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Shivani Soni- a Critical Study on Change in Cinema After Neorealism

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1 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 2 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. 3 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. 4 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 6 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 8 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 10 CHANGE IN CINEMA AFTER ITALIAN NEOREALISM MOVEMENT 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 11 CHANGE IN CINEMA AFTER ITALIAN NEOREALISM MOVEMENT 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." 12 CHANGE IN CINEMA AFTER ITALIAN NEOREALISM MOVEMENT 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
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