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Italian neorealism ((イタリア語:Neorealismo)), also known as the Golden Age of Italian Cinema, 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 films mostly contend with the difficult economic and moral conditions of post-World War II Italy, representing changes in the Italian psyche and conditions of everyday life, including poverty, oppression, injustice and desperation. == History == Italian neorealism came about as World War II ended and Benito Mussolini's government fell, causing the Italian film industry to lose its center. Neorealism was a sign of cultural change and social progress in Italy. Its films presented contemporary stories and ideas, and were often shot in streets as the Cinecittà film studios had been damaged significantly during the war. The neorealist style was developed by a circle of film critics that revolved around the magazine ''Cinema'', including Luchino Visconti, Gianni Puccini, Cesare Zavattini, Giuseppe De Santis and Pietro Ingrao. Largely prevented from writing about politics (the editor-in-chief of the magazine was Vittorio Mussolini, son of Benito Mussolini), the critics attacked the ''white telephone'' films that dominated the industry at the time. As a counter to the popular mainstream films some critics felt that Italian cinema should turn to the realist writers from the turn of the 20th century. Both Antonioni and Visconti had worked closely with Jean Renoir. In addition, many of the filmmakers involved in neorealism developed their skills working on calligraphist films (though the short-lived movement was markedly different from neorealism). Elements of neorealism are also found in the films of Alessandro Blasetti and the documentary-style films of Francesco De Robertis. Two of the most significant precursors of neorealism are Jean Renoir's ''Toni'' (1935) and Alessandro Blasetti's ''1860'' (1934). In the Spring of 1945, Mussolini was executed and Italy was liberated from German occupation. This period, known as the "Italian Spring," was a break from old ways and an entrance to a more realistic approach when making films. Italian cinema went from utilizing elaborate studio sets to shooting on location in the countryside and city streets in the realist style.〔Thompson, Kristin. Bordwell, David. "Film History: An Introduction, Third Edition". McGraw Hill. 2010, p.330-331.〕 The first neorealist film is generally thought to be ''Ossessione'' by Luchino Visconti (1943). Neorealism became famous globally in 1946 with Roberto Rossellini's ''Rome, Open City'', when it won the Grand Prize at the Cannes Film Festival as the first major film produced in Italy after the war. Italian Neorealism rapidly declined in the early 1950s. Liberal and socialist parties were having a hard time presenting their message. Levels of income were gradually starting to rise and the first positive effects of the Italian economic miracle period began to show. As a consequence, most Italians favored the optimism shown in many American movies of the time. The vision of the existing poverty and despair, presented by the neorealist films, was demoralizing a nation anxious for prosperity and change. The views of the postwar Italian government of the time were also far from positive, and the remark of Giulio Andreotti, who was then a vice-minister in the De Gasperi cabinet, characterized the official view of the movement: Neorealism is "dirty laundry that shouldn't be washed and hung to dry in the open." Italy's move from individual concern with neorealism to the tragic frailty of the human condition can be seen through Federico Fellini's films. His early works ''Il bidone'' and ''La Strada'' are transitional movies. The larger social concerns of humanity, treated by neorealists, gave way to the exploration of individuals. Their needs, their alienation from society and their tragic failure to communicate became the main focal point in the Italian films to follow in the 1960s. Similarly, Antonioni's ''Red Desert'' and ''Blow-up'' take the neo-realist trappings and internalize them in the suffering and search for knowledge brought out by Italy's post-war economic and political climate. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Italian neorealism」の詳細全文を読む スポンサード リンク
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