Pub Date : 2019-12-31DOI: 10.1515/9789048526253-004
{"title":"2. Lies of Memory","authors":"","doi":"10.1515/9789048526253-004","DOIUrl":"https://doi.org/10.1515/9789048526253-004","url":null,"abstract":"","PeriodicalId":345625,"journal":{"name":"Neorealist Film Culture, 1945-1954","volume":"75 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121270788","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-31DOI: 10.1515/9789048526253-005
{"title":"3. Looking at the Images","authors":"","doi":"10.1515/9789048526253-005","DOIUrl":"https://doi.org/10.1515/9789048526253-005","url":null,"abstract":"","PeriodicalId":345625,"journal":{"name":"Neorealist Film Culture, 1945-1954","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129577472","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-31DOI: 10.1515/9789048526253-003
{"title":"1. Locating the Real","authors":"","doi":"10.1515/9789048526253-003","DOIUrl":"https://doi.org/10.1515/9789048526253-003","url":null,"abstract":"","PeriodicalId":345625,"journal":{"name":"Neorealist Film Culture, 1945-1954","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130752575","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-31DOI: 10.1515/9789048526253-002
{"title":"Introduction: An Uncertain Direction. Neorealist Cinema and Transitional Culture","authors":"","doi":"10.1515/9789048526253-002","DOIUrl":"https://doi.org/10.1515/9789048526253-002","url":null,"abstract":"","PeriodicalId":345625,"journal":{"name":"Neorealist Film Culture, 1945-1954","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121413043","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-09DOI: 10.5117/9789089648006_ch04
F. Pitassio
Film critics and film history celebrate neorealism for its use of nonprofessional performers in a number of masterpieces. However, as lucid observers such as André Bazin pointed out in the late 1940s, neorealist films relied on a mixture of professional and non-professional actors. This chapter describes the debate on film performance and its origins from the mid-1930s to the early 1950s and looks at how the use of non-professional performers was associated with neorealism’s aim to present a non-narrative cinematic representation. Moreover, the chapter examines the relationship between neorealism, non-professional performers, and phenomena such as popular theatre and new female stardom. The chapter ends with a case study of the most renowned neorealist actress, Anna Magnani.
{"title":"Actors, Non-professional Actors, Starlets, and Stars","authors":"F. Pitassio","doi":"10.5117/9789089648006_ch04","DOIUrl":"https://doi.org/10.5117/9789089648006_ch04","url":null,"abstract":"Film critics and film history celebrate neorealism for its use of nonprofessional performers in a number of masterpieces. However, as lucid observers such as André Bazin pointed out in the late 1940s, neorealist films relied on a mixture of professional and non-professional actors. This chapter describes the debate on film performance and its origins from the mid-1930s to the early 1950s and looks at how the use of non-professional performers was associated with neorealism’s aim to present a non-narrative cinematic representation. Moreover, the chapter examines the relationship between neorealism, non-professional performers, and phenomena such as popular theatre and new female stardom. The chapter ends with a case study of the most renowned neorealist actress, Anna Magnani.","PeriodicalId":345625,"journal":{"name":"Neorealist Film Culture, 1945-1954","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130480094","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-09DOI: 10.5117/9789089648006_ch03
F. Pitassio
Neorealism offered a harsh representation of reality in its portrayal of war brutality, shantytowns, an impoverished population, and abandoned children. This depiction relied on photographic reproduction. However, besides this rendition, neorealism consisted of other multifaceted forms that defined its visual culture. Film posters promoted neorealist productions through a pictorial style and the eroticisation of the actors’ bodies,instead of displaying photographic images of everyday reality, as in photojournalism. Neorealism emerged at the same time as photo-romances, which were popular magazines offering melodramatic narratives in pictures. Neorealist works were novelised according to this template, which contributed to defining neorealist visual culture. In the 1950s, as neorealism declined, attempts were made to merge documentary representation with the template provided by photo-romances and the burgeoning field of photo- journalism. Photo-documentaries published in Cinema Nuovo expanded and prolonged neorealist visual culture into photography.
{"title":"Looking at the Images","authors":"F. Pitassio","doi":"10.5117/9789089648006_ch03","DOIUrl":"https://doi.org/10.5117/9789089648006_ch03","url":null,"abstract":"Neorealism offered a harsh representation of reality in its portrayal of war brutality, shantytowns, an impoverished population, and abandoned children. This depiction relied on photographic reproduction. However, besides this rendition, neorealism consisted of other multifaceted forms that defined its visual culture. Film posters promoted neorealist productions through a pictorial style and the eroticisation of the actors’ bodies,instead of displaying photographic images of everyday reality, as in photojournalism. Neorealism emerged at the same time as photo-romances, which were popular magazines offering melodramatic narratives in pictures. Neorealist works were novelised according to this template, which contributed to defining neorealist visual culture. In the 1950s, as neorealism declined, attempts were made to merge documentary representation with the template provided by photo-romances and the burgeoning field of photo- journalism. Photo-documentaries published in Cinema Nuovo expanded and prolonged neorealist visual culture into photography.","PeriodicalId":345625,"journal":{"name":"Neorealist Film Culture, 1945-1954","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124640195","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-09DOI: 10.5117/9789089648006_ch02
F. Pitassio
Neorealism is credited with providing a truthful depiction of warfare and its aftermath. This depiction is based on a new kind of cinematic image: rather than telling a story, the image bears witness. However, neorealism was oblivious of anything related to the Fascist era. The chapter considers neorealism as cultural trauma, i.e. the work performed by a community that is feeling endangered in order to tighten its bonds. Neorealist culture, which helped build post-war Italy, discarded experiences from the past such as modernism or propaganda documentary. However, by looking at seldom-considered cases such as the early work of Michelangelo Antonioni or documentaries depicting the Resistance, we discover that these traditions did survive. They provide us with a litmus test of the role that neorealism played in forging a collective memory based on victimhood.
{"title":"Lies of Memory","authors":"F. Pitassio","doi":"10.5117/9789089648006_ch02","DOIUrl":"https://doi.org/10.5117/9789089648006_ch02","url":null,"abstract":"Neorealism is credited with providing a truthful depiction of warfare and its aftermath. This depiction is based on a new kind of cinematic image: rather than telling a story, the image bears witness. However, neorealism was oblivious of anything related to the Fascist era. The chapter considers neorealism as cultural trauma, i.e. the work performed by a community that is feeling endangered in order to tighten its bonds. Neorealist culture, which helped build post-war Italy, discarded experiences from the past such as modernism or propaganda documentary. However, by looking at seldom-considered cases such as the early work of Michelangelo Antonioni or documentaries depicting the Resistance, we discover that these traditions did survive. They provide us with a litmus test of the role that neorealism played in forging a collective memory based on victimhood.","PeriodicalId":345625,"journal":{"name":"Neorealist Film Culture, 1945-1954","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131458852","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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