telephone’ dramas of Italy. Their response was the stylistics movement Italian Neorealism. Before 1943 and Mussolini’s fall critics and filmmakers were calling for a representation of real life (http://cinecollage.net/neorealism.html). Luchino Visconti’s Ossessione (1943)‚ still under the censorship of Mussolini‚ was a precursor to the movement along with a whole host of films and filmmakers who were trying to create a "hybrid of traditional and more experimental
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lasted from 1942 to 1952‚ even though critics credit Roberto Rossellini’s 1945 (Rome Open City) as being the first truly neo-realist film‚ Luchino Visconti’s Ossessione (1943) was really the herald of the movement‚ and in fact the scriptwriter of Visconti’s film‚ Antonio Pietrangeli‚ coined the term neo-realism in 1943 when talking about Ossessione” (Hayward‚ 2000 p.202) The majority of films being made in Italy before the movement started came to be known as white telephone films‚ these were lighthearted
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Anthony Wilson 11/10/2014 Italian Neorealism As cultures progress‚ cinema will always revive its past‚ mirror its present‚ and predict its future. Throughout history‚ cultures have inspired new waves of film. Filmmaking has reflected cultural decades of every era. Whether through non-fiction or fiction‚ films still establish the principle of human psyche. From America’s popular westerns in the 1920s to Italy’s neorealist films in the ‘40s-‘50s‚ films have been created to emulate the conditions
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Hotel rwanda Harold and maude Yeelen In the mouth of madness Keep the river on your right Faust John adams Virgin spring Fausto 5.0 Siam sunset The company of wolves Sien nui yau wan Monkeys shines Toto le héros Braindead Shallow grave Bound Retroactive Beowulf Black Book A Nous la Liberte (1932) Absence of Malice (1981) Adam’s Rib (1949) The Adjuster (1991) The Adventures of Robin Hood (1938) Affliction (1998) The African
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replaced by a more critical method. In Visconti’s Senso (1954) he identified the exemplary expression of a realist poetics informed by historical criticism. With respect to periodization‚ neorealism generally is supposed to start with Visconti’s Ossessione (1942)‚ to culminate in Rossellini’s Roma citta aperta (1945) and De Ska’s Ladri di biciclette‚ and to begin to decay after De Sica’s Umberto D (1952)‚ which Guglielmo Monetti has portrayed as the last neorealist masterpiece.3 Whereas French critics
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University of Glasgow Department of Film and Television Studies Beyond “Brutality”: Understanding the Italian Filone’s Violent Excesses by Robert J. Edmonstone Matriculation #: 9703623 Supervisors: Dr. Ian Garwood / Dr. Karen Boyle 2 Contents Abstract Acknowledgements Introduction 1. Introducing the Filone: Industry‚ Cycles and Censorship 2. Investigating Violence and Spectacle in the Filone 3. Theorising Excess and Violence in the Filone 4. Narrative versus Excess in the Filone
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