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A Dissertation On
A CRITICAL STUDY ON CHANGE IN CINEMA AFTER ITALIAN NEOREALISM MOVEMENT
Submitted in partial fulfillment of the requirement of BA Journalism & Mass Communication program of Navrachana University during the year 2017-2020
By
SHIVANI SONI Semester VI 17165005
Under the guidance of
Dr. JAVED KATRI
NAVRACHANA UNIVERSITY Vasna - Bhayli Main Rd, Bhayli, Vadodara, Gujarat 391410
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NAVRACHANA UNIVERSITY Vasna - Bhayli Main Rd, Bhayli, Vadodara, Gujarat 391410
Certificate
Awarded to
SHIVANI SONI
This is to certify that the dissertation titled
“A Critical study on change in cinema after Italian Neorealism movement”
has been submitted in partial fulfillment for the requirement of the
Degree of Bachelor of Arts in Journalism and Mass Communication program of
Navrachana University.
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CERTIFICATE
This is to certify that the dissertation titled,
“A Critical study on change in cinema after Italian Neorealism movement” prepared and submitted by SHIVANI SONI of Navrachana University, Vadodara
in partial fulfilment of the requirements for the degree of Bachelor
of Arts in Journalism and Mass Communication program is hereby accepted.
Place: Vadodara Date: 15-05-2020
Dr. Javed Khatri Dissertation Guide
Dr. Robi Augustine Program Chair
Accepted in partial fulfilment of the requirements for the degree of Bachelor of Arts in Journalism and Mass Communication.
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DECLARATION
I hereby declare that the dissertation titled “A Critical study on change in cinema after Italian Neorealism movement.” is an original work prepared and written by me, under the guidance of Dr. Javed Khatri Assistant Professor, Journalism and Mass
Communication program, Navrachana University in partial fulfilment of the requirements for the degree of Bachelor of Arts in Journalism and Mass
Communication.
This thesis or any other part of it has not been submitted to any other University for the award of other degree or diploma.
Date: 15.05. 2020
Place: Vadodara Shivani Soni 5
ACKNOWLEDGEMENT
I express gratitude and my heartful thanks and acknowledge the support given by Dr. Robi Augustin Program Chair, Journalism and Mass Communication Navrachana University.
I am also extremely thankful to my mentor Dr. Javed Katri and all the faculty members of Journalism and Mass Communication program.
Shivani Soni
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I whole heartedly dedicate this work
To
My friends, family and my guide. 7
ABSTRACT
A Critical study on change in cinema in after Italian Neorealism Movement
Neorealist films customarily will in general incorporate characters that are attempting to acquire from the effects of the World War II and make a decent living. Truth be told, financial challenges and poverty are effectively the most well-known topics of the development. The activities of the characters in neorealist films are commonly determined by monetary states of the post-war time. In numerous neorealist models we see people as well as families attempting to get by and gain their lives. The circumstances that they are in implement the main characters to do things they typically would not do. Numerous significant neorealist films incorporate heroes that have a specific "realness" appended to them. Disregarding all the hopelessness and disaster portrayed in neorealist works they additionally bring unique and inverse components together. We have just settled that they for the most part depend on sensational and "genuine" occasions to contact their crowd. In any case, they additionally utilize funny circumstances and characters. Neorealism was a brief true to life development. It was not, in any case, a constrained one and empowered neorealist executives to utilize their innovativeness and manage the forcing issues of post-war Italy. In this paper, Pather Panchali, The Bicycle Thief and Umberto D have been talked about as far as their topics, subjects, and attributes. It has been demonstrated that not all neorealist films are comparable, yet rather have particular characteristics of their own.
Keywords: Neorealist, Pather Panchali, The Bicycle Thief and Umberto D
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TABLE OF CONTENTS
Page No.
Chapter 1: Introduction ...... ………………………………………... 10
1.1 Introduction…………... ……………………….……………….……….…… 10
1.2 History of Neorealism……….…………………………………………… 12
1.3 Characteristics of Italian Neorealism……………………………………… 14
1.4 Bicycle Thief (Vittorio De Sica,1948) ………………………………………. 16
1.5 Pather Panchali (Satyajit Ray, 1955) ………………………………………… 19
1.6 Umberto D (Vittorio De Sica, 1952) …………………….…………………. 21
1.7 Evolution of Italian cinema after the movement……………………………… 24
1.8 What has led us to Neorealism? ……………………………………………. 25
Chapter 2: Review of Literature ………………………………… 26
2.1. Defining Italian Neorealism: A Compulsory Movement……………………. 26
2.2 Neo-Wave in Indian Cinema: A Chronological Evaluation…………………. 26
2.3 Neorealism and Films………………………………………………………… 27
2.4 Emotions in Neorealism……………………………………………………… 27
2.5 What is Cinema? ……………………….……………………………….. 28
2.6 Italian film noir and the fragmentation of modernity. The any-space whatevers of postwar melodrama………………………………………………... 28 2.7 The bicycle towards the pantheon: A comparative analysis of Beijing Bicycle and Bicycle Thief………………………………………………………………… 29 9
2.8 Film Serials and the American Cinema, 1910-1940…………………………. 29
Chapter 3: Methodology …………………………….……………. 31
3.1 Methodology …………………………………………………………………. 31
3.2 Significance of the Study ………………………………………………….… 31
3.3 Objectives ………………………………………………………….…………. 32
3.4 Theoretical Background ………………………………………………………. 32
3.5 Hypothesis /Research Question ……………………...………………………... 33
3.6 Research Design….………………………………....…………………………. 33
3.7 Data Collection……….………………………………………………………. 33
Chapter 4: Content Analysis ………………………………………. 35-39 Chapter 5: Conclusion ……………………………………………… 40-41
References and ……………………………………………………… 42-44
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CHAPTER ONE
INTRODUCTION
1.1 Introduction
Films were no longer propaganda, but not yet entertainment. These films gave a minute observation of reality, of human behavior often in extreme situations, a mirror of the historical developments that were taking place. They provided the painful yet necessary medium to exercise a social and cultural critique: they questioned and reevaluated the legacy left by years of dictatorship and war. They constituted an almost cathartic process through which Italy could look at itself and come to terms with its severely scarred collective subconscious. This new movement in cinema would soon be called neo-realism. Italian Neo-Realism is the movement of both mood and resources.
In 1943, the end of World War II alongside the end of Mussolini’s fascist reign, international audiences were more acquainted with Italian movies with the works of 3
Italian directors; Villorio De Sica (1902), Luchino Viscon (1906) and Roberto
Rossellini (1906). This movement had some particular highlights that can separate the film got from this religion from the standard Bollywood film and started around a similar time as the French New Wave shook the mainland cinemas. The development was at first driven by Bengali film industry which had created various globally acclaimed movie producers, for example, Satyajit Ray, Mrinal Sen, Ritwik Ghatak and numerous others. The place that is known for Indian renaissance, Kolkata at that point picked up conspicuousness over the other film ventures of India.
This movement gained international attention when Roberto Rossellini’s Rome,
Open City won the Grand Prize at the 1946 Cannes Film Festival, and Italian
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Neorealism's brutally honest portrayals of the working class and their enduring struggles became known as the country's cinematic 'golden era'.
Italian Neorealism and New Indian Cinema have many similarities aesthetically, historically and culturally. Both movements changed Cinema. Influencing each other and other movements to come about, Italian Neorealism and New Indian Cinema are highly influential and important historically and culturally. Indian films mostly concern with poverty, unemployment, caste, superstition, dowry system and forms of social and economic injustice.
Like neorealist cinema of post war Italy, India saw a powerful reflection of its own social problems that it was influenced by it. I as a researcher will be focusing on three films from these eras, The Bicycle Thief (Vittorio De Sica, 1948) presenting
Italian Neorealism, Pather Panchali (Satyajit Ray, 1955) presenting New Indian Cinema and Umberto D (Vittorio De Sica, 1952). These movies and the movements they present are the components that have affected the creation of significance in film, through their recently indicated points of view of lower-class realism, contrastingly to the standard of Hollywood optimism. "Realism doesn't mean indicating genuine articles, yet demonstrating how things truly are"- Bertolt Brecht.
"Neorealism isn't about what you appear, however how you show it. It's just a perspective on world without previously established inclinations or preferences. A few people are as yet persuaded that neorealism should just be utilized to show a specific sort of the real world – social reality to be accurate. However, at that point it becomes publicity."
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1.2 History of Italian Neorealism
Italian neorealism, also known as the Golden Age, is a national film movement portrayed by stories set among poor people and the common laborers, recorded on the spot, much of the time utilizing non-proficient entertainers. Italian neorealism films for the most part fight with the troublesome financial and good states of post-World War II
Italy, speaking to changes in the Italian mind and states of regular day to day existence, including destitution, persecution, foul play, and urgency.
Neorealist films frequently took an exceptionally basic perspective on Italian culture and centered consideration after glaring social issues, for example, the impacts of the Resistance and the war, after war neediness, and interminable joblessness.
Neorealism preferred location shooting rather than studio works, filmed with non- professional actors, explore the conditions of the poor and the lower working class. This movement had some particular highlights that can separate the film derived from this section from the mainstream Bollywood cinema and started around a similar time as the French New Wave shook the mainstream cinemas. The movement was first driven by Bengali film industry which had created various globally acclaimed directors, for example, SatyajitRay, Mrinal Sen, Ritwik Ghatak and numerous others. The place that is known for Indian renaissance, Kolkata at that point of time gained importance over the other film industry of India.
The development of Italian film basically spoke to the direct inverse of
American film. Italy was under Benito Mussolini's harsh, extremist system near the precarious edge of WWII. Italy was ground zero during Hitler's rule of dread. While
American movies turned out to be progressively propagandistic during the 1940s,
Italian film restored the substance of the Lumière Brothers' actualités. Italian movie producers that developed during the war and post-war were not benefit driven; they
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were rather centered around uncovering the brutal facts around them, making a development that would get known as Neorealism.
Italian neorealism created as a specific type of true to life articulation during the period when Italy was managed by the Fascists. Italian neorealism created under difficult conditions and turned into a structure by which Italian producers could communicate in another manner. Basically, the early neorealist movie producers were doing what they could with the current devices and doing it under the attentive gazes of an opposing decision class, From the pressures this course of action delivered, they made something unmistakable, permitting them to create thoughts and to do as such in another true to life style.
At that point, Italy was controlled by fundamentalists, who saw workmanship as important just to the degree it was valuable. However, these movies were not made in administration of fundamentalist thoughts yet as a counter to them. The powers that helped shape these movies, the style that was delivered by these strains, and some significant models show the essentialness accomplished by Italian chiefs as World War
II finished. Outstanding amongst other known about what might be known as the neo- pragmatist way to deal with film was Roberto Rossellini's Open City (1945), and huge numbers of the qualities of the development were apparent in this film. These movies had a disorderly, progressive mentality. They had a spontaneous, narrative quality improved in the early time by the materials from which they were made–war-time film stock, cobbled-together hardware, non-proficient entertainers, and area shooting.
Open City is a genuine case of this early period in neorealism, while Vittorio
De Sica's The Bicycle Thief (1948) is a declaration of the completely evolved convention from the period after the ejection of the extremists and after the finish of
World War II. These two movies show a test to the foundation of the time and a social
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cognizance that digs into the truth instead of the picture of the country. Therefore, neorealism experienced threatening vibe from the set-up powers in light of the fact that these movies depicted Italy in a reasonable and basic manner that was not the kind of picture the foundation needed for the nation, especially to be introduced to the outside world.
1.3 Characteristics of Italian Neorealism
1.3.1 A new majority rule soul, with accentuation on the estimation of normal individuals
1.3.2 An empathetic perspective and a refusal to make (simple) moral decisions
1.3.3 A distraction with Italy's Fascist past and its consequence of wartime pulverization
1.3.4 A mixing of Christian and Marxist humanism
1.3.5 An accentuation on feelings as opposed to extract thoughts
1.3.6 A shirking of perfectly plotted stories for free, rambling structures that develop naturally
1.3.7 A narrative visual style
1.3.8 The utilization of real areas - typically outsides - as opposed to studio destinations
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1.3.10 The utilization of nonprofessional on-screen characters, in any event, for head jobs
1.3.11 Use of conversational discourse, not abstract exchange
1.3.12 Avoidance of cunning in altering, camerawork, and lighting for a basic style
So, what is neo-realism? André Bazin considered it a film of 'actuality' and
'reconstituted reportage', having its predecessors in the counter Fascist development with which these executives recognized. In spite of the fact that they owed an obligation to Renoir (with whom both Luchino Visconti and Michelangelo Antonioni had worked), the neo-pragmatists regarded the whole of the truth they recorded. This implied sometimes indicating scenes progressively and continually opposing the compulsion to control by altering. Scenes are shot on the spot, with no expert additional items and frequently a to a great extent amateurish cast. Set in country zones or common laborers neighborhoods, the tales center around regular individuals, frequently kids, with an accentuation on the unexceptional schedules of normal life.
Neorealism favored area shooting instead of studio work, just as the grainy sort of photography related with narrative newsreels. While the facts demonstrate that, for some time, the movie studios were inaccessible after the war, neorealist executives disregarded them fundamentally on the grounds that they needed to show what was happening in the lanes and piazzas of Italy following the war. As opposed to the conviction that clarifies on the spot shooting by its alleged lower cost, such recording frequently cost substantially more than work in the more handily controlled studios; in
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the avenues, it was never conceivable to foresee lighting, climate, and the unanticipated event of cash squandering unsettling influences. Financial elements do, be that as it may, clarify another attribute of neorealist film - it’s practically all-inclusive act of naming the sound track in after creation, as opposed to recording sounds on the as far as anyone knows 'legitimate' areas. Maybe the most unique attribute of the new Italian authenticity in film was the splendid utilization of nonprofessional entertainers by
Rossellini, De Sica, and Visconti, however a significant number of the movies acknowledged as neorealist relied on astounding exhibitions via prepared proficient actors. Some film students of history have would in general depict neo-realism as a valid development with all around settled upon elaborate or topical standards. Actually,
Italian neorealist film speaks to a cross breed of conventional and progressively trial procedures. In addition, political practicality frequently persuaded understandings of after war neorealism that neglected the significant components of progression between pragmatist films made during the Fascist time and pragmatist films made by the neorealists. After 1945, nobody in the film business needed to be related with
Mussolini and his defamed tyranny, and most Italian film pundits were Marxists; neorealism's family line was along these lines to a great extent overlooked.
1.4 Bicycle Thief (Vittorio De Sica, 1948)
The most popular Italian Neorealist film is Vittorio De Sica's Ladri di biciclette, released in 1948. The film got the Honorary Award Oscar at the 22nd Academy
Awards, casted a ballot by the Academy Board of Governors as the most exceptional unknown dialect film discharged in the United States. Cesare Zavattini barely missed winning the Oscar for Best Writing, Screenplay, and won Best Foreign Film at the
Golden Globes and BAFTAs. Positioned 95 on IMDb's rundown of the 250 best movies ever, The Bicycle Thieves, as it was brought in America, recounted to the
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account of a bike conveyance man and his child on a journey to discover his taken bike.
The oversimplified story investigated complex issues of classism and the lopsided dissemination of riches between the upper and common laborers in the post-WWII time.
Lamberto Maggiorani and Enzo Staiola as the dad and child give ostensibly the most notorious exhibitions of the Neorealist development.
The Bicycle Thief was made within the Italian Neorealism film movement. The film is set and was made in post-WW2 Italy. During this time, nearly all film studios and production facilities were destroyed such as Italy’s main studio Cinecittà. Inspite of this, Neorealist filmmakers moved to making films on the street, on location, with natural lighting, using non-actors. This prodded the presentation of common laborers characters and their accounts. Following these average workers stories, Italian
Neorealism began unfurling the battles and severe point of view of authenticity of the common laborers, clearing another route for harsh and another rendition of authenticity in films. This development radically diverged from the unrealistic reasoning and celebrated optimism of standard Hollywood and Italian extremist film at that point.
Italian neorealism was utilized as an apparatus for social change during a period of
Political Turmoil. Its movies being seen as radical and taking part in the reproduction of Post-WW2 Italy, as opposed to films made for diversion as observed in most Cinema at that point. The basic stories take part in this new manner, by concentrating on the glaring social issues of the time, for example, the impacts of the Resistance and the war, neediness or ceaseless joblessness. The Bicycle Thief itself has been portrayed as the most noteworthy purpose of Neo-reasonable filmmaking. The film follows an average workers man and his child post-WW2. All through the film, we watch them as they leave on the intense undertaking of recovering their taken bike from the avenues of
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Rome. The bike being an urgent need that without, the dad would be not able to work and accommodate his battling family.
This account finely fits to the new Italian Neorealism development of the time, concentrating on the demolition of neediness and ceaseless joblessness. Inside the initial scene of the film we see a crowd of Italian men battling and battling their way into a haggard activity focus of sorts, just for dominant part of them to dismiss. In any case, our hero, Antonio Ricci, is extended to an employment opportunity on the condition he has a bike, which around then he doesn't. Hearing this reality, a considerable lot of different men yell over one another, venturing forward endeavoring to accept the position, whether or not or not it is in their field of work. The sheer mass of franticness in just this, the initial scene, establishes the pace for the whole film, edginess. It likewise features the mass neediness of Italy's populace at that point, a key subject of Neorealism and of the film itself. The utilization of non-on-screen characters is likewise extremely predominant in The Bicycle Thief, on-screen character playing
Antonio was in certainty not a genuine entertainer; he was a steel laborer. Indeed, even
Antonio's child in the movie Ricci was likewise a non-on-screen character, cast when the executive saw him in the city during recording for the film. This utilization of Non-
Actors features the Neorealism style of the film; Italian Neorealism films regularly discovered their plots and characters, entertainers and gear actually on-set, being roused by the undeniable world encompassing them.
The characters inside The Bicycle Thief are likewise Non saints, they are basic working genuine individuals. This adds another profundity to the feeling of authenticity all through the film. The distinctions in culture from the privileged families down to
Antonio's common laborers families are made evident to watchers through utilization of ensemble, non-verbal communication and discourse. In 1948 at this present film's
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discharge, those viewing of the high societies would not have before perceived the demolition in the lower classes, as it was the privileged societies and their accounts with cheerful endings, overwhelming film, we just observed their adaptation of
'authenticity' in film. The Bicycle Thief goes about as an oppositional apparatus towards Italian fundamentalist and Hollywood film. The Italian Neorealism inside the film underlines the detachment and annihilation, attracting on the social foul play and introducing the world through the eyes of the lower class, indicating their form 'realism'.
1.5 Pather Panchali (Satyajit Ray, 1955)
Italian Neorealism influenced many more styles of realism to come about in
Cinema, specifically Indian New Wave Cinema also defined as Parallel Cinema. After the emergence of Italian Neorealism in the 1940’s, India and many others worldly
Cinema’s took on the traits to show stories of realism to the lower classes. 1944-1960 was considered ‘The Golden Age’ of Indian Cinema; it was a key point historically in
India as they gained independence from the British Empire. Majority of Indian Cinema, prior to this, was centered on the Bollywood style, upbeat, idealistic and often musical.
The pursuit of cinematic realism, originating in West Bengal, India in the 1950’s, following the Italian Neorealism of the 40’s, was seen as a break from this national tradition, and alike to Italian Neorealism seen as revolutionary and sociopolitical in context. Key themes of Indian New Wave Cinema are almost identically ‘parallel’ to
Italian Neorealism; Low budget, non-actors, political and focusing on lower class stories of grief and misfortune.
An astounding example of the Indian New Wave Movement is Satyajit Ray’s
Pather Panchali. Satyajit Ray commented on Vittorio De Sica’s 1948. The Bicycle
Thief saying “I knew immediately that if I ever made Pather Panchali and the idea had been at the back of my mind for some time I would make it in the same way.” With this
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in mind, there are many key similarities between The Bicycle Thief and Pather Panchali
Historically, culturally and aesthetically. Satyajit Ray’s films has a slow tempo which reflect rhythm of life in India. Pather Panchali focuses it plot around the devastation of poverty for a family’s village life in India. The Protagonist of this film is a young boy,
Apu, who is seen helpless as his father struggles to find a new job, his elderly relative dies and his sister becomes critically ill. This helplessness and devastation of the narrative throughout the film mimics much of The Bicycle Thief’s depressingly realistic narrative. This style of narrative pushed the movement to popularity as of that period subject matter; The Bengal famine in 1943, which caused millions of deaths due to poverty and starvation following WW2. For most viewers at the time, this movement of devastating narrative was their own personal realism.
The Indian state government, to endorse the authentic art culture of Indian
Cinema, funded Pather Panchali. However, this funding still left Satyajit Ray directing on a shoestring budget, again, likewise to Italian Neorealism traits within The Bicycle
Thief. This led to a lot of on location shooting, showing the barren and dull landscape of poverty-stricken India. Aesthetically, this landscape helps as it enhances the tone of the film, mellow and depressing and brutally realistic, like Italian Neorealism.
Pather panchali had a budget of only 2 lakh rupees. The theme of the film was neorealist as it dealth with struggling with lives of poor who were struggling for their survival. However, even with this small budget and un-exciting landscape, Satyajit
Ray’s films still managed to win major awards from Cannes, Berlin and Venice film festivals. His early Neorealist films helped to pave the way for meaningful cinema in
India through the Neorealism methods he employed. When focusing on these films and how they are represented aesthetically, they both have many things to offer. The
Bicycle Thief and Pather Panchali both leave the audience with a lasting sense of
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contentment through visual storytelling, contrastingly of the depressing main narratives.
In The Bicycle Thief even though Antonio has lost everything he still manages to hold onto his humanity, as his attempt to steal another’s bike is met with empathy and forgiveness, we see him smile relieved as he walks away with his son hand in hand. In
Pather Panchali, Apu, after facing two heart-wrenching losses, finds his recently deceased sister’s necklace, which she earlier denied to have stolen. He then dramatically throws it into a river. These two scenes of each film both leave us with the lasting image of humanity, as Apu reaches contentment throwing away the stolen necklace, clearing his sister’s name, and as Anotonio is also cleared of his sins from attempting to steal the bicycle.
1.6 Umberto D (Vittorio De Sica, 1952).
The Italian neorealist film, Umberto D. (Dear Films, 1952), directed by Vittorio
De Sica, focuses on the life of an elderly man named Umberto Domenico Ferrari, played by Carlo Battisti. The movie focuses on Umberto as he goes through a series of challenges to pay off his dept to his landlady, who desperately tries to do everything in her power to drive him out to fit her rich and glamorous facade. In the midst of this catastrophe Umberto’s most cherished possession, his dog Flike, brings him back from focusing on the cruel and unfair ways of life to the beauty and blessing of actually having a life. The explicit use of close up shots in the final scene where Umberto tries to commit suicide with Flike, combined with the music transitioning from horrific to buoyant, reveals Umberto’s struggle to maintain his hope and faith despite all the cruelty that society has shown him. Umberto’s struggles, especially his struggle to pay his rent, mirrors the harsh reality of war and poverty that many Italians faced in the mid- 1900’s.
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Particularly during this time, Italy was involved in WWI and film productions adapted and revolved around the idea of sadistic and depressing takes on life. Umberto faces numerous challenges as he strives to maintain his dignity and pay off his debt to save his home during this time of war. He sells some of his most prized possessions, including his watch to keep his home.
However, despite Umberto’s potential to pay off his debt, his landlady continues to push him to the brink of suicide. His landlord is ruthless and demanding. Her selfish demeanor causes Umberto to lose sight of all the good things in life and be pushed to his limit. His landlord refuses his money and then destroys his room. Because Umberto sees nothing in his life, except this hopeless situation, he turns from those he loves and cares about in hopes of ending his life. There are few scenes in the film where the audience can truly see that Umberto is carefree and happy for once in his life.
In at least two scenes of Umberto D the problem of subject and script take on a different aspect. In these instances, it’s a matter of making a "life time" - the simple continuing to be of a person to whom nothing in particular happens-take on the quality of a spectacle, of a drama. I am thinking in particular of when Umberto D goes to bed, having retired to his room thinking he has a fever and, especially, of the little servant girl's awakening in the morning. These two sequences undoubtedly constitute the ultimate in "performance" of a certain kind of cinema, at the level of what one would call "the invisible subject," by which I mean the subject entirely dissolved in the fact to which it has given rise; while when a film is taken from a story, the latter continues to survive by itself like a skeleton without its muscles; one can always "tell" the story of the film. Throughout the entire film, Umberto is constantly worried because he is struggling to pay his off debt to save his home. This scene gives the audience a strong
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idea of the pain and desperation that Umberto has gone through. It also shows that by almost losing Flike, who means the world to Umberto, Umberto is taking a step towards alleviating his pain and regaining his faith. From the beginning of the film
Umberto and Flike are inseparable. This final scene where Umberto departs and conceal his presence from Flike is a strong indication of how Umberto has lost that relationship that once existed between them. Once Umberto realizes his error and the inhumanity of trying to end his life and Flike’s, he turns around and corrects his mistake.
Similarly, Umberto’s situation is very relatable to the average Italian citizen during the mid-1900’s. Majority of citizens were caught in the mist of poverty, and struggling to provide for themselves and their family. Many people were disillusioned by World War I and its after math. One of the main reasons why this film attracted many people in 1952 was its realistic nature. The idea of Umberto’s struggle with poverty and search for identity was relevant to the average citizen. In essence, many
Italians looked forward to watching these types of film to help make themselves more at ease knowing that there are other people out there who encounter similar hardships like they do.
In the final scene of Umberto D., Vittorio De Sica portrays a concrete sense of the despair and depression that many Italian people faced during a time of hostilities between nations. The explicit use of close up shots in the final scene, where Umberto tries to commit suicide with Flike, is combined with the metamorphosis of the music going from horrific to buoyant, to reveal Umberto’s struggle to maintain his hope and faith despite all the ruthlessness that society has shown him. Umberto’s struggle to pay his rent mirrors the harsh reality of war and poverty that many Italians were facing in the mid 1900’s. Similarly, because of their unlucky situations people questioned their
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faith. Umberto faces the same problem as he tries to remain faithful and happy as he once was which is challenged by his tough situation of being in debt.
1.7 Evolution of Italian cinema after the movement
The storied past of Italian cinema is something of a legend nowadays. Italy holds the Academy of Motion Pictures and Sciences record for most Best Foreign
Language Film Oscars, tallying 14 since 1956.the most famous Italian Neorealist film is Vittorio De Sica’s The Bicycle Thief, released in 1948. The film received the
Honorary Award Oscar at the 22nd Academy Awards, voted by the Academy Board of
Governors as the most outstanding foreign language film released in the United
States.The artistic intentions and stylistic elements of Italian cinema had completely changed from the era of Neorealism. Argento founded a movement that redefined and expanded both Italian cinema and the barriers that confined international horror cinema.
Italian filmmakers had to battle poverty, censorship, and an authoritarian fascist regime, fueling the liberal communist support shared by Italian filmmakers over the next several decades. American filmmakers in the 1990s had the luxury of living among the suburban middle-class in a society obsessed with consumerism, where they had the privilege to choose their own subject matter more freely.
1.8 What has led us to Neorealism?
Neo-realist films often took a highly critical view of Italian society and focused attention upon glaring social problems, such as the effects of the Resistance and the war, post-war poverty, and chronic unemployment.
What is it that raises demand for realism in film? What social circumstances are we seeing today that make people crave the ordinary, the plain, the straight forward, the seemingly simple yet also underlying complications. Today’s younger generations watched the 9/11 terrorist attack on live television, witnessed the economic collapse in
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2008 and have had access to an almost constant live feed of military conflict since the early 1990’s. It is a movement that is dismantling old idealisms built on violence and fear, colonialism, racism, misogyny, sexism, and bigotry by unearthing the very roots of dominating patriarchy and capitalist discrimination. It is this background setting of war and awareness that allows the neorealism movement to flourish, to take its time in telling stories of everyday people in everyday situations that the viewer can relate to in a palpable way. There are a few events in recent history that have shaped today’s generations and accumulatively may have led to the rise in neorealism film-making.
These events are historical landmarks that have opened people’s eyes to the current state of affairs and increased the need for realism in film.
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CHAPTER TWO
REVIEW OF LITERATURE
2.1 Defining Italian Neorealism: A Compulsory Movement
The researcher Esma Kartal (2013) in her research paper states that being one of the most cinematic movement in film history, Italian neorealism has not been extremely simple to characterize. Though one can without much of a stretch perceive a neorealist film, not all neorealist films share precisely the same attributes. Right now, films that have frequently been named as neorealist will be examined considering their producers' perspectives on neorealism and the general qualities of neorealism as a development.
These movies are Roberto Rossellini's Germania anno zero (1948), Vittorio De Sica's
Ladri di biciclette (1948) and Umberto D. (1952), and ultimately Federico Fellini's La strada (1954).
2.2 Neo-Wave in Indian Cinema: A Chronological Evaluation
Piyali Chakraborty and Santanu Banerje states that India is well acknowledged for making and successfully marketing of commercial cinemas, better known as
‘Bollywood Massala’ movies. In addition to commercial cinema, there is also Indian art cinema; known to film critics as ‘The Indian Neo Wave’ or ‘Parallel Cinema’. Many people in India plainly call such films as ‘art films’, stands at sharp contrast to mainstream commercial movies. From the 1960s through the 1980s, the parallel cinema was patronized primarily by different state and central governments. Directors could get government grants to produce non-commercial Art films usually on Socio-cultural themes. The films were showcased at state film festivals. These films had limited acceptance to the lay movie watchers in India and overseas. The pursuant directors of
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such art based parallel cinema owed too much to numerous foreign influences like
Italian Neo-Realism or French New Wave, Avant Garde cinema movements etc.
Among the best known New Cinema directors, were Bimal Roy, Chetan Anand,Ritwik
Ghatak, and Satyajit Ray. Few of the best-known films of this genre are the Apu
Trilogy (Bengali) by Satyajit Ray and Do Bigha Zameen (Hindi) by Bimal Roy.
Undoubtedly SatyajitRay was the most affluent among the ‘parallel cinema’ directors.
2.3 Neorealism and Films
Simonetta Milli Konewko (2016) in her journal states that the neorealist films such as Bicycle Thieves, Rome Open City (1945)and Ossessione (1942) elements of these films are: their focus on the torture generally felt by Italians after the war, a contrast between melodramatic scenes and scenes of notable simplicity, on-location shooting, prevalence of scenes depicting war-damaged urban centers, and the usage of nonprofessional actors.
2.4 Emotions in Neorealism
Simonetta Milli Konewko (2016) in her journal states that although scholars recognize the significance of studying neorealism through an examination of emotions, they only concisely refer to them and how emotions in neorealist texts were understood in shaping life experience, moral codes, and pre- and post-Fascist society in general.
Until now, scholars have not provided a systematic examination of this relationship.
This section offers a concise overview of these accounts in Italian cinema and literature that are significant in helping to comprehend the neorealist productions that will be examined in this study.
2.5 What is Cinema?
The researcher Andre Bazin (2005) in this book talks about the point of characterizing similar styles of Rossellini in Paisa and of Orson Welles in Citizen Kane.
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Rossellini finds same dependence of the actor relative to setting, acting and scenes.
The use independent techniques, without the least possibility of a direct influence one on the other, and possessed of temperaments that could hardly be less compatible Rossemni and Welles have, to all intents and purposes, the same basic aesthetic objective, the same aesthetic concept of realism.
2.6 Italian film noir and the fragmentation of modernity. The any-space-whatevers of postwar melodrama
The researcher Lorenzo Marmo (2020) in his research paper aims at investigating the intertwining of the aesthetics of film noir and neorealism in the context of Italian cinema after the Second World War. In order to individuate the similarities between these two trends, the article will highlight how both neorealism and film noir partake in the wider discourse of melodrama, and how the melodramatic imagination is key to understanding the relationship of these texts within the issue of modernity. Through a reflection on Gilles Deleuze’s category of the ‘any-space- whatever’, the article will focus on the deployment of postwar spatiality in a series of noir films dealing with the 1950s process of reconstruction. The fragmentation of space these films register and enhance creates a productive tension with the affective intensity of the melodramatic body. The result is a form of spatial anxiety that encompasses both neorealism and film noir, thus highlighting the importance of a transnational frame to the interpretation of Italian cinema on the verge of the economic boom.
2.7 The bicycle towards the pantheon: A comparative analysis of Beijing Bicycle and Bicycle Thieves
Huang Zhong (2014) in his research paper talks about Beijing Bicycle (Wang
Xiaoshuai, 2000) is a significant masterpiece of Wang Xiaoshuai, that shows a lot of similarities with Bicycle Thieves (De Sica, 1948). This paper concentrates on the
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relationship between the creation of the Chinese Generation, New Generation directors and the Italian Neorealism movement, elaborating on different perspectives of aesthetic of the films shows the creative track and formation of aesthetic philosophy of the
Chinese Sixth Generation and New Generation directors are closely associated with the
Italian Neorealism movement.
2.8 Film Serials and the American Cinema, 1910-1940
Ilka Brasch (2018) in her research paper presents ideas of speciality with regards to nineteenth and twentieth-century innovation and sets up that, as opposed to reflecting procedures of creation and dispersal, sequential accounts themselves enact and move the procedures of serialization and industrialization that empower their reality. viewers moved toward serials with an attention to their mechanical and business character, and repetition guaranteed their continued popularity across over four decades rather than threatening.
2.9 Neorealism, the Bra and the New Indian Woman in Satyajit Ray’s The Big
City
Lipi Begum (2019 )in her research paper talks about the filmic lens of West
Bengali director Satyajit Ray's lord piece The Big City (Mahanagar1963), this article centres around the symbolic importance of the brain post-colonial India. It uncovers the ways in which the semi-hidden bra in the film functions as a challenged site of patriarchal Indian advancement versus Euro-Western innovation and, in the style of neorealist film, a perfect world of post-colonial and post national female organization.
Through literary examination, the article digs into the influences of Italian neorealist film on Ray's aesthetic choices and force, dress and femininity across western and non- western settings. It verbalizes social similarities and contrasts and how dream-like true to life stories of regular acts of intensity dressing give a window into liberal
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performance and idealistic ambitions for ladylike office during times of modernization and change.
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CHAPTER THREE
METHODOLOGY
3.1 Methodology
A qualitative study will be the mode of the research where different types of content and texts will be analysed to know the different types of research done on
Italian Neorealism in Indian Cinema. The difference between The Bicycle Thieves,
Pather Panchali and Umberto D would be found out. The analysis on difference between classic Neorealism cinema and Modern age cinema would be done. To look for such important information, research journals, newspapers, magazines and books will be the medium of the study to find the reliable data that enhances the understanding of the study in the research paper.
3.2 Significance of the Study
While realism has never really disappeared from the world of cinema, there is a significant rise in the number of high-profile films that depend on the principles of realism to attain a certain atmosphere in their story-telling. This type of films all have a few things in common; low budgets, amateur or non-actors both in leading and supporting roles, long shots with improvised acting that sometimes resembles documentary-style film-making.
In chapter one our attempt would be to study the origins of neorealism in Italy, its stylistics, contestations as well as developments in Nazi Germany and Fascist Italy.
It will also include a brief survey of the available historiography pertaining to the
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origin, definition, development and decline of neorealism in Italy. The significance and application of semiotics to cinema has also been analyzed. The relationship between realism and melodrama has been studied as it is now getting a lot of attention from film theoreticians.
3.3 Objectives
• To understand the concept of Italian Neo-realism
• To study the Films - The Bicycle Thieves, Pather Panchali, Umberto D
• To analyze and understand the significance of Italian Neo-realism after the
movement.
This will be achieved by extensive research of sources of data from newspaper articles, research papers by scholars.
3.4 Theoretical Background
The following research paper is all about the movements of Indian New Wave and Italian Neorealism emergence within Cinema have helped to guide Cinema today.
Their use of progressive techniques has made a historical impact, guiding the diverse themes and genres available to us today. Culturally and radically these movements purpose as political revolutionary films have fulfilled their aims to enlighten the public of all sides of the story, showing the lower classes and the misfortune they face through magnification storytelling and aesthetics. Almost entirely parallel to each other, Indian
New Wave and Italian Neorealism have successfully defined their purposes within their movements, and still have impact today, as they continually remain some of the best works of Cinema produced, with a lot to learn from historically, culturally and ascetic.
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3.5 Hypothesis / Research Questions
This study will be working to prove the following hypotheses through the research conducted relating to the issue. The hypotheses involved are;
1. How Neorealism can help people understand and deal with their routine in a
better way.
2. How Italian Neorealism Films had impact after the Neorealism movement was
over.
3. The analysis of The Bicycle Thieves, Pather Panchali and Umberto D
3.6 Research Design
This study will try to understand about the importance of Italian Neorealism ciema and how it impacted today’s cinema. How the films The Bicycle Thieves, Pather
Panchali and Umberto D was made? What is the criticism it faced? All of these questions will be studied in the research paper.
3.7 Data Collection
The study looks at different types of content and texts to analyse and to know the different types of research done on Italian Neorealism and How it came into picture of Indian Cinema. Films of the director Satyajit Ray and Vittorio DeSica have been discussed in the paper. The explanation of the same is present in my research paper from the articles of New York Times and BBC. It is a qualitative study which depicts the term Italian Neorealism with self-explanation. The literature review surveys are done from libgen and their introductions are explained.
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CHAPTER FOUR
CONTENT ANALYSIS
While realism has never really disappeared from the world of cinema, there is a significant rise in the number of high-profile films that depend on the principles of realism to attain a certain atmosphere in their story-telling. This sort of movies all share a couple of things practically speaking; low financial plans, beginner or non- entertainers both in driving and supporting jobs, long shots with improvised acting that occasionally looks like narrative style film-making. The aesthetics of neorealism, new cinema filmmaking tries to imitate the unremarkable characteristics of everyday life to day existence, venture social issues with amazingly constrained inclination, and watches conventional individuals in their condition. It, as well, conveys a dull, lumpy, even cynical mindfulness that attempts to drive film into a goal, non-dramatic light.
A comparative study of Italian neorealism and its impact upon the filmic, account structure of new cinema will give what is, on balance, a comparable sort of true to life narrating experience that separates itself by consistent with life plots, sensible social issues, visual genuineness, and unpretentious camera and altering procedures. To begin, it will be useful to set up the grounds by first giving an essential outline of what
Italian neorealism is, the reason the movie producers of this development felt constrained to respond against the shows of Fascist/Hollywood narrating, and what this would mean for future movie producers, both third-world and contemporary.A critical picture that runs routinely through Neorealist film and fiction is the subject of
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destitution. The thought of destitution with its finished result issues, and their ruinous and pulverizing impacts, gives a coupling together quality to these works.
The Italian film of today is the first anyplace on the planet to have enough fortitude to throw away the objectives of the astounding. The financial structure of
Indian culture was seriously shaken as observed from situations of hunger, poverty and unemployment. Indians were trying to cope with the dilemmas emanating from the demands of a new state - modern and traditional values, industrialization and poverty, wealth and hunger accompanied with the frustrations resulting from unemployment and a sense of worthlessness. Moreover, the partition of India in 1947 filled them with a sense of distancing in their own land. The other socio-economic issues were concerned with caste/class divisions, status of women, dowry system, rights of minorities, secularism, dislocations and displacement, protest against capitalist forces, and the relationship between Hindus and Muslims. Deep concern with poverty, unemployment, caste, superstition, dowry system and forms of social and economic injustice was evident.
The neorealist cinema of post- war Italy, India saw a powerful reflection of its own social problem that it was influenced by it. The films of Satyajit Ray and Vittorio
DeSica will be studied. An attempt to comprehend socio-economic, political and social reality through the crystal of film would be made. The question of development, more specifically economic development, was the uppermost after the independence. But the direction to be taken either agricultural development or industrialization was uncertain.
Satyajit Ray once said that he had learnt the methods of narrative cinema from
Hollywood. In fact, Pather Panchali shook Bengali cinema as no other film, before or after it had done. This can be significantly ascribed to the Italian neo-realist element
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which had been virtually unknown to Bengali filmmakers. Indian cinema must free itself from Hollywood and become itself by concentrating on Indian reality.
"Umberto D" is the masterpiece of the Italian neo-realist era. It’s a somewhat discouraging and exceptionally practical film, yet it makes some fascinating analysis on the human condition, especially the loneliness we face. The Bicycle Thieves is irrefutably the most complex neorealist film, and calm presumably the one where the thought of actually best dealt with.
" Bicycle Thieves is one of the bestl instances of pure cinema. No more on- screen characters, no more story, no more sets, or, in other words that in the ideal stylish hallucination of reality that there is no more film. The development impacted
Martin Scorsese, an expert of everything Italian film, is one of a little armed force of incredible producers with an obligation to the development. The nouvelle dubious, cinéma vérité, the social authenticity of Mike Leigh and Ken Loach, the Czech New
Wave, Satyajit Ray, Dogme… all took (and take) motivation from De Sica. Actually, there are hardly any filmmakers altogether uninfluenced by the Neorealists.
Films have change significantly since 1965, the change has been infamous in a few angles, particularly with the innovation. The movies have been transforming, they can be seen including questionable issues, for example, political and social angles, as prosaism style and new unique thoughts have developed. The present movies are increasingly open and liberal from a specific perspective, and this is on the grounds that our method of think has changed as the years progressed.
Movies are not just an entertainment source, through them people can show a reality about society, they can contact matters like legislative issues, and they can cause incredible contention. Behind an incredible film there is additionally an extraordinary
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tale about how it was made. Filmmakers of the new cinema cannot help but be compared to the filmmakers of Italian neorealism.
Filmmakers of contemporary new cinema are a significant variety to comprehend. In spite of the fact that the facts demonstrate that the substance of their movies don't dwell on cheerful subjects, recollect that these filmmakers are, actually, the children of a post-war traumatic nation. War is never a wonderful subject of conversation, however when a nation experiences the disorganized vestiges of mass obliteration, it appears to be just normal for individuals' masterful articulations to get darker, calm, and increasingly cynical. This darker reasonableness was promptly brought forth after World War II, as observed embodied in Italian neorealist films. The effects of this development were immense. With respect to where the soul of neorealism will create next is not entirely clear, yet the general motivation behind its structure has consistently continued as before: to draw nearer to a more genuine, progressively dynamic reality. To be sure, in 1974, Rossellini was all the while saying: the reason for neo-authenticity is "to consider things to be they are, that is the primary concern. It is difficult to arrive at that point.
The Golden Age cinema over 50 years later we still see the modern day cinema directors such as Federico Fellini ( Friday) , Matteo Garrone (Gomorrah) use same concept of classic Italian neorealism cinema in this modern day classic films. In these films we see neorealism features which is heavily influenced by Di Sica chose the cast consisting of lower class unprofessional actors but also mixed and small amount of professional actors which is different to the classic neorealism in the modern age of cinema it will be more beneficial in the actual film to contain a few professional actors in order to grab the attention of the audience; as more people would see the film if they knew the famous people are in the film, also, in these films the directors choose the
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location and kept the editing simple and also used the hand helped camera to give a documentary feel which creates a real atmosphere for the audience.
If we compare the history of Italian neorealism films to history of older great films that Hollywood and Bollywood have made we can see that Hollywood and
Bollywood creates films to mostly entertain the audience for their pleasure whereas neorealism film’s goal isn’t to entertain but to give the audience films based on real life which is part of our history.
I personally believe that this movement is a huge part in the film history as a whole as it not only preserves the events in the history as they were but specially national cinema as a whole has a very enjoyable and noticeable difference in today’s cinema. Italian Neorealism was a development that in the end met its end. However, it is difficult to disregard its effect on the movies that followed. Audience for the first time were given a genuinely passionate, sensible perspective on the manual labourer and trials that the common laborers and ruined face on a regular premise. It illustrated these individuals as being something other than one of a bigger gathering – it made them people.
These films were something that these individuals could identify with, and were effective in light of their authenticity. 'Neorealism' was not a school. It was numerous voices joined, for the most part voices from the areas, a revelation also - and in particular - of the Italy's that existed, that had been least explored by literature..
Without this wide range of Italy's, every one of them obscure to the next or which we accepted were obscure to one another, and without this scope of vernaculars and nearby types of Italian which were to be raised and shaped by the artistic language, 'Neo- realism' could never have existed.
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CHAPTER FIVE
CONCLUSION
When the Second World War came to an end, Italian cinema took a sharp turn that would be the topic of endless discussions and theoretical studies. The absence of fascist propaganda set forth by the ruling government saw a new kind of film emerge; realistic and un-romanticised films that depicted the stories of the working class as they dealt with life after the war. The films were shot in the streets of dilapidated cities and run-down areas of Italy, entirely different from the before-mentioned propaganda films that hyped and glorified their subjects. Neorealist films in the latter years of the 1940s is to some extent inferable from the idea of idealism innate in the true to life medium.
Crowds became worn out on being defied with the pictures and issues identified with their after-war battles, preferring rather the American exhibitions and melodramas immersing the performance centres as an outcome of United States inclusion in Italian reproduction.
Neorealist film all in all anticipated a confidence in the certainty of the ideal national famous coalition liberated from class, ethnic, and provincial oppositions
Ironically, the frequent audience perception of a narrative pessimism in numerous
Neorealist films obstructed the ideological optimism and political idealism. The simple presentation of unifying “social truths” on the screen did not necessarily make them real amongst the people. The critical successes of the films of the Neorealist movement created a new audience for stories of lower-class struggles.
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The neo-realism era produced films that are still to this day, some 70 years later, valued as some of the best films ever made. A similar trend has been forming in recent years, where film-makers are responding to the condition created by political unrest, increased economic and financial complications and increased demand for social reform.
Today’s neo-realism movement is receiving critical acclaim and drawing attention to the subjects that its films represent. Thus, we can say that Italian cinema may have lost its immediate post-war hope about the effort to mould political reality in accordance with an ethical idea, but it never lost its intense, earnest and enduring dedication to the nobility of that endeavour. A careful analysis of the post-war production of the Italian film industry proves that it has continued to recognize, in whatever respectful or irreverent ways, its lasting debt to neorealism. In addition, the resonances of Italian neorealist film which was a response against the radical powers could likewise be found in film impacted by the colonial oppression in large part of
Asia and Africa and the post–frontier aloofness of the force wielders of the state in
India.
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