Italian Art Cinema and Hollywood Movies

The director rather than the tip 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, magic spell set in Morocco and capital of France, was shot on the studio kitty with the exception of the airport sequence, in contrast to "The Bicycle burglar" which was shot on the streets of Rome for the most part.

The new hardheaded style of the post World War II duration that came to be known as Italian Neo-Realist foc characterd on the lives and struggles of ordinary people trying to get by in a war ravaged, poverty-stricken country. In subject head and style, the Neo-Realists created a body of work between 1945 and 1949 that had a primal depression on world cinema. The first of these films, Roberto Rossellini's groundbreaking " equal to(p) City" (Roma, citta aperta) was shot in 1945, and like the films that followed, it dealt with contemporary affable issues from a hu globeist perspective; the filmmakers were not out to passing 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 sexual climax up with solutions. The context, however, was s

Bordwell, Davis. "The Art film as a Mode of Film Practice." Film Criticism. Vol. 4, none 1, 1979.

Sobchack, Thomas and Vivian Sobchack. An Introduction to Film. Second Edition. Boston: Little, Brown & Co., 1987.

Cook, David. A. A write up of Narrative Film. Second Edition. New York: W.W. Norton & Co., 1990.

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

The influence of Neo-Realism on later Italian art cinema can be seen in two approach and theme. Both "The Bicycle Thief" and "Last dance in Paris" contain the theme of disaffect man in a dehumanized society; a solecism might also be made that "Casablanca's" Rick is an alienated man in a society dehumanized by the Nazis, but Rick was alienated largely because of a get it on affair gone awry not by the repercussions of a dehumanized society. While "Last Tango in Paris" had superstar Marlon Brando as the protagonist Paul, it was not a depiction that depended on star quality but rather on acting quality. Bertolucci employs the disjointed narrative style of Neo-Realism, and Brando does not get out apart from his role and does not re-enact a known role to his fans. In this way, according to Thomas and Vivian Sobchack, Brando did not use his charismatic screen personality in a long-familiar role but submerged himself to create a character.

"A Fistful of Dollars." (Per un Pugno di Dollari). Dir. Sergio Leone. Perf. Clint Eastwood. Italy, 1964. U.S. Release, United Artists, 1967.

Order your essay at Orderessay and get a 100% original and high-quality custom paper within the required time frame.