– 23 April, 1992) is one of the best directors from the golden era of Bengali cinema (1952–1975). During that period parallel
cinema movement emerged in India. This parallel cinema movement was mainly led by Bengali cinema. Satyajit Ray was born in Calcutta, and his
family was very prominent in the field of arts and literature. He earned his reputation with his first film Pather Panchali (1955), it won eleven
international awards, and with this film, he introduced Bengali cinema to the world. And now he is widely admired as one of the best filmmakers of
the 20th century. He received his bachelor from the University of Calcutta in economics. ... Show more content on Helpwriting.net ...
However, Naxalism in Bengal should also be seen in the context of the vast wave of international protest sweeping the world in the 1960s and 70s the
centered on American aggression in Vietnam, but which also denounced such things as apartheid in South Africa and nuclear arms, as well as
expressing antagonism towards capitalism, privilege and neo–colonialism, no matter how vaguely they may have been. The anger of protest in Kolkata
in the seventies, with Naxalism in its vanguard, was fanned strongly by the various elements of international protest as

Women Role in Indian Cinema
| Women
Significant Women Roles in Indian CinemaInnovative women roles in Indian films, especially mainstream cinema, are few and far between. Some
creative directors, working within the mainstream format, however have given us some meaty characters. Several women–significant films were made
in the early days of Indian cinema like "Achchyut Kanya," which touched the theme of untouchability. Bimal Roy made a few films inspired by the
novels of Sarat Chatterjee like "Biraj Bou", "Devdas" and "Parineeta." "Biraj Bou" was a film based on a selfless Indian woman, who endured hardship
and pain for the sake of her husband. Films like "Ramer Sumoti," based on a Sarat Chaterjee work, were remarkable and depicted the love and warmth
which ... Show more content on Helpwriting.net ...
The latest talent on the Kolkata filmmaking scene, Rituparno Ghosh, has women–related subjects as theme in all three of his award–winning films
"Unishe April", "Dahan" and "Asookh" and his latest "Bariwali" (featuring Kiron Kher). The women characters in the films of Gautam Ghose &
Buddhadeb Dasgupta are equally intriguing. In Gautam Ghose's "Antarjali Jatra" a young bride is forcibly married off to a dying Brahmin, while
marital disharmony was the subject of films like Buddhadeb Dasgupta's "Griha Yuddha" and "Lal Darja" andAparna Sen's "Yugant". Sanat Dasgupta's
"Janani" featuring Rupa Ganguly was a poignant Bengali film about a woman who was ostracized and labeled a "witch," but in the end sacrificed her
life for her son.
Ordinary women characters, rising to extraordinary levels, were witnessed in films like Sushant Mishra's "Aasha" (Oriya), Arinbam Shyam Sharma's
"Imagi Ningtem" (Manipuri) and Sanjeev Hazarika's "Meemansxa" (Assamese). "Aasha" dealt with a courageous lady journalist hounded by corrupt
politicians. "Meemansxa," dealt with the agony faced by a woman when she moves to court after being molested by

How Bollywood Uses New Media Tools For Marketing Its Film
How Bollywood Uses New Media Tools For Marketing its Movie. Nirajan Rijal Abstract In today's world thousands of movies release each year.
Every movie has its own promotional strategies. To pull audience in theatre, producers and movie distributors use innovative strategies. There is a
tough competition between movies, so promotion is most important part. New media is the latest platform to market movies. Movie website, different
types of blogs, Social Networking Sites like Facebook and twitter are new media tools for profit generation. The purpose of this study is to find out
how people are influenced from new media tools to watch the movie. And... Show more content on Helpwriting.net ...
1041 films were produced in India in 2006 whereas USA produced just 815 films ("World Film Market Trends", 2007). With 27% share of India's total
entertainment industry revenues, Bollywood hugely impacts the music, video, television and live entertainment sectors).The rapid growth of the
industry in recent years has been phenomenal. The revenues grew 360% in the period 1998–2005 and 58% in 2001–2005. It continues to dose in recent
years and the annual growth rate can reach as high as 40% by the end of 2015. (PWC & FICCI, 2014). Hence, with over a thousand movies releasing
every year, it's understandable that a large amount of money is riding on the industry and the show–runners want to be ahead of the curve. Every movie
is seen as a new product and its launch needs to be advertised and promoted, to create awareness, and draw the audience to the theatres thereby
increasing the revenue collection. Here comes into play the magic of marketing. As of September 2014, the number of active internet users in India
was 58.3 million ("Internet Users in India", 2015). Hence, online marketing is emerging as an increasingly effective way for Bollywood to reach its
audience as SNSs, web portals, blogs, streaming services are becoming popular. Mobile phone users are being presented with Bollywood related
content, movie wallpapers, ringtones, dialogues and songs. Information regarding the list of theatres, cost of tickets, booking facilities and other related

The Elements Of The Bollywood Cinema
There are many important concepts for understanding Bollywood cinema but I would like to distinguish the following three: influence of Mahabharata
and Ramayana on all Indian films, adherence to dharmik laws, and prevalence of music and dance in cinema. One of the most important peculiarities of
Bollywood cinema is its special relationships with foundational texts. Pan–Indian texts Mahabharata and Ramayana play crucial role in establishment
of Indian art in general, and movie genre in particular. There exist texts that constitute a base for a critical thought and art in general, they are
discussed, they are attacked, they are doubted, remade, challenged and even parodied but they still remain actual in all the Г©poques. These texts
are eternal cultural intertexts to which all artists refer sooner or later in their artistic search. Freud and Marx serve as these pillars for Western
civilization, and Mahabharata and Ramayana perform this role in India. These are holy works of culture, religion, and society because the explain the
values on which these concepts are based regardless of time (Mishra, 2002) Despite seeming Bollywood movies predictability and convention they are
also influenced by the main Indian texts since these texts seem to include all possible motives, moods, and problems. Bollywood films comprise
important dharmik codes as that are mediated and reinterpreted numerous times in an every worthy Bollywood film. Dharma is a central concept of
Buddhism, Hinduism,

Essay on Film Auterism
Auterism
Auter is defined as a French term for the film director who places a personal style on his or her films. It was first coined by Francois Truffaut to
describe the mark of a film director on his films. A director can be considered an auteur if about five of his films depict a certain style that is definitely
his own. In other words, much like one can look at a painting and tell if it is a Monet, a Renoir, or a Degas, if a film director is an auteur, one can look at
his film and tell by style and recurring themes that it was made by a certain director. In auteur films, the director is many times what brings an
audience to the theater, instead of the actors or storyline. Often famous directors are more highly billed in ... Show more content on Helpwriting.net ...
He quickly re–shot many shots to add sound. Stylistically, Rear Window was one of Hitchcock's famous experiments. Almost the entire movie is shot
in the main character's apartment and out of his apartment window. In North by Northwest as with many of his others including Vertigo and Rear
Window, Hitchcock sets up his hero as being the only one who knows the truth. This again creates audience sympathy for this character. Also very
Hitchcockian is that the main character becomes the detective. Stylistically, the audience stays with the main character, only knowing as much as he
does.
After watching Fellini's films La Dolce Vita, 8–1/2, Juliet of the Spirits, La Strada, and City of Women certain characteristics are noticeable. In all of
these films, imagery was very important, which he is probably most noted for. However, a recurring set of character archetypes was also apparent.
These archetypes are the sex object, the wife, and the typical man.
The Sex object is first found in 8–1/2. The young boy and his friends encounter the prostitute. With this encounter, we see that a mixed batch of
emotions including: delight, cruelty, wonder, fright, and guilt. The whore's sexuality and the boy's responses to it are shown with crosscuts between
her suggestive motions and their shock and ultimate joy. When she invites the boy to

Role Of Udayer Pathe In The 1940s
A New Attitude: The 1940s With the 1940s came a paradigm shift in the attitude to cinema, with film makers increasingly adhering to cinematic
norms of acting, as opposed to the theatrical and demonstrating a willingness to address everyday reality. The film that can be said to have been
instrumental in bringing about this change was Udayer Pathe, made in 1944. Its writer, Jyotirmay Roy, was responsible for the streak of social
awareness that informs the film, while director Bimal Roy, later to find international recognition with his neo realist Hindi feature Do Bigha Zameen in
1953, showed great vision in doing away with stars, getting his amateur performers to emote with restraint and structuring his script tightly. Though
marred by its at times stilted dialogues and a tendency to oversimplify, there is no doubt that Udayer Pathe was a trendsetter. The 1940s was also
remarkable for the influx of writers from the Progressive Writers Association and artists from the Indian... Show more content on Helpwriting.net ...
One had such exceptional star actors as Uttam Kumar and Suchitra Sen, arguably the greatest Bengali stars ever, and Soumitra Chatterjee and Supriya
Devi, who had the charisma to lift even mediocre material to a certain artistic height. There was a crop of brilliant character actors like Chhabi Biswas,
Utpal Dutt, Robi Ghosh, Tulsi Chakrabarty, Dhritiman Chattrejee and Anil Chatterjee, among others, who could be counted upon to consistently
deliver the goods. And commercial Bengali cinema of the era had film makers of the stature of Tapan Sinha, Ajay Kar, Agragami, Asit Sen, Tarun
Majumdar, Rajen Tarafdar, who working within the conventional boundaries of mainstream cinema managed to create enduring works of art. In
between these actors and film makers Bengali cinema witnessed its most successful phase at the box

Film Autuerism Essay
Film Autuerism Auteurism is a term first coined by Francois Truffaut to describe the mark of a film director on his films. A director can be
considered an auteur if about five of his film depict a certain style that is definitely his own. In other words, much like one can look at a painting and
tell if it is a Monet, a Renoir, or a Degas, if a film director is an auteur, one can look at his film and tell by style and recurring themes that it was made
by a certain director. In auteur films, the director is many times what brings an audience to the theater, instead of the actors or storyline. I am going to
take a look at three of the most noted auteurs: Frederico Fellini, Satyajit Ray, and Alfred Hitchcock.
I watched five of ... Show more content on Helpwriting.net ...
In all of the films, the husband and wife have difficulty communicating with each other. One scene in City of Women visually shows this with
multiple barriers: physical (a column and doorway), spatial (the characters are on opposite sides of the screen) and social (a crown with turned
backs). In Juliet of the Spirits, Julieta is the "superwife." She plays all of the above stated roles, and also it is apparent that she has her own interior
life. This is shown by the use of mirrors and reflections within reflections.
The final character archetype that I noticed in Fellini's films is the "macho man." This is probably best illustrated in the harem sequence in 8–1/2. In
this the main character imagines himself as the master of all women he has ever desired, real or fantasized. In City of Women the doctor is the
idealized male stereotype who now has to deal with women's increasing independence. I do not think that this character was as effective, however, in
showing this archetype as much as the harem sequence did. In La Strada the male character is kept a prisoner by these male virtues– he cannot
communicate his own feelings.
Fellini definitely has many trademarks, but I chose these to write about because they are the least remarked upon. But, surely when one watches any
Fellini film, there is a definite look and feel to the movie, making Fellini a true auteur.
The next auteur that I studied

Research Paper On Pather Panchali
Children Nature Interconnection:
One of the key notes of Pather Panchali is the children nature interconnection. 'The forest with its freshness and deep green shadows, had laid its
fressness and deep green shadows, had laid its fingers on Opu and his sister alike, and had brought peace and consolation into their hearts. They had
known it all their lives.' (169) Durga and Apu, the siblings derive a lot of pleasure in nature; they explore the flora and fauna of their land; they enjoy
the sweet rain; and arrange a feast in the forest. Bibhutibhushan himself being the true son of the soil, his creation Apu is also a child of nature. Like
Wordsworth, his Apu also finds immense pleasure in the open lap of nature. He is bewildered at the astonishing rural beauty of nature. His heart soars
high in the sky ... Show more content on Helpwriting.net ...
Pather Panchali. Kolkata: Ranjan Prakashan, Oct. 1929.
_______________. Pather Panchali: Song of the Road. Trans. T.W. Clark & T. Mukherji.New Delhi: Harper Collins, 2009.
________________. Making a Mango Whistle. Trans. Rimli Bhattacharya. Puffin Books, 2006
________________.Chotoder Pather Panchali.
Bate J. Romantic Ecology: Wordsworth and the Environmental Tradition. London: Routledge. 1991
Buell, Lawrence. The future of environmental criticism: environmental crisis and literary imagination. Malden, MA: Blackwell Pub., 2005. Print.
Coupe, Laurence. The green studies reader: from Romanticism to ecocriticism. London: Routledge, 2000. Print.
"Ecocriticism." Wikipedia. Wikimedia Foundation, n.d. Web. 14 May 2016.
Garrard, Greg. Ecocriticism. London: Routledge, 2004. Print.
Shewry, Teresa, Cheryll Glotfelty, and Harold Fromm. The ecocriticism reader: landmarks in literary ecology. Athens: U of Georgia Press, 1996. Print.
Williams R. The Country and the City. London: Chatto &Windus.

Louis Giannetti Neorealism

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