FIL 1030 History of Film - MDC Faculty Home Pages

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Chapter 13: Italian Neo-Realism and the French New Wave After World War II: American films in transition European Cinema emerges as “best, serious, quality cinema” Cultural snobbism: “ART Theaters” European Films vs. American Films: American Films: considered escapist fare, entertainment, narrative driven, frivolous. European Films: seen as realistic, serious, worthy of study, intellectually engaging. Realism = Art Mast: “European films structured themselves around a theme or a psychological problem, more than around a story.”
Italian Neo-Realism Precedents: Mussolini establishes Cinecittà Centro Sperimentale (first film school) White Telephone comedies U.S. films were banned Devastated Post-War Italy: Unemployment, poverty and scarcity Cinecittà Studios Front Gate Centro Sperimentale, the world’s first film school Vittorio De Sica became a matinee idol in Ai Vostri Ordni, Signora! (1939) and Il Signor Max (1937). Invariably set onboard liners or in hotels or nightclubs, these "white telephone" pictures gently mocked the upper-classes. Aerial view of Cinecittà Studios outside of Rome Cesare Zavattini defined the principles of Neo-Realism (p.328): “To show things as they are, not as they seem, nor as the bourgeois would prefer them to appear; to write fictions about the human side of representative social, political, and economic conditions; to shoot on location wherever possible; to use untrained actors in the majority of the roles; to capture and reflect reality with little or no compromise; to depict common people rather than overdressed heroes and fantasy role models; to reveal the everyday rather than the exceptional; and to show a person’s relationship to the real social environment rather than to his or her romantic dreams.”
Page 1: School of Entertainment and Design
Page 5 and 6: Vittorio De Sica and Cesare Zavatti
Page 7 and 8: “La Strada” Federico Fellini Fr
Page 9 and 10: Post-War France I. Post-War Classic
Page 11 and 12: III. The French New Wave Francois T
Page 13 and 14: III. The French New Wave Jean Luc G

FIL 1030 History of Film - MDC Faculty Home Pages

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