I Sequestrati Di Altona

UploadImgs/2995_10_Sequestrati_Altona.jpg?w=600&ie=false&f=jpg' alt='I Sequestrati Di Altona' title='I Sequestrati Di Altona' />In Italien stand Sophia Loren einige Zeit in einem Konkurrenzverhltnis zu Gina Lollobrigida wie diese galt sie als Busenwunder und Sexsymbol. Collage Italian Neorealism. Jean Renoirs Toni 1. Alessandro Blassettis 1. Cincitta Romes studio complex relegated to refugees, films had to be shot outside. Surrounded by the shambolic ruins of World War II, human and structural, filmmakers had ready made drama even in their backdrop, the atmosphere anxiety charged and utterly uncertain. E2B9B9E8-1FDF-4A4B-B33C-8D416A4763D0_500.jpg' alt='I Sequestrati Di Altona' title='I Sequestrati Di Altona' />After twenty one years under Mussolini, all bets were off as to what direction Italy would take. In the wars aftermath, members of the Resistance including several of the neo realist directors had to come to terms those who collaborated. Though unstated, this almost civil war like tension fuels neo realist cinema. Characteristics. Ideologically, the characteristics of Italian neorealism were a new democratic spirit, with emphasis on the value of ordinary peoplea compassionate point of view and a refusal to make facile easy moral judgementsa preoccupation with Italys Fascist past and its aftermath of wartime devastationa blending of Christian and Marxist humanisman emphasis on emotions rather than abstract ideas. Stylistically, Italian Neorealism was an avoidance of neatly plotted stories in favor of loose, episodic structures that evolve organicallya documentary visual stylethe use of actual locations usually exteriors rather than studio sitesthe use of nonprofessional actors, even for principal rolesuse of conversational speech, not literary dialogueavoidance of artifice in editing, camerawork, and lighting in favor of a simple styless style. So what is neo realismAndr Bazin called it a cinema of fact and reconstituted reportage, having its antecedents in the anti Fascist movement with which these directors identified. Although they owed a debt to Renoir with whom both Luchino Visconti and Michelangelo Antonioni had worked, the neo realists respected the entirety of the reality they filmed. This meant occasionally showing scenes in real time and always resisting the temptation to manipulate by editing. Scenes are shot on location, with no professional extras and often a largely unprofessional cast. Set in rural areas or working class neighborhoods, the stories focus on everyday people, often children, with an emphasis on the unexceptional routines of ordinary life. Neorealism preferred location shooting rather than studio work, as well as the grainy kind of photography associated with documentary newsreels. While it is true that, for a while, the film studios were unavailable after the war, neorealist directors shunned them primarily because they wanted to show what was going on in the streets and piazzas of Italy immediately after the war. Contrary to the belief that explains on location shooting by its supposed lower cost, such filming often cost much more than work in the more easily controlled studios in the streets, it was never possible to predict lighting, weather, and the unforeseen occurrence of money wasting disturbances. Economic factors do, however, explain another characteristic of neorealist cinema its almost universal practice of dubbing the sound track in post production, rather than recording sounds on the supposedly authentic locations. Perhaps the most original characteristic of the new Italian realism in film was the brilliant use of nonprofessional actors by Rossellini, De Sica, and Visconti, though many of the films accepted as neorealist depended upon excellent performances by seasoned professional actors. Some film historians have tended to portray neo realism as an authentic movement with universally agreed upon stylistic or thematic principles. In fact, Italian neorealist cinema represents a hybrid of traditional and more experimental techniques. Moreover, political expediency often motivated interpretations of postwar neorealism that overlooked the important elements of continuity between realist films made during the Fascist era and realist films made by the neorealists. After 1. 94. 5, no one in the film industry wanted to be associated with Mussolini and his discredited dictatorship, and most Italian film critics were Marxists neorealisms ancestry was thus largely ignored. Qt Serial Port Communication Example Videos. The most influential critical appraisals of Italian neorealism today emphasize the fact that Italian neorealist cinema rested upon artifice as much as realism and established, in effect, its own particular realist conventions. All too many early assessments of Italian neorealism focused lazily upon the formulaic statement that Italian neorealism meant no scripts, no actors, no studios, and no happy endings. In the 1. 96. 4 edition of his first resistance novel, Il sentiero dei nidi di ragno The Path to the Nest of Spiders, 1. Italo Calvino 1. Italian neorealism was never a school with widely shared theoretical principles. Rather, it arose from a number of closely associated discoveries of an Italian popular culture that had traditionally been ignored by high Italian culture. Neorealist film and literature replaced an official cinema and literature characterized by pompous rhetoric and a lack of interest in the quotidian and the commonplace. Vittorio De Sica Italian pronunciation vittrjo de sika 7 July 1901 13 November 1974 was an Italian director and actor, a leading figure in the. Cesare Zavattini, who functions as a kind of godfather of the movement, stated This powerful desire of the neo realist cinema to see and to analyze, this hunger for reality, for truth, is a kind of concrete homage to other people, that is, to all who exist. The aim, method and philosophy was fundamentally humanist to show Italian life without embellishment and without artifice. Breezy fare this is not, but it did significantly alter European filmmaking and eventually cinema around the world. Neo realism reflected a new freedom in Italy and the willingness to pose provocative questions about what movies could do. As director Giuseppe Bertolucci Bernardos brother noted The cinema was born with neo realism. Postwar Neorealism A Brief Decade. With the fall of Mussolini and the end of the war, international audiences were suddenly introduced to Italian films through a few great works by Rossellini, De Sica, and Luchino Visconti that appeared in less than a decade after 1. Rossellinis Roma, citt aperta Rome, Open City, 1. Pais Paisan, 1. De Sicas Sciusci Shoeshine, 1. Ladri di biciclette The Bicycle Thieves, 1. Umberto D. 1. 95. Viscontis La terra trema The Earth Trembles, 1. Italian neorealist films stressed social themes the war, the resistance, poverty, unemployment they seemed to reject traditional Hollywood dramatic and cinematic conventions they often privileged on location shooting rather than studio work, as well as the documentary photographic style favored by many directors under the former regime and they frequently but not always employed nonprofessional actors in original ways. Film historians have unfortunately tended to speak of neo realism as if it were an authentic movement with universally agreed upon stylistic or thematic principles. While the controlling fiction of the best neorealist works was that they dealt with universal human problems, contemporary stories, and believable characters from everyday life, the best neorealist films never completely denied cinematic conventions, nor did they always totally reject Hollywood codes. Free Download I Can Wait Forever'>Free Download I Can Wait Forever.