Federico Fellini Essays

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

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 American cinema gives imagery to the Mafia, which many Americans are not typically familiar with in their daily lives. I choose to write a paper on Cinema and Mafia over the Sacco and Vanzetti trial, because the topic of how Italians have been portrayed in film and television has been a conversation in my family for many years. When the advertisement for the television show Sopranos broadcasted, my father was excited, he thought the show was going to be about the opera, must to his disappointment

1.) Bicycle Thieves, produced by Vittorio De Sica in 1948, significantly exemplifies the art of Italian Neorealism. De Sica depicts Italy during the post era of World War Two showcasing the struggles that were prevalent during this time period such as tough economic times and the difficulties of finding decent work. The concepts displayed in Bicycle Thieves representing the ideas of Italian Neorealism completely contradict those of Classical Hollywood Cinema. One example of the differences in these

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

Considering that most of the French cinema had a dominant theatrical model due to its attribution to the powerful pact between actor and audience, “theater was a crutch that enabled sound cinema to hobble and then walk upright in France,” (Andrew pg. 104). A film that embellishes poetic realism is L’Atalante by Jean Vigo. “Père Jules… keeps relics from around the world in his Cabin,” he ‘enlivens’ the married couples life (Ezra pg. 109). In 1934 L’Atalante was one of four films that were sent to

An important takeaway from Italian Neorealism is that there is not a singular nor neat definition to which in can be applied and explained. With this being said, it seems the strongest overarching connections in neorealist cinema are the content and characters these films deploy, rather than any strict stylist choices. It seems a common goal in Neorealist films — during the post war period and thus in response to embellished propaganda films of the war period — was to relay narratives that dealt

A common reoccurrence in romantic comedies is the factor of love being whimsically portrayed as something divine, predestined and magical. The omniscient state of love in the typical romantic comedy positions love as the driving force with godlike authority over the film and the love between the two central characters is within a concept of a divine plan, fitting in with the romantic concepts in which the romance genre is founded. Punch-Drunk Love (2002) uses absurdism to flip all of this on its

The Italian westerns, known as "Spaghetti Westerns," didn 't blast onto the American film scene rather, they gradually saturated the true to life scene of the late 1960 's, filling a void made by an increment in Hollywood 's generation of westerns for TV. Regardless of being one of Hollywood 's most considerable and pre-prominent sorts, by the 1950 's the business was delivering less and less western movies. With the developing prevalence of television, significantly more westerns were being created

In conclusion Italian Neorealism is still impacting the film industry today over sixty years after the style first started. In Robert Pirro’s “Cinematic Traces of Participatory Democracy in Early Postwar Italy: Italian Neorealist in the Light of Greek Tragedy he talked about how Italian Neorealist films impacted the country when he said, “popular Italian films as social rituals enabling their audiences to renegotiate or clarify their changing cultural, material, and political enviorments, to discover

Q1: MacCabe and Caldwell both analyze film authorship as a collective process ad a collaborative effort, but this does not mean that their ideas are interchangeable. Compare and contrast one key difference and one point of significant overlap between MacCabe and Caldwell’s theories. Film authorship is a fascinating topic for discussion because it had an enormous influence on the development of the industry. MacCabe and Caldwell propose similar film authorship theories that highlight the importance

Aprile, released in 1998, is a semi-autobiographical film directed by Nanni Moretti. The film details his life of becoming a father, Italy's political situation and his inability to make a proper documentary on the former. The film begins with the election of Silvio Berlusconi, a controversial figure and leader of Italy’s fascist party. Following this, one of Moretti’s friends suggests he make a film out of this event, in which Moretti heartedly agrees, claiming it is his “responsibility” and something

Bondanella emphasizes that, “such figures as Rossellini, De Sica, or Fellini sympathize with Zavattini’s reverence for everyday reality, which he terms an “unlimited trust in things, facts, and people,” rarely if ever do they equate their artistic intentions with traditional literary or cinematic realism” (Bondanella 62). Filmmakers such as: Rossellini, De Sica, and Fellini declared through cinema that neorealism is a way of seeing reality without prejudice; furthermore

Federico Fellini once said, “A different language is a different version of life.” Fellini was an Italian film director and screenwriter, whose many films include a combination of memory, dreams, desire, and fantasy. Now considered one of the greatest films of all time and his masterpiece, “8½” is about finding a sense of meaning in life despite its being difficult and fragmented. One of the main ideology it deals with is the alienating effects of modernization. Fellini is showing how modernization

James M. Cain’s The Postman Always Rings Twice (1934) was both successful and controversial. Containing passages of violence and sex not commonplace at the time of its release, the crime story was banned in the city of Boston. Modern Library named the book one of the best one hundred novels. The novel has been produced for the screen seven times, the best-known version being a 1946 film noir. Frank Chambers, the first person narrator of the book, is a young man who is a drifter in California. He

Bernadine Hewitt was born in 1967 in Newfoundland, Canada. She received an associate degree in nursing in 1988 and has been working in the nursing field ever since. In 1990, she welcomed her first child into the world, and by 1994 had three daughters and a husband living in a quaint house about a 2 minute walk from the ocean. Her husband, a construction worker named Jamie, had a small-town reputation of a troublemaker and the town was at first shocked by the marriage. Twenty two years and a couple

Another way familial corruption is caused by the absence of fathers is portrayed by Shakespeare and Williams is through the characterization of the family members left behind. In The Glass Menagerie, Amanda Wingfield lives in the shadow of her past and is obsessed with the idea of gentlemen callers for her daughter. This concern for her daughter is rooted more in Amanda’s own interest, however, and has a detrimental effect on their relationship. “Once we analyse how Amanda manipulates maternity,

Eventually, the eroding of identities and sense of agency eliminates the ideological resistance needed for a genuine uprising. Duncombe continues that the creation of a “’false consciousness’” occurs when an oppressed group is indoctrinated with a belief in the justice and uprightness of a system that oppresses them (2107). In fact, this same “false consciousness” seems to apply to Aunt Lydia herself, as she shares misogynistic values. She does not seem to consciously acknowledge her own oppression

It is often the case that authors use ideas in novels as a lens through which they comment on the nature of society. Margaret Atwood cleverly does so by creating a dystopian setting, Gilead for her novel The Handmaid’s Tale. Themes such as extreme gender roles, theocratic society and forms of control lead us as readers to question our own society’s views, structure, and ideals and draw parallels between Atwood’s dystopian society and elements of our own. In Gilead, low fertility rates caused gender

The short story “The Lottery” is written by Shirley Jackson. This story takes place in a small village where everybody knows each other. In this story all the villagers gather around town for their annual lottery. Everyone in the village is compelled to follow this tradition even if the outcome ends up with someone dying. In “The Lottery”, Shirley Jackson uses conflict, theme, and irony to develop this suspenseful short story. One literary device used by Jackson is conflict. A conflict is a problem