After Neorealism: Italian Filmmakers and Their Films; Essays and Interviews by Bert Cardullo
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Overview: The term ‘neorealism’ was first applied by the critic Antonio Pietrangeli to Visconti’s ‘Ossessione’ (1942), and the style came to fruition in the mid-to-late forties in such films of Roberto Rossellini, Luchino Visconti, and Vittorio De Sica as ‘Rome, Open City’ (1945), ‘Shoeshine’ (1946), ‘Paisan’ (1947), ‘Bicycle Thieves’ (1948), and ‘The Earth Trembles’ (1948). These pictures reacted not only against the banality that had long been the dominant mode of Italian cinema, but also against prevailing socioeconomic conditions in Italy. With minimal resources, the neorealist filmmakers worked in real locations using local people as well as professional actors; they improvised their scripts, as need be, on site; and, their films conveyed a powerful sense of the plight of ordinary individuals oppressed by political circumstances beyond their control. Thus Italian neorealism was the first postwar cinema to liberate filmmaking from the artificial confines of the studio and, by extension, from the Hollywood-originated studio system. But neorealism was the expression of an entire moral or ethical philosophy, as well, and not simply just another new cinematic style.
Genre: Non-Fiction > General
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