After Neorealism: Italian Filmmakers and Their Films; Essays by Bert Cardullo

By Bert Cardullo

The time period 'neorealism' was once first utilized through the critic Antonio Pietrangeli to Visconti's 'Ossessione' (1942), and the fashion got here to fruition within the mid-to-late forties in such motion pictures of Roberto Rossellini, Luchino Visconti, and Vittorio De Sica as 'Rome, Open urban' (1945), 'Shoeshine' (1946), 'Paisan' (1947), 'Bicycle Thieves' (1948), and 'The Earth Trembles' (1948). those photos reacted not just opposed to the banality that had lengthy been the dominant mode of Italian cinema, but in addition opposed to winning socioeconomic stipulations in Italy. With minimum assets, the neorealist filmmakers labored in genuine destinations utilizing area people in addition to expert actors; they improvised their scripts, as want be, on web site; and, their motion pictures conveyed a strong experience of the plight of normal contributors oppressed through political conditions past their keep watch over. hence Italian neorealism was once the 1st postwar cinema to free up filmmaking from the unreal confines of the studio and, by means of extension, from the Hollywood-originated studio procedure. yet neorealism was once the expression of a whole ethical or moral philosophy, in addition, and never easily simply one other new cinematic variety. 'After Neorealism: Italian Filmmakers and Their movies' is an try, via essays and interviews, to chronicle what occurred to neorealism after the disappearance of the forces that produced it - global conflict II, the resistance, and liberation, by means of the postwar reconstruction of a morally, politically, and economically devastated society. in reality, neorealism didn't disappear: it replaced its shape yet now not its profoundly humanistic issues, looking on the filmmaker and the movie. Neorealistic stylistic and thematic ideas were perpetuated not just through the 1st iteration of administrators who succeeded latter-day neorealists like Federico Fellini and Michelangelo Antonioni, but additionally via the second one iteration of auteurs to be successful those artists. between contributors of that first iteration we could count number Ermanno Olmi, together with his compassionate experiences of working-class practical 'Il Posto' (1961), and Francesco Rosi, together with his full of life assaults at the abuse of strength akin to 'Salvatore Giuliano' (1961). they're joined, between others, through Pier Paolo Pasolini ('Accattone', 1961), Vittorio De Seta ('Banditi a Orgosolo', 1961), Marco Bellocchio ('I pugni in tasca', 1965), and the Taviani brothers, Vittorio and Paolo ('Padre Padrone', 1977). And those filmmakers themselves were via Gianni Amelio ('Stolen Children', 1990), Nanni Moretti ('The Mass Is Ended', 1988), Giuseppe Tornatore ('Cinema Paradiso', 1988), and Maurizio Nichetti ('The Icicle Thief', 1989). From this varied staff, 'After Neorealism: Italian Filmmakers and Their motion pictures' contains interviews with, and essays approximately, Olmi, Pasolini, Amelio, and Moretti, with items in addition on such seminal figures as Visconti, Fellini, and Antonioni. additionally integrated are a protracted, contextualizing advent, filmographies of the administrators handled during this booklet, and bibliographies of books approximately them in addition to approximately Italian cinema ordinarily.

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At the beginning we see Cosimo and Peppe in jail, and Marcello’s wife is also in jail. We see Marcello at home with the baby. The Sicilian Ferribotte keeps his sister locked at home. What were you trying to say with this? : I wanted to say that this was a reality at the time. It existed. Everyone, to survive, had to do what was necessary. One guy sold cigarettes on the black market, so he eventually went to prison. The photographer had to stay home to take care of his baby. The little old man who ate all the time survived by pick-pocketing on the bus.

At the beginning we see Cosimo and Peppe in jail, and Marcello’s wife is also in jail. We see Marcello at home with the baby. The Sicilian Ferribotte keeps his sister locked at home. What were you trying to say with this? : I wanted to say that this was a reality at the time. It existed. Everyone, to survive, had to do what was necessary. One guy sold cigarettes on the black market, so he eventually went to prison. The photographer had to stay home to take care of his baby. The little old man who ate all the time survived by pick-pocketing on the bus.

Well, art moved forward when the cinema was invented, I think we can agree on that. If the cinema hadn’t existed when you came of age, by the way—when it came time for you to choose a profession—what would you have done? : I would have invented it. CHAPTER TWO THE COMING-OF-AGE FILM À LA FELLINI: THE CASE OF I VITELLONI BERT CARDULLO In the most impressive phase of his career (from Variety Lights [1950] through 81/2 [1963]), Federico Fellini (1920-1993) was, above all, an observer, constructing his films through juxtaposition: that is, through setting details of reconstructed reality side-by-side to point up a common denominator, or (more often) to expose the ironic relationship between unlike things.

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