Hollywood films & Italian Art Cinema

The director rather than the brainiac provided context. A key element of Italian art films was ambiguity, whereas in conventional Hollywood films everything is neatly tied up by the end. Classic Hollywood films presented a make-believe world and "Casablanca," for example, composition set in Morocco and Paris, was shot on the studio quid with the exception of the airport sequence, in contrast to "The Bicycle buccaneer" which was shot on the streets of Rome for the most part.

The new naturalistic style of the post World War II date that came to be known as Italian Neo-Realist focused on the lives and struggles of ordinary people trying to get by in a war ravaged, poverty-stricken country. In subject issue and style, the Neo-Realists created a body of work between 1945 and 1949 that had a involved yield on world cinema. The first of these films, Roberto Rossellini's groundbreaking " capable City" (Roma, citta aperta) was shot in 1945, and like the films that followed, it dealt with contemporary hearty issues from a humanist perspective; the filmmakers were non out to cracking solutions to social problems, but to depict them by showing the effect on individual lives. The problems faced by the characters in Neo-Realism Italian films "had some degree of immediacy and broad concern" (Ellis 211). Italian art cinema dealt with social problems, but its emphasis was on the effects on individual lives, not explaining causes or approach path up with solutions. The context, howe

"The Bicycle highwayman" (Ladri di Biciclette). Dir. Vittorio De Sica. scripted by Cesare Zavattini and De Sica. Perf. Lamberto Maggiorani, Enzo Stajola. PDS/ENIC, 1948.

Ellis, Jack C. A History of Film. fourthly Edition. Boston: Allyn and Bacon, 1995.

Allen, Robert and Douglas Gomery. Film History: Theory and Practice. New York: Alfred A. Knopf, 1985.

"Casablanca." Dir. Michael Curtiz. Written by Julius J. Epstein, Philip G. Epstein and Howard Koch. Perf. Humphrey Bogart, Ingrid Bergman, Paul Henreid, Claude Raines. Warner Bros., 1942.

Identifying the character with the actor could not pop off in the films of Italian Neo-Realism. Cesare Zavattini, who co-wrote "The Bicycle Thief" with De Sica, is noted as the theoretical founder of Neo-Realism.

As early as 1942 he called for a new kind of Italian film that would repeal contrived diagrams, take to the streets for its material, and do away with professional actors. accord to Zavattini, since plot was inauthentic because it imposed an artificial structure on everyday life, professional actors or stars compounded the falsehood since "to extremity one per parole to play another implies the calculated plot" (Cook 441). The unemployed family man in "The Bicycle Thief" and his son are the lead characters and both are non-actors who were coached by De Sica. apply real people (the father was a factory worker) did not detract from the power of the film or its international conquest and honors, including the 1949 Academy Award for Best Foreign Language Film.

Italian art cinema from Neo-Realism to Bertolucci stands apart from classic Hollywood films in its critical method of filmmaking and the thematic concerns of its auteurs. Its roots are in modernism, each film carries an implicit ideology, and these films deal with more giving subjects. In Italian Art Cinema the creative puzzle out is more important than the business process that guided virtuous Hollywood films (and today's blockbuster movies). The movies of Hollywood's classi
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