Realism Most Important Art and Artists | The Art Story
Italian neorealism (Italian: Neorealismo) is a style of film characterized by stories set amongst the poor and working class, filmed on location, frequently using nonprofessional actors. Italian neorealist films mostly contend with the difficult economical and moral conditions of post-World War II Italy, reflecting the changes in the Italian psyche and the conditions of everyday life: poverty and desperation. Neorealism is properly defined as a moment or a trend in Italian film, rather than an actual school or group of theoretically motivated and like-minded directors and scriptwriters. Its impact nevertheless has been enormous, not only on Italian film but also on cinema and ultimately on films all over the world. "The term 'neorealism' was first applied by the critic Antonio Pietrangeli to Luchino Visconti’s , and the style came to fruition in the mid-to-late forties in such films of Roberto Rossellini, Visconti, and Vittorio De Sica as , , , , and . 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 liberatefilmmaking 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".
Literary Terms and Definitions R - Carson-Newman …
Realism and Speculative Realism | Larval Subjects
Typically, "realism" involves careful description of everyday life, "warts and all," often the lives of middle and lower class characters in the case of socialist realism.
Realism and Anti-Realism - Philosophy - Oxford …
"Some filmmakers sought to acquire a Neorealist look by shooting traditional romances and melodramas in regions that would supply picturesque local color. Other directors explored allegorical fantasy - such as in De Sica's (Miracle in Milan, 1951) and Rossellini's (The Machine to Kill Bad People, 1952) - or historical spectacle (such as Visconti's ). There also emerged rosy Neorealism, films that melded workingclass characters with 1930s-style populist comedy. Against this background, De Sica and Zavattini's , which depicted the lonely life of a retired man, could only strike officials as a dangerous throwback. The film begins with a scene of police breaking up a demonstration of old pensioners, and it ends with Umberto 's aborted suicide attempt". In a public letter to De Sica, Andreotti castigated him for his wretched service to his fatherland: