فصل النظرية ، الواقعية الجديدة .. كتاب فهم السينما

The new realism

Krakauer often quotes Italian neorealist films to depict his theories in reality. Neorealism is a style of filmmaking and a specific cinematic movement that began in Italy during the last months of World War II. As a particularly Italian movement, neorealism ended in the middle of fifties, but as a style it spread to many other countries. In India, for example, most of Satyajit Ray's films are in the style of neorealism, and in America, Elia Kazan was influenced by it. Beginning in the mid-1950s neorealism became the dominant style in England and continued for nearly a decade, the early films of Tony Richardson, Karel Reich and Lindsey Anderson all reflecting both sides of the movement's political and stylistic bias.

Perhaps the typical neorealist film is Roberto Torosolini's "Open City", which legitimized both style and movement. Co-scripted in part by Cesare Zavattini, one of the most competent screenwriters in the history of cinema. The movie (Open City) had the impact of the explosion in the world of film (10-12) by dealing with the film Al-Taawon Between Catholics and Communists in Fighting the Nazi Occupation in Rome. It is known that Rosolini photographed some feet during the occupation of the Nazis and their actual withdrawal from the city. The movie was technically a little primitive. Since it was difficult to get good quality raw film, Rosolini used poor newsreel films, but despite - and perhaps because of - the technical faults, the grainy images conveyed a sense of direct and inventive journalism. Many of the neorealist directors started out as journalists, and Rosolinin himself was a documentary filmmaker.) The entire movie is almost shot in real locations and there are many outside shots in which no additional lighting was used. All but the main actors were non-professionals. The construction of the film is based on a series of events - a series of clips that show the reactions of the citizens of Rome to the German occupation. Rosolini refused to imbue his characters with an aura, not focusing on heroes, but on ordinary people in heroic moments. Rosolini's work is a strange mixture of Marxism and Catholicism Grounded in his human sympathy for all victims of war, including those who betray their best instincts, the film is imbued with an unfailing sense of integrity. Things are like this, Rosolini said after the film was shown. The phrase became a slogan for the neorealist movement.

Over the next few years, an astonishing series of films appeared, including Rosolini's (Paisan), (Germany Year Zero), (Shoe Dyeer), (Umbertodi), Vittorio d'Esca's Bicycle Thief (all scripts by Zavattini), and Visconti's Lateratrema. Fellini and Antonioni Although it is not considered part of the new realism movement, it owes a lot to it. Some directors were influenced by the Catholic humanism of Rosolini, most notably Desica and Fellini (10-13). The new realism was late until the sixties, and this can be seen in the wonderful films of Armano Olmi (The Post) and he is known by another title (The Sound of Drums) and his movie (The Betrothed).

Although there are significant differences between these directors and even between their works Ancient and modern, however, the aesthetics of neo-realism provided a gathering and starting point for the most talented Italian filmmakers of that period. These films also featured a new style of honesty, as people were portrayed more frankly. The pens shared topics such as war, resistance, post-war, poverty, unemployment, prostitution, and the black market.

I avoided emotional films and fake idealism, and complex problems were not solved by a miracle, and with easy solutions in the last reel, the characters and events were normal. Most of the characters come from the working and downtrodden classes - toilers, fishermen, peasants and factory workers. Secondary themes included loneliness, isolation and neglect - both on a personal and governmental level. There was a strong emphasis on a social and political environment that was either rigid, unresponsive, or outright hostile to people's needs. Most of these films used authentic, usually outdoor locations, existing lighting, and non-professional actors even in the lead roles. Following Rosolini's method, these cinematographers underestimated montage and elaborate camera work, preferring long shots, long camera cycles, and open formats. Most of them tried to achieve one or two methods, emphasizing the content and not the techniques (10-14). with

Zavatnyi became the unofficial spokesman for the movement. Although his strong Marxist tendencies and fierce hostility to all kinds of artistic trades did not always agree with the beliefs of his colleagues, his sympathetic interest in the struggle of the toilers and his anti-fascist fervor were common to all these men Zavatnyi knew more than anyone as the average individual and everyday work. The main occupation of cinema. He believed in avoiding mega-businesses and superheroes at all costs. Zavattini was anticipating the ways of real cinema when he predicted that his typical film would consist of 90 straight minutes of a real life person. So the zfatini are like missionaries
With direct cinema, he believed that there should be no barriers between reality and the viewer. Neorealism ideally should be some kind of in-depth documentary film. Instead of re-enacting reality, a neorealist film should present reality directly.

Zvatini was suspicious of traditional plot structures and dismissed them as dead recipes. He insisted on the dramatic superiority of things as they really are and of the fabric of life as experienced by ordinary people. Directors should be concerned with digging into reality, rather than plots. They should emphasize facts and all the 'echoes and vibrations'.
the facts. According to what Zvatini says, the film industry is not the invention of stories »but the relentless search to uncover the implications of specific social facts. So an entire movie could be built around the fact that a working couple wants to find an apartment. In the usual American movie, this fact may constitute a small scene in a movie of more than two or three minutes, but the new realism explores the implications of this fact. Why do they want the apartment? Where were they before that? Why don't they stay where they were? How much does the apartment cost? Where will they get the money from? How will their family not last reaction? And so on ..

The new realism was predicting what Krakauer said, as she believed that the goal of cinema is to celebrate diaries. “The new realists wanted to show certain details that were never there but were not noticed before, and in Krakauer’s language, they wanted to extract physical reality.” More than anything else, these directors insisted on the inner dignity of the human spirit, which manifests itself in even the simplest of situations. These films are generally so simple that they may seem repetitive if explained verbally. Perhaps the greatest of these is Desika's The Bicycle Thieves, which deals with a poor man's attempts to recover his stolen bicycle, which he needs to keep his business going. After a series of discouraging attempts, the two are able to find one of the thieves, but the hero of the movie is defeated and humiliated in front of his son. After realizing that he will lose his job and live without the bike, this desperate man sneaks out and tries to steal a bike after taking his son away. But the boy is watching from a distance to see his father urging the bike to go, and behind him a crowd wants to catch up with him. He is arrested and humiliated again in front of the crowd that includes his son, who does not believe what he sees. The child suddenly realizes that his father is not the super heroic figure he thought, but rather an ordinary man who succumbed in weakness to this humiliating temptation. Like most neo-realist films, the film does not provide a clear solution. The closing scene shows us the boy walking beside his father, both choked with shame as they weep with silently. The boy's hand reaches out imperceptibly for his father's hand and they return home - their only comfort in their sympathy.

The Bicycle Thief is an extraordinary achievement. The two main actors in the film are amateurs who have never appeared in cinema before. The dialogue is not the usual literary dialect of Tuscany but the working-class vernacular that resembles a conversation on a street corner. Unforgettable shots and yet it is the directness and simplicity of the images that give us such powerful impact.In short, the film embodies the highest ideals of the neorealist movement, i.e. a selfless devotion to everyday life, a sympathetic humanity, the greatness and resilience of the human spirit.With an emphasis on