• Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

In what ways does Italian Neorealism influence modern filmmaking practices?

Extracts from this document...

Introduction

In what ways does Italian Neorealism influence modern filmmaking practices? Italy went through some of the biggest changes in its history in the early 20th century, around the time of war. Benito Mussolini founded the Fascist Party in 1919 and by 1924 he had already come to power and his dictatorship was in place. The fascist regime was accepted by many, but there were still a significant group of people who were against it. The fascists began using film as a propaganda tool, making the Italian film industry heavily censored and controlled. Movies known as "white-telephone" films would be sentimental melodramas, or historical epics. Films supported by the regime were funded by the national bank, and were escapist vehicles, made to deflect the audience's attention from the real issues of the day. The cinema industry was centralized, as the realities of fascist Italy were not shown from the biggest film studio, Cinecitta. However, Italian Neorealist cinema soon developed as many young new directors became keen to explore their own ideas, when the fall of fascism came in 1943. The new filmmakers wanted to create new depictions of life in post-war Italy, which mainly deals with issues of social inequality, and the emphasis on the every day man: the individual. ...read more.

Middle

Taxi Driver has this, with Travis being almost a narrator figure who tells us his story. INR techniques such as this have not only reached Italian-American directors like Scorsese, but even Brazilian filmmaker Fernando Meirelles, director of "City of God". The fluid camerawork, emphasis on realism, and main character narrator is typical of 'new-wave' films and Italian Neorealism. The handheld camera is used very often in City of God, seemingly to make it more documentary-style and realistic. This is one of the core qualities of INR films, so there could definitely be an influence there. Of course, as City of God is a very fast-paced film, it could be argued that the handheld camera was used merely for convenience. Also, City of God is just so slick and polished that it could be argued that this deters from the realism of the picture and relies too much on shocking the audience to hold enough weight as a realistic depiction of life at the time. The use of location shooting makes this film more believable however, and is also a characteristic of INR films, such as Rome Open City. Rome Open City was shot mainly on the streets of Rome and in blown out buildings, which gave it a sense of authenticity and this is the same with City of God, which was shot on location in South America. ...read more.

Conclusion

Another similarity seen in the film is the use of long takes, lasting for lengths up to a few minutes. This is most noticeable in the hideout room where the camera is fixed to the ceiling watching the characters. Conversational dialogue, along with improvisation is also another key link to Italian Neorealism that can be made. This is evident in A Bout De Souffle when in the diner the characters appear to switch between French and English. This intent on disorientating the audience is typical of French New Wave films. French New Wave does have certain stylistic techniques also seen in Italian Neorealism films, where techniques such as long takes and location shooting could have been used more as a result of the low budgets rather than experimentation. Of course, the ultimate similarity between the two movements is their non-reliance on Hollywood techniques and ambition to create an original national cinema. It seems that the Italian Neorealist movement has influenced many different filmmakers across the globe. Different techniques have been used to different effects, and INR essentially began the movement to create films that are original and stand out from regular Hollywood films. All of the different developments of Italian Neorealism (e.g. French New Wave, Italian-American, Brazillian) can only be a good thing for countries wanting to make a definitive national cinema for themselves. ...read more.

The above preview is unformatted text

This student written piece of work is one of many that can be found in our University Degree Film Studies section.

Found what you're looking for?

  • Start learning 29% faster today
  • 150,000+ documents available
  • Just £6.99 a month

Not the one? Search for your essay title...
  • Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

See related essaysSee related essays

Related University Degree Film Studies essays

  1. Marked by a teacher

    The Filmmaking of Quentin Tarantino

    3 star(s)

    The camera still follows him until he is about to open the door, and then cuts to his shaky hand about to turn the key. He opens the door quickly, and proceeds to put poptarts in the toaster, which serves as a distraction for the audience in their heightened suspense.

  2. Film Essay - Martin Scorsese.

    In Taxi Driver there is violence in about three scenes altogether, each individual scene is longer in general with more dialogue and less progression of the film's events, and hence there are only three main events on the film, Bickle trying to seduce Betsy, attempting to assassinate a candidate for president, and getting Iris out of trouble.

  1. Discuss the particular stylistic and thematic strategies of early expressionist cinema and explore the ...

    The cabinet of Dr Caligari tells the story of a mountebank monk (Dr Caligari) and his influence over a somnambulist. It displays all the characteristics of an early German expressionist film. The canvasses and draperies are all jagged and have pointed forms.

  2. Cinematographic techniques used in the film 'Taxi Driver'.

    Another filter that they use is a blue one to make the scenes appear as though they were shot at night for example when Travis is returning his taxi to the headquarters he drives through a fire hydrant which is spraying water on to the road.

  1. An explanation of neorealism and an insight to the films of Federico Fellini - ...

    Yet all the major neorealist films were, in large part, fictional, clearly the result of imaginative shaping rather than mere mechanical replication. Recognising this, scholars have begun to emphasise the fabricated, staged aspects of neorealist films as well as its documentary realism.1 This point relates directly to Fellini, it was

  2. Taxi Driver (1976).

    Yet, it does not come soon enough for Travis who can't take any more of this 'open sewer' of a city. The sphere of Iris as the sought-for person is particularly interesting as it breaks many conventions. Turner notes that the object of rescue, Iris, does not wish to be rescued.

  1. To what extent does the Dogme 95 'movement' challenge the conventional aesthetics of film ...

    in the Venetian restaurant where the main characters enjoy a romantic Italian meal at the end of the film and during a somber moment at the hospital where Karen is visiting her mother from an adjacent music room. Festen contains fewer incidences of music.

  2. European cinema - major movements, directors and films.

    It is also challenge spectatorâs positions and expectations. Sex is also a big issue in their films, homosexual, Sadism, even sex between parents and children. Filmmakers are trying to normalise those desires. Performance style âIt is a context in which political groups largely deï¬ned by their declared interest in the removal of certain bodies within the social arena,

  • Over 160,000 pieces
    of student written work
  • Annotated by
    experienced teachers
  • Ideas and feedback to
    improve your own work