Christy Chandra Professor Sole Anatrone Italian Studies 170 Viewing Log – Nuovomondo (The Golden Door) Title: Nuovomondo (The Golden Door) (2007) Director: Emanuele Crialese Date: 21 October 2015 The Golden Door reminds me of neorealism movies like La Dolce Vita and Bicycle Thief. Even though the movie was invented and released decades after World War II (one essential element for neorealism genre), The Golden Door embraces the idea of telling struggles of the early Italian immigrants. Through hardships while sailing with a ship full of people with wishful thinking of getting a better source of labor and foods (most of them, particularly the main character, being hypnotized with a “false” hope that the New World (America) is a place that cultivates giant agricultural
Throughout the essay, many references and comparisons are made to other films. Also incorporated in the essay is the use of advance terminology; Giving indication that the author is very knowledge about film. Haslem mentions in her essay “Neon Gothic: Lost in Translation”, “In many ways Coppola’s film exhibits marks of classic European art cinema. Specifically, in her interest in stillness rather than action, Coppola recreates a similar impressionistic resonance that was initially established by filmmakers like Carl Dreyer in The Passion of Joan of Arc (1928) and elaborated by Michelangelo Antonioni in films like L’Eclisse (1962) and L’Avventura (1960)”
Citizen Kane (Welles, Orson) is known as one of the greatest movies of all time, and I agree completely. The movie was the first of its kind, making it unique. It was the first movie to use deep focus throughout and everything on screen is seen in focus, unlike other movies made in this time. This movie had to be thought out perfectly and most scenes were filmed in one shot in order to make the most of the focus. It was visually stunning and innovative for its time.
The emphasis on the daily struggles of ordinary people is a key concern of Italian neo-realist directors. In fact, they wished to portray reality in a more truthful manner than the era 's main escapist studio production, whether it is came from Hollywood or Italy 's own Cinecitta. Apart from these, other typical characteristics of neo-realism also included of location shooting and the use of non-professional actors as well. On the other hand, one of the most distinctive features of The Bicycle Thief is its use of non-professional actors.
The concentration is on comparing and finding the changes that history made to this movie genre, especially considering the gender roles. Results will clearly explain the psyche of society in two different periods, which confirms that people reflect the movies as movies have an impact on people. The Introduction It is often said that the element of surprise makes the movie more interesting and leads the plot. There are many masters of storytelling
The world of film is a complex web of discourses that try to understand, in a cinematic manner, the past without tarnishing it. Many films, especially historical films have tried to operate on a level that not only accurately tries to represent the past with all its intricacies, but to do it in a fashion that addresses real life truths and feelings that correlate with that specific historical figure, event or issue. While historical films may distort details about certain figures or events from a specific history, these films, however, reflect and expose truths that could be applied to the past. In the first two course films, Breaker Morant and La Grand Blanc de Lambarene it is clearly understood that the filmmakers are fictionalizing moments
Hollywood's primary objective in Europe following the end of WWII was to make each nation's private industry powerful enough to uphold the large-scale spread of American films. The Italian Neorealist filmmakers often used non-actors in central roles, in the manner of Soviet Montage. After World War II, times began to shift. Before the war, Italy was one of the most productive and prominent filmmaking countries. They specialized in large budget epic films, with enormous sets and thousands of actors.
The French New Wave was a film movement in the 1950’ and 60’s that consisted of an explosion of new film techniques, values, and styles that became a defining moment of cinematic innovation that’s impact is still present in the modern film industry. An influx of new, young directors sought to narratively, ideologically and stylistically veer off from the dominant, traditional mainstream cinema production standards and redefine the French film industry. The movement didn’t happen overnight and its origins and influences stem back to the occupation of France by Nazi-Germany during World War II, the subsequent Italian Neo-Realism movement, and a combination of previous film periods. During World War II, Paris was occupied by the Germans. This was a
In the conclusion of the three-part war trilogy from Roberto Rossellini is a film titled Germany Year Zero. Released in 1948 and an Italian produced film, Germany Year Zero is shaped by Italian neorealism, an aspect intrinsic in the Italian films of the time. Italian neorealism attempts to paint a true reality of the situation at hand just as it objectively depicts a ruined post-war Berlin. Rossellini also presents melodramatic forms of narrative through the characters in the story in another form of objectivity and distance from emotion. Employing forms of Italian neorealism, Rossellini presents an evocative view of feeling for the audience to experience the situation alongside the characters.
As a result, The Godfather ends up becoming a successful blockbuster, but it’s also artistic, and reflective of our society. The Godfather caters to both casual and critical audiences. Coppola uses graphic violence to draw in casual viewers, but he draws in critical viewers by having the film become a social critique of society. Auteur films are meant to give us a view of the world. In addition, the film draws parallels between the mafia and the police, by essentially stating that our society is corrupt.
Compare and contrast the ways in which the films and filmmakers of both Italian Neo-Realism and French New Wave rejected the dominant Classical Hollywood model and their reasons for doing so. 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 1945, such as Rossellini’s Roma, città aperta (Rome, Open City, 1945) and Paisà (Paisan, 1946); De Sica’s Sciuscià (Shoeshine, 1946), Ladri di biciclette (The Bicycle Thieves, 1948), and Umberto D. (1952); and Visconti’s La terra trema (The Earth Trembles, 1948). Italian neorealist films stressed social themes (the war, the
The film Bicycle Thieves (1949) directed by Vittorio De Sica, is an Italian Neo-Realistic film set in post-war Italy. The film follows Antonio Ricci and his son Bruno on a quest to retrieve his stolen bike in an attempt to remove himself and his family from the cycle of poverty. Bicycle Thieves (1949) discusses themes of struggle and desperation causing one to sacrifice their morality and become the evil they initially fought. De Sica expresses such themes to the viewer through the culture of poverty and the continuous pain that poverty is capable of inflicting. De Sica also employs simplistic narrative, dramatic sound, and mise-en-scene that highlights the depressing nature of poverty.
This essay will discuss how the film uses these two techniques, in reference to the film, and to what ideological and political ends are the techniques used in the films with specific references from the film to support the argument. A Man with a Movie Camera is based around one man who travels around the city to capture various moments and everyday
Neorealism had taken over Italian cinema and the films were becoming known outside of the county. One film showing heavy doses of neorealism is Bicycle Thieves. This film came out a couple years after the ending of World War II and really opened up the eyes of many people showing how difficult Italy was doing. The movie, Bicycle Thieves, shows the heavy impact neorealism had on not only Italian cinema, but also international cinema as well.
One of the lengthiest and most obscure debates among cinema fans regards the topic of what is cult, what art-house and what mainstream. Usually, discussions like that do not reach a definite conclusion, however, there are some themes, notions and events that define what is cult, which is the point of interest of this particular list. The filmmakers that shot the films in this list challenged the notions of everything considered normal and even acceptable by society, in terms of politics, culture, history, society, violence and sex. This tactic originated from their non-existent regard for commercial success and resulted in broken taboos, offensive and even blasphemous images, characters, dialogues and themes, and even to a number of hilarious
