Italian neorealism
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| - | '''Italian neorealism''' is an [[Italian cinema|film]] movement often considered to have started in [[1943 in film|1943]] with ''[[Ossessione]]'' and ended in [[1952 in film|1952]] with ''[[Umberto D.]]'' | + | '''Italian neorealism''' is an [[Italian cinema|Italian film]] movement often considered to have started in [[1943 in film|1943]] with ''[[Ossessione]]'' and ended in [[1952 in film|1952]] with ''[[Umberto D.]]'' |
| The movement is characterized by stories set amongst the poor and [[working class]], filmed in [[long take]]s on location, frequently using nonprofessional [[actor]]s for secondary and sometimes primary roles. Italian neorealist films mostly contend with the difficult economical and moral conditions of postwar [[Italy]], reflecting the changes in the Italian psyche and the conditions of [[everyday life]]: [[defeat]], [[poverty]], and [[desperation]]. Because [[Cinecittà]] (a complex of studios in Rome--the center of commercial filmmaking in Italy since [[1936]]) was occupied by refugees, films were shot outdoors, amidst devastation. {{GFDL}} | The movement is characterized by stories set amongst the poor and [[working class]], filmed in [[long take]]s on location, frequently using nonprofessional [[actor]]s for secondary and sometimes primary roles. Italian neorealist films mostly contend with the difficult economical and moral conditions of postwar [[Italy]], reflecting the changes in the Italian psyche and the conditions of [[everyday life]]: [[defeat]], [[poverty]], and [[desperation]]. Because [[Cinecittà]] (a complex of studios in Rome--the center of commercial filmmaking in Italy since [[1936]]) was occupied by refugees, films were shot outdoors, amidst devastation. {{GFDL}} | ||
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Italian neorealism is an Italian film movement often considered to have started in 1943 with Ossessione and ended in 1952 with Umberto D.
The movement is characterized by stories set amongst the poor and working class, filmed in long takes on location, frequently using nonprofessional actors for secondary and sometimes primary roles. Italian neorealist films mostly contend with the difficult economical and moral conditions of postwar Italy, reflecting the changes in the Italian psyche and the conditions of everyday life: defeat, poverty, and desperation. Because Cinecittà (a complex of studios in Rome--the center of commercial filmmaking in Italy since 1936) was occupied by refugees, films were shot outdoors, amidst devastation.
