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A2 Film Studies > Neorealism > Flashcards

Neorealism Flashcards

1
Q

Rossellini three black films

A

The White Ship (1941)
A Pilot Returns (1942)
Man of the Cross (1943)

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2
Q

Rossellini’s black films were ======== but his =========== allowed him to focus on ============= rather than ===========

A

Although they were endorsed by the government his creative control allowed him to focus on individual strength and courage rather than political ideology.

  • Worked within the rules
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3
Q

Post war Mussolini turned his back on

A

Fascist rhetoric

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4
Q

Rossellini started making ROC

A

Two months after the liberation of Rome

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5
Q

First Neorealist film

A

Ossessione 1942

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6
Q

Key films to know

A

Ossessione 1942
La Peccatrice 1940
Toni 1935
The Grapes of Wrath 1940

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7
Q

Ossessione

A

Italian

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8
Q

La Peccatrice

A

Italian

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9
Q

Toni

A

French

Early example of Location shooting and non-professional actors

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10
Q

The Grapes Of Wrath

A

American

After the Great Depression - migrant workers

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11
Q

Bicycle Market

A

Piazza Vittorio

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12
Q

The mass of the poor

A

Church of Saints Nereo e Achille

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13
Q

The brothel

A

Via di Panico

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14
Q

The stadium

A

Stadio Nazionale

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15
Q

Immigrants lived

A

Val Melaina

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16
Q

Poor District

A

Prenestino

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17
Q

Gestapo Headquaters

A

Via Tasso

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18
Q

Opening - documentary footage

A

Piazza de spagna

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19
Q

Pinas Shooting

A

Via Montecuccoli

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20
Q

Rome Open City year

A

1945

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21
Q

Rome Open City Director

A

Rossellini

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22
Q

Don Pietro

A

Aldo Fabrizi

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23
Q

Pina

A

Anna Magnani

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24
Q

Manfredi

A

Marcello Pagliero

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25
Q

Bergmann

A

Harry Feist

26
Q

Maria

A

Marina Mari

27
Q

Antonio

A

Lamberto Maggiorani

28
Q

Bruno

A

Enzo Staiola

29
Q

Maria

A

Lianella Carell

30
Q

Antonios friend

A

Baicco

31
Q

Ben Sillis

A

“a demanding indictment of both the bureaucracy and division of wealth that divides in the country”

32
Q

Chistopher Wagstaff

A

Theft takes place “The poor go to serve, beg or steal”

33
Q

Bazin the film is.. (BT)

A

“The intimate witness of tragedy”

34
Q

Bazin (BRUNO)

A

“Son returns to a father who has fallen from grace”

35
Q

Bazin (actors)

A

“actorless cinema” actors become at 1 with the character (they are 1)

36
Q

Location shooting is ……

A

An objective presentation

37
Q

Rossellini …. divides ……

A

Divides his film into ideologically weighted spaces with moral connotations

38
Q

Rossllini …. contrasts

A

Real Exteriors and Tenement interiors with

Theatrical studio interiors (Nazis & marina )

39
Q

Rossellini shows solidarity with

A

mant shades of the anti-fascist regime

40
Q

Rossellini had commitment to

A

shooting the suffering proletarian lives in urban locations

41
Q

Rossellini said that ROC was a response

A

“response to the genuine need to see men for what they are”

42
Q

Pina is a …

A

moral example

43
Q

Pins death was …

A

poignant

44
Q

Neorealism records..

A

human existence and human life

45
Q

ROC there is overt and ….

A

omnipresent religious imagery

46
Q

in ROC there is a defined

A

good and evil within the story- getting a feel for the era

47
Q

The character of marina

A 
sexually promiscuous 
class traitor
drug addict
"scape goat"
implicit gay characteristics
48
Q

Boys watch Don Pietros death

A

Prematurely ages the boys

subplot - brutalisation of children born into war and totalitarianism

49
Q

Fellini - a way of seeing…

A

“a way of seeing reality without prejudice”

50
Q

ROC has interwoven stories making it

A

episodic

51
Q

ROC was the biggest grossing film of

A

1945-46 season in Italy

52
Q

Two established actors preceding the film were (ROC)

A

Aldo Fabrizi and Anna Magnani

53
Q

Three stages of Rossellini’s career

A

1) War Films
2) NEorealism
3) Spiritual and symbolic - expressionistic (e.g. Fear 1954)

54
Q

Seven Key features of Neorealism

A 
Location Shooting
Natural Lighting
Non-professional actors
Local Voices
Naturalistic Editing
Naturalistic Cinematography
Contemporary subject matter
55
Q

Rossellini and De Sica were:

A

Humanist rather than overtly political

56
Q

BT ANDRE BAZIN

A

“A walk through Rome”

57
Q

Bicycle thieves shows the characters around Rome and constantly

A

mobile (constant mobility)

58
Q

Urban life is depicted as brutalising in which key film>

A

La Peccatrice

59
Q

Religious P@@@@@@@@

A

Paraphernalia

60
Q

Homophobia

A

Sexual Heterodoxy

61
Q

De Sica about Lamberto Maggiorani

A

“The way he moved, the way he sat down, his gestures with those hands of a working man and not of an actor … everything about him was perfect”.

A2 Film Studies (2 decks)

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