Defining Italian Neorealism: A Compulsory Movement

Esma Kartal

Abstract


Being one of the most influential cinematic movements in film history, Italian neorealism has not been very easy to define. Although one can easily recognize a neorealist film, not all neorealist films share the exact same characteristics. In this paper, four films that have often been labeled as neorealist will be discussed in light of their makers’ views on neorealism and the general characteristics of neorealism as a movement. These films are Roberto Rossellini’s Germania anno zero (1948), Vittorio De Sica’s Ladri di biciclette (1948) and Umberto D. (1952), and lastly Federico Fellini’s La strada (1954).



Keywords


Italian Cinema, Neorealism, Post-war Cinema

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References


Bibliography

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Filmography

Amato, G. (Producer), De Sica (Director). (1948). Ladri di Biciclette/Bicycle Thieves [Motion picture]. Italy: Produzioni De Sica.

Amato, G. & Rizzoli A. (Producers), De Sica, V. (Producer & Director). (1952). Umberto D. [Motion picture]. Italy: Amato Film, Produzione Films Vittorio De Sica & Rizzoli Film.

De Laurentiis D. & Ponti C. (Producers), Fellini F. (Director). (1954). La strada [Motion picture]. Italy: Ponti-De Laurentiis Cinematografica.

Rossellini, R. (Producer & Director). (1948). Germania anno zero/Germany Year Zero [Motion picture]. Italy: Produzione Salvo D’Angelo & Tevere Film.




DOI: https://doi.org/10.5195/cinej.2013.73

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