Various - Neorealism: Italian Post-War Cinema album
Title: Neorealism: Italian Post-War Cinema
Date of release: 2001
Size MP3: 1867 mb
Size FLAC: 1771 mb
Format: MPC VQF AUD MP1 DXD FLAC AHX
Italian neorealism (Italian: Neorealismo), also known as the Golden Age, is a national film movement characterized by stories set amongst the poor and the working class, filmed on location, frequently using non-professional actors.
Italian Neorealism: Rossellini, De Sica, Visconti. Italian Neorealism is regarded as the beginning of the Golden Era of Italian cinema. They made it a point to never use sets, but rather real settings with real people in the background to further this effect.
NY: F Ungar Pub C. 1983. 437. Poggi, Gianfranco. Luchino Visconti and the Italian Cinema. JSTOR Film, 13:3 (1960): 14. Ratner, Megan.
Italian Neorealism was a short but creative kindle. After a social devastation brought to country by fascism was overcome, cinema of Italy tend to shift from social subjects of neorealism to existentialist, individual focused ones. This shift was carried onward and at the same time defied by different members of Neorealism movement
10 great Italian neorealist films. Despite being regarded as one of the canonical works of Italian neorealism, the theatrical showings of Rome, Open City have tended to be from worn, poorly subtitled prints.
Italian Neorealism as defined by the Criterion Collection. The neorealist movement began in Italy at the end of World War II as an urgent response to the political turmoil and desperate economic conditions afflicting the country.
With its depiction of post-war Italy, the genre would dominate Italian cinema for almost ten years, as well as influence film styles throughout the world. Neorealism was a blend of traditional and new techniques, largely shaped by the war and its aftermath. A relatively small number of film makers embraced the genre and most of them worked on each other’s movies.
Italian post-neorealist Cinema. Article · October 2012 with 5 Reads. Cite this publication. Italian cinemas after the war were filled by audiences who had come to watch d films of passion and pathos. These highly emotional and consciously theatrical melodramas posed moral questions with stylish flair, redefining popular ways of feeling about romance, family, gender, class, Catholicism, Italy, and feeling itself.
|1||–Carlo Rustichelli||Village Life||1:13|
|2||–Armando Trovaioli||The Washer Woman||1:41|
|3||–Guido Cenciarelli / Massimo Catalano / Stefano Torossi||Tragicomic||3:30|
|4||–Gianni Marchetti||Sad Lullaby||1:37|
|5||–Teo Usuelli||Love And Faith||1:07|
|7||–Fiorenzo Carpi||Dry Tears||2:20|
|8||–Carlo Rustichelli||The Road To Eboli||2:14|
|11||–Franco Piersanti||Tragedy Awaits||1:40|
|12||–Romolo Grano||Waltz Obscura||3:37|
|14||–Carlo Rustichelli||New Beginning||2:24|
|15||–Guido Cenciarelli / Massimo Catalano / Stefano Torossi||Procession||3:44|
|16||–Carlo Rustichelli||Village Life||0:29|
|17||–Armando Trovaioli||The Washer Woman||0:29|
|18||–Guido Cenciarelli / Massimo Catalano / Stefano Torossi||Tragicomic||0:29|
|19||–Gianni Marchetti||Sad Lullaby||0:29|
|20||–Teo Usuelli||Love And Faith||0:29|
|22||–Fiorenzo Carpi||Dry Tears||0:29|
|23||–Carlo Rustichelli||The Road To Eboli||0:29|
|26||–Franco Piersanti||Tragedy Awaits||0:29|
|27||–Romolo Grano||Waltz Obscura||0:29|
|29||–Carlo Rustichelli||New Beginning||0:29|
|30||–Guido Cenciarelli / Massimo Catalano / Stefano Torossi||Procession||0:29|