Presentation on Italian neo-realism

1. Abstract
• Documentation of dilemmas faced by ordinary people being placed on screen to share with
the audience, with no particular lighting or studio set to start.
• Capturing powerful and geninue emotions portrayed by non-professional actors.
• Are they still shown today in modern films?
Topics to discuss:
• Origin of the movement
• What makes Italian neorealism unique
• Examples of Italian neo-realism
• End of the movement
• Social cultural impact
• Influences in modern film

2.  Started after world war two.
 Desire for better post-war world and social progress lead to Italian neo- realism, a national
film movement.
 It became globally known after Roberto Rossellini's Rome, Open City was released in 1946.
 According to Thomas Elsaseer(2005, pg. 146) The movie was popular for its erotic,
melodramatic and atmospheric qualities.
 Italian neo-realism as often in relation to Italian post war politics and the delicate balancing
the Catholics and Communist. (Liberation and Chris democrats, 1945-1949) (Thomas
Elsaesser, 2005, pg. 38)

3.  Home makers of Italian Neorealism used realist aesthetics to address the most pressing postwar
concerns about :
-Freedom
-Democracy
-Anti-facism (Timothy Corrigan, Patricia White, Meta Mazaj, 2011, pg.309, Critical Vision in The Film
Theory)
 Best known for was location shooting and post-synchronization sound. (Robert Sklar, 1993,
pg. 285)
 They also hired non-professional actors instead, cinema of normal life, of genuine emotions.

4.  Also known as Roma, città aperta
 Rossellini said “situation of the moment
guided by my own and actors moods and
perspectives”
 He dictated what they shot and he relied more
on improvisation that script.
 The film was crudely shot due to poor
facilities at, under-funding, poor quality film
stock.
 Many non-professional actors were hired due
to low funding.

5.  Directed by Vittorio De Sica„ in 1947.
 De sica financed the film himself, through
friends and shot only on location, on the
streets of Rome.
 Casting only non-actors, often roping in
people who stopped to watch the filming.
 Portayed poverty, injustice and love.
 The subject matter cuts straight to the heart
of Italian society and begs questions about
the individual‟s role in society.

6. End of Italian Neo-realism
 Italian Neorealism rapidly declined in the early 1950s.
 Italy began to show positive signs of recovery and the demand for more positive
films. (Robert Sklar, 1993, pg. 288)
 Neorealist films did not help encourage the nation’s optimism towards better
prosperity and quality of life.
 Hence, many Italians preferred American movies and the movement phrased out
completely. (Robert Sklar, 1993, pg.288)
 Furthermore, post-war Italian government was against the movement. Laws was
passed in 1949.
-Censorship was imposed on scripts
-Restricted production loans to potentially controversial movies
-started withholding license exports for films. (Robert Sklar, 1993, pg.288)

7. Neorealism is a dirty laundary that
shouldn’t be washed and hung to dry in
the open.’
(Robert Sklar, 1993, pg.284)

8. .
 Film movement for Liberation of Hope and post-liberation disappointment
 Neo realism has made a bigger impact on other countries like Asia, Africa, Latin Amercia.
 Its created an example, model for a cinematic approach towards human experience outside the
behavior for entertainment genres.
 It made social actuality as art.
 Taught everyone you do not need lavish sets or expensive stars to make a good movie.
(Robert Sklar, 1993, pg.288)

9. Andre Bazin, French critic, ‘Neo realism is more
anthological position rather than an aesthetic one. That
is why the employment of its technical attribute like a
recipe does not necessarily produce it.‟
(Robert Sklar, 1993, pg. 286)

10.  Film Noir adapted Italian
neorealist method of shooting on
location, giving a realistic appeal to
the film. And used non-
professional actors.
 An example of this is the 1955
film Kiss Me Deadly, directed by
Robert Aldrich.
 Audiences for the first time were
given a truly emotional, realistic
view of the toils and trials that the
working class and impoverished
face on an everyday basis.
 (Robert Sklar, 1993, pg. 290)

11. Satyajit Ray
 Indian new wave, also known as Parallel
Cinema, was influenced by Italian Neo-realism.
Became popular in the late 1950s.
 One of the film makers that led the movement
was Satyajit Ray. (1921-1992)
 In India, he made films that brought
international recognition to his country‟s
cinema after watching Bicycle thieves.
 One of the world greatest Author in world
cinema.
 His films demonstrate a remarkable humanism,
elaborate observation and subtle handling of
characters and situations

12.  It was Satyajit Ray‟s first film he made,
and used non-professional actors.
 In fact based Stuart Jeffries,2010, The
Guardian, stated that
 “the director had never directed, the
cameraman had never shot a scene, the
children in the leading roles hadn't been
tested.”
 It portrayed from a child, Apu, point of
perspective poverty, hardship, simple
joys of life and grief.

13. Ken loach
 Loach is the worlds leading social-
realist film-maker and Britains most
successful director operative today.
 Is well known for his social content of his
movies sustained with a real life style.
 Was greatly inspired after watching
Bicycle Thieves.
 He said, “It made me realise that cinema
could be about ordinary people and their
dilemmas. It wasn't a film about stars, or
riches or absurd adventures. I was able
to see cinema in another light, outside
the Hollywood nonsense.’

14.  An independent film done by Ken Loach
in 2006, it was even known as the
highest grossing independent film made
in Irish.
 Its about 2 brother brothers caught in a
war between Irish and Britain.
 Just like Italian neorealism, it focuses on
the struggles of war.

15.  Elsaesser, Thomas. European Cinema, Face to Face with Hollywood. Amsterdam
University Press, Amsterdam 2005.
 Sklar, Robert. Film An International History of the Medium. 100 Fifth Avenue, New
York, NY 10011. Harry N. Abram, INC, 1993.
 Timothy Corrigan, Patricia White and Meta Mazaj. 2011. Critical Visions in Film
Theory. United States of America

16.  12 great performances by non-professional actors http://www.pastemagazine.com/blogs/lists/2013/03/best-performances-by-
non-professional-actors.html
 50 must-see Italian films #7 Roma, città aperta
 http://www.swide.com/art-culture/movies/italian-cinema-best-50-movies-rome-open-city-roberto-rossellini/2013/4/14
 50 must-see Italian films:#1 Ladri di biciclette
 http://www.swide.com/art-culture/movies/italian-cinema-50-must-see-movies-the-italian-neorealism-bicycle-thieves/2013/2/17
 The film that changed my life: Ken Loach
 http://www.theguardian.com/film/2010/may/16/bicycle-thieves-ken-loach
 A Brief Introduction to Satyajit Ray
 http://www.satyajitray.org/about_ray/introduction.htm
 Pather Panchali: No 12 best arthouse film of all time
 http://www.theguardian.com/film/2010/oct/20/pather-panchali-ray-arthouse
 Ken loach and neorealism
 http://essay-planet-blog.blogspot.sg/2013/02/ken-loach-and-neorealism.html

17.  Used non-professional actors and shoot on location, focusing on hardship of post-war
environment.
 Giving people a sense of realistic and emotional view of life.
 Phased in out in the 1950s.
 Inspired several film-makers like ken loach and Satyajit Ray.
 Fancy, expensive set is not required to tell a unique story.
 Taught people about social actuality.