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Essay / Research Paper Abstract
A 5 page research paper that examines neorealism in film, which is a trend that developed in Italy after World War II. The writer discusses the films of Roberto Rossellini and Vittorio De Sica, and compares them to the films being produced in Hollywood at that time, specifically From Here to Eternity. Bibliography lists 3 sources.
Page Count:
5 pages (~225 words per page)
File: D0_khneorel.rtf
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Unformatted sample text from the term paper:
Orson Welles were admired worldwide (Bobker, 1974). However, after WWII, the slick, "Hollywood" films of the post-war era -- the "mass-produced epics, glittering musicals, and ladies-magazine dramas" -- did not
reflect reality to a world that was digging its way out of rubble. What the rest of the world could identify with were films that reflected the gritty, hard world
of post-WWII Europe. A group of Italian directors responded to this need. In 1945, Italian director Roberto Rossellini created a devastating indictment of war with his film Open City.
In this innovative film, Rossellini combined newsreel footage with his own photography; he encouraged his actors to ad-lib; he took his camera out in to the street of Rome;
and he employed flat, realistic lighting (Bobker, 1974). As this suggests, Open City revealed new possibilities for cinema. In the lexicon of the film historian, Rossellinis Open City
marked the beginning of neorealism in film (Bobker, 1974). While previous films employed one or two of the above mentioned methods, Rossellini fused them into a recognizable style, one that
occurred at the right time and the right place, creating a new trend that marked the beginning of contemporary cinema (Bobker, 1974). Marcus (1986) states the ultimate purpose of
neorealistic filmmakers, such as Rossellini, Vittorio DeSica and Cesare Zavattini, was to make a "moral statement," which forces viewers to "abandon the limitations of a strictly personal perspective and
to embrace the reality of the others" (p. 23). The dedication of neorealists to social change did not endear them to people in authority. Neorealistic films, such as
Rossellinis Paisan, were deemed antagonistic to the national interests, and Vittorio De Sica and Cesares Zavattinis Bicycle Thief was attacked by the Vatican newspaper as "uncharitable" to Catholic charities (Marcus,
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