It talks about Italian film movement which shown greater impact on world cinema.

1. Meet
y o u r
E d u c a t o r
Dr. J. JANARDHAN
Ph.D. (Journalism & Mass Communication)
MJMC, FAC (FTII)
10+ Y e a r s E x p e r i e n c e

2. ITALIAN
NEOREALISM

3. DID YOU KNOW?
 Once Mussolini's fascist regime had fallen, US filmmakers
shown dominance on Italian the market.
 Italian Neo-realism developed as a major film movement
after World War II (1939-1945).
 It began with the German invasion of Poland, and concluded
with the surrender of Japan
 It scale down the Italian production companies

4. DID YOU KNOW?
 Throughout WW-II, Guiseppe De Santis and Mario Alicata
considered the possibility of a movement "following the
slow and tired step of the worker who returns home“
 After the war, this sentiment aligned with the public's
interests
 The country aimed to restart with a liberal ideology

5. DID YOU KNOW?
 Prior to this, the Italian industry had been
synonymous with elaborate, studio settings
 With fewer resources and a liberal agenda to
provide the public with films
 The nation's cinematic tendencies were also
ready to be renewed
 Neo-realist filmmakers sought to tell stories of
everyday peoples’ life

6. DID YOU KNOW?
 The Neo-realists were quite heavily influenced by
French poetic realism and Soviet Montage and
traditional Hollywood cinema
 Italian Neo-realist films' focus on the unemployed and
lower classes
 De Sica's "Bicycle Thief” is an example of the working
class, combined with notions of criminality
 The influence of Soviet Montage on Italian Neo-realist
films can be seen through the editing techniques

7.  The actors in Italian Neo-realist films were
predominantly non-professional
 Being hired straight off the streets for particular
roles. Ex: 'Bicycle Thief‘
 The most significant symbolic codes in Neo-realist
films can be seen in De Sica's 'Miracle in Milan'
Symbolic Codes?

8.  The movement gained international attention when
Roberto Rossellini’s Rome-Open City won the Grande
Prize at the 1946 Cannes Film Festival,
 Italian Neorealism's brutally honest portrayals of the
working class
 Enduring struggles became known as the country's
cinematic 'golden era‘
Golden era

9.  Stories set amongst the poor and working class
 Filmed in long takes on location
 Frequently using non-actors for secondary and sometimes primary roles.
 Mostly contend with the difficult economical and moral conditions of postwar Italy,
 reflecting the changes in the Italian psyche and the conditions of everyday life: defeat,
poverty, and desperation.
 Because Cinecittà (a complex of studios in Rome--the center of commercial filmmaking in
Italy since 1936) was occupied by refugees, films were shot outdoors, amidst
devastation
CHARACTERISTICS

10. 1. Bicycle Thief, (1949) Vittorio Di SIca
2. Risa Amaro, (1949)
3. Bellissima (1951),
4. Miracle in Milan (1951)
5. The flowers of St.Francis (1950)
6. Rome,
7. Open City
8. War Trilogy(1966), dir. Leone
Rome Open City, 1945
Paican, 1946
Germany Year Zero, 1946
MUST WATCH

11. 1. Vittorio Di SIca
2. Federico fellini
3. Bellissima
4. Robert Rossellini
5. Luchino Visconti
BEST DIRECTORS OF I.N.R.