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Italian neorealism style
Mise en scene italian neorealism
Italian neorealism style
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Italian neorealism emerged after World War II, and had profound historical and cultural impacts on society and the film industry. Three specific traits of neorealist style included, but were not limited to: the use of working class characters (non-professional actors); the use of real locations as settings; and open, oftentimes unhappy, endings. In the closing scene from Bicycle Thieves (Vittorio De Sica, 1948), all three of these neorealist elements are present.
In this scene, we can easily identify the father, Antonio (Lamberto Maggiorani), and the son, Bruno (Enzo Staiola) as working class characters. Further research leads us to discover that they are non-professional actors as well. Additionally, the people in the background are almost all working class citizens as well. The ones who are getting their bikes are working class. The ones who chase down Antonio after he steals the bicycle are working class. The ones in the background, on the street, and on buses are all working class characters. De Sica utilized this element of neorealism in order to emphasize the regular, ordinary...
Film Noir, as Paul Schrader integrates in his essay ‘Notes on Film Noir,’ reflects a marked phase in the history of films denoting a peculiar style observed during that period. More specifically, Film Noir is defined by intricate qualities like tone and mood, rather than generic compositions, settings and presentation. Just as ‘genre’ categorizes films on the basis of common occurrences of iconographic elements in a certain way, ‘style’ acts as the paradox that exemplifies the generality and singularity at the same time, in Film Noir, through the notion of morality. In other words, Film Noir is a genre that exquisitely entwines theme and style, and henceforth sheds light on individual difference in perception of a common phenomenon. Pertaining
Like most things captured on film for the purpose of being marketed, the richness of gangster life, with sex, money, and power in surplus, is glorified, and thus embraced by the audience. And as a rule, if something works Hollywood repeats it, ala a genre. What Scarface and Little Caesar did was ultimately create a genre assigning powerful qualities to criminals. Such sensationalism started with the newspapers who maybe added a little more color here and there to sell a few more copies, which is portrayed in Scarface’s two newspaper office scenes. Leo Braudy denounces genres as offending “our most common definition of artistic excellence” by simply following a predetermined equation of repetition of character and plot. However, Thomas Schatz argues that many variations of plot can exist within the “arena” that the rules of the genre provide.
Aside from its acting, the other major influence which Mean Streets had upon American film-makers was through it's use of a rock n' roll soundtrack (almost perfectly integrated with the images), and in its depiction of a new kind of screen violence. Unexpected, volatile, explosive and wholly senseless, yet, for all that, undeniably cinematic violence. The way in which Scorsese blends these two - the rock and roll and the violence - shows that he understood instinctively, better than anyone else until then, that cinema (or at least this kind of cinema, the kinetic, visceral kind) and rock n' roll are both expressions of revolutionary instincts, and that they are as inherently destructive as they are creative. This simple device - brutal outbreaks of violence combined with an upbeat soundtrack - has been taken up by both the mainstream cinema at large and by many individual `auteurs', all of whom are in Scorsese's debt - Stone and Tarantino coming at once to mind.
The gangster genre within films in America has accomplished numerous positive criticisms and constant willing audiences due to containing outstanding spectacles and mind-blowing action. The Godfather, being second on the IMDb Top 250 Movies, has set a new popular concept to life within the Mafia from their point of view. Doing so, creating a positive association. Yet within Italy, the same topic contains a complete different view. Movies such as I Cento Passi demonstrate unenthusiastic view by those whom are outside yet negatively affected by those members. Unlike American films, the gangsters are not as often viewed at the protagonist and are the main causes for the problematic events. But how different is Italian Mafia and American Mafia in cinema?
Think about your favorite movie. When watching that movie, was there anything about the style of the movie that makes it your favorite? Have you ever thought about why that movie is just so darn good? The answer is because of the the Auteur. An Auteur is the artists behind the movie. They have and individual style and control over all elements of production, which make their movies exclusively unique. If you could put a finger on who the director of a movie is without even seeing the whole film, then the person that made the movie is most likely an auteur director. They have a unique stamp on each of their movies. This essay will be covering Martin Scorsese, you will soon find out that he is one of the best auteur directors in the film industry. This paper will include, but is not limited to two of his movies, Good Fellas, and The Wolf of Wall Street. We will also cover the details on what makes Martin Scorsese's movies unique, such as the common themes, recurring motifs, and filming practices found in their work. Then on
The Godfather is the “dark-side of the American dream story” (Turan, pp2). The film follows the practices of a fictional Italian mafia family, the Corleone’s. Though most Americans do not condone the practices of the Italian mafia, they cannot deny that Francis Ford Coppola’s The Godfather is a cinematic masterpiece. This film gave insight to a mysterious way of life that the average person does not have knowledge of. As the audience is educated about the mafia they also are introduced to many stereotypes.
Since the dawn of mankind, humans have always expressed a desire to understand natural phenomenon and to answer questions regarding their way of life, their birth and what happens after death. These needs resulted in the development of a variety of philosophies and theories that can be found all around the world today. These beliefs soon became more and more superstitious. Once these beliefs became part of the social structure like castes and race, these caused a social divide - A divide that affected the economic status of the livelihood in a society. If this trend of religious discrimination around the world is observed and analysed, I felt that this question might be the key to predict how bright our future as a united utopia will prevail.
After Scorsese’s father asking him a question about a character, a young Martin raised his fingers to make an impression of him shooting a gun. This image is one of the most memorable images in Scorsese’s film Taxi Driver, where we see Robert De Niro repeating the same image pointing to his temples. This image is shown at the height of the film. When Scorsese got a television at home, no more did he have to leave his house to engross himself in the most recent movie best seller. Already we can see Scorsese’s love of filmmaking from an extremely young
The Godfather is most notably one of the most prolific films of its time. This "gangster" film displayed many transformations of permeating color to give the viewer observable cues in its mise en scene that drew one right into the movie. The dramatic acting set the tone of the film with a score that lifted the viewer right out of their seat in many scenes. The directing and cinematography made The Godfather ahead of its time. The nostalgic feel of family importance and the danger of revenge lets us into the life of the Mafia. Even though no other techniques would have given the viewer a feeling of inside the mob like the mise en scene of the power the godfather held, the characters are reinforced literally and figuratively because the story views the Mafia from the inside out, and the cinematography of the film gives it a dangerous and nostalgic feel.
The aim of this report is to discuss Italian Neorealism (Neorealismo); looking at how the movement played a significant element in European cinema during and after the times of Benito Mussolini’s fascist regime. The report not only looks at how but why Neorealism became a growing phenomenon for filmmakers during its debatable 10 year period, and what implication of messages these Neorealist directors were trying to send out through their films. Backed up by several reliable book sources, the evidence for this report will also highlight the influences Neo-realism has created in modern filmmaking today.
The postmodern cinema emerged in the 80s and 90s as a powerfully creative force in Hollywood film-making, helping to form the historic convergence of technology, media culture and consumerism. Departing from the modernist cultural tradition grounded in the faith in historical progress, the norms of industrial society and the Enlightenment, the postmodern film is defined by its disjointed narratives, images of chaos, random violence, a dark view of the human state, death of the hero and the emphasis on technique over content. The postmodernist film accomplishes that by acquiring forms and styles from the traditional methods and mixing them together or decorating them. Thus, the postmodern film challenges the “modern” and the modernist cinema along with its inclinations. It also attempts to transform the mainstream conventions of characterization, narrative and suppresses the audience suspension of disbelief. The postmodern cinema often rejects modernist conventions by manipulating and maneuvering with conventions such as space, time and story-telling. Furthermore, it rejects the traditional “grand-narratives” and totalizing forms such as war, history, love and utopian visions of reality. Instead, it is heavily aimed to create constructed fictions and subjective idealisms.
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
Antonello survives but two of his closest friends die. The first half of the novel traces Antonello’s story up until a few days after the collapse. The second protagonist is Jo, a young working class woman born in the 1990s. The second half of the novel begins with an accident that connects Jo and Antonello. For the purposes of this paper, I am not going to discuss Jo or her story. While there are some overlaps in relation to the issues and questions that have arisen for me in writing Jo’s character there are also major differences, partly because of gender but also because of the way our understanding and experience of class identity has changed in the intervening years. The aim of this article is to focus on the issues of writing about a tragic event and about the working class men at its
“In the place where idealism and realism meet, that is where there is the greatest evolutionary tension.” Idealism prioritizes ideals, social reforms and morals, by wanting to benefit not just yourself, but the world around you, believing people are generally good. On the contrary, realism gives priority to national interest and security with emphasis on promoting one’s own power and influence by assuming that people are egocentric by nature. Based on the definitions stated above, idealism and realism are significantly different from each other and their divergence of thought is more apparent when various proponents of each such as Woodrow Wilson, Henry Lodge, Barack Obama and George W. Bush have varied outlooks on comparable issues in politics. Subsequently, an idealist’s reaction to a particular issue would be a lot different than a realist’s response. Therefore, idealism deals with normative ideas and allows for improvements in the progress of not only a single state, but the whole world, however realism solely focuses on the benefits of one’s own nation.
In the world of philosophy there are many theory’s that talk about the nature of reality and substance. Right now in the world there are four theories that out show the other ones. These theories are materialism/ physicalism, idealism, transcendental idealism, and dualism. Each one of these theories have good arguments that support their believes, but at the same time they also have their weakness. That is why none of these four theories can be taken off the list of the top 4. Because even though they have their own weakness they have their strong points that make u in a sense think about why that theory is the right one when it comes to the nature of reality and substance.