Italian Cinema
Introduction:
Since the start of the Italian film and cinema in the early 20th century, Italian movie makers and performers passed in a successful era on an international level and have influenced film industries throughout the world. Italian films have earned 14 academy Awards for best foreign language film which out the country in the first placement in the world and 12 Palmes d’or which place it in the 2nd place worldwide.
The first Italian films were the adaptations of books or theatrical plays, using complicated set designs, rich costumes and high budgets. One of the first Italian cinema style was Italian futurism. After a short period of decline between 1920 and 1929, Italian cinema strived back with the introductory of
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The real face of the Italian film industry began to appear between 1903 and 1908, by the help of three organizations, which were ‘’Cines’’, ‘’Amrosio Film’’, ‘’Italia Films’’.
The very early films were the adaptations of books and theatrical plays, such as the adaptation of the book ‘’The last days of Pompei’’ written by Arturo Amborio. The first popular Italian actors were Emilio Ghione, Alberto Collo, Bartolomeo Pagano and others.
The film Quo Vadis done by Enrico Guazzone was the earliest big successful movie in cinema history. Movies such as Cabiria, by Gio Pastrone, was also one of the biggest productions, taking two years of a lifetime to produce.
Italy was home to the Futurists, and to these people, such as famous Filippo Marionetti, cinema was an ideal art form, being a subject of artistic changes and work like for example special effects, editing, manipulation of speed.
The years following WW1, the Italian cinema fought against the rise of foreign competition which led to the unification of the Italian cinema organisations as a strategy for a bigger film production and market, but unfortunately, this unification wasn’t
The concentration is on comparing and finding the changes that history made to this movie genre, especially considering the gender roles. Results will clearly explain the psyche of society in two different periods, which confirms that people reflect the movies as movies have an impact on people. The Introduction It is often said that the element of surprise makes the movie more interesting and leads the plot. There are many masters of storytelling
After reading the critical essay “Neon Gothic: Lost in Translation” by Wendy Haslem, her central argument was found to be that of how Lost in Translation (Coppola,2003) presents a nontraditional approach to a romance in comparison to the expected. Haslem goes on to support her claim of an unconventional romance by using examples of scenes from the film, such as the scene where Bob and Charlotte share a goodbye kiss. In traditional romantic films, there is no mistake in understanding the intent of a kiss. However, in Lost in Translation, the intent of the kiss shared between Bob and Charlotte is not very direct and arises a lot of questions to its meaning. Another piece of textual evidence found to support the claim is the connection made between the two main characters throughout the film.
Casablanca, a Romantic Propaganda Introduction Casablanca is one the classic Hollywood movie which is one of the most critically acclaimed Hollywood movies of all time and also very famous. Casablanca is a romance story that happens during World War II but the question is does it end there? Is Casablanca just a Romance movie? In this essay, I will be discussing how the movie Casablanca which is one of the most famous and critically acclaimed films of all time is a propaganda movie and what message is sending and the effects that propaganda movies make and why it’s important for governments.
A Raisin in the Sun PBA Unit 2 Cinematography and filmmaking are art forms completely open to interpretation in many ways such lighting, the camera as angles, tone, expressions, etc. By using cinematic techniques a filmmaker can make a film communicate to the viewer on different levels including emotional and social. Play writes include some stage direction and instruction regarding the visual aspect of the story. In this sense, the filmmaker has the strong basis for adapting a play to the big screen. “A Raisin in the Sun” is a play by Lorraine Hansberry that debuted on Broadway in 1959.
The film 13th directed by Ava DuVernay targets an intended audience of the Media and the three branches of the United States government with an emphasis that mass incarceration is an extension of slavery. It is intended to inform viewers about the criminalization of African Americans and the United States prison boom. 13th uses rhetorical devices in its claim to persuade the viewers by using exemplum in the opening seconds of the film. President Barack Obama presents statistics, saying “the United States is home to 5% of the world’s population but is home to 25% of the world’s prisoners.” Also the film uses a hyperbole in talking about the movie Birth of a Nation produced in 1915 which portrays a black man as a violent savage who will kill white women.
To the average moviegoer, the world of Canadian cinema is a mysterious (and probably fictional) landscape. Besides obvious outliers, such as David Cronenberg, Canadian filmmakers seem to have a horrible time breaking into the mainstream. Furthermore, it 's quite rare to come across a movie that showcases Canada as a real place, instead of a frigid land of funny-sounding stereotypes, or a hidden stand-in for New York or Los Angeles. Is it even worthwhile to document the film history of Canada, as a separate and valuable entity? Jim Leach, the author of Film in Canada, seems to think so.
Spike Lee did not only do a great job using the elements from the italian neorealism but also putting some his own ideas that were never seen
According to courses.lumenlearning.com, "The increased prosperity of the 1920s increased the Americans' income to spend on entertainment. As the popularity of ''moving pictures'' grew in the early part of the decade, "movie studios" expanded to seat larger audiences and sprang up in major cities. Hollywood became the main global film industry and can be traced back to the early 20th century, when filmmakers began to move to the West Coast of the United States. As stated in Britannica.com, "In 1919, De Forest developed an optical sound-on-film process patented as Phonofilm, and between 1923 and 1927, he made more than 1,000 synchronized sound shorts for release to specially wired theaters. " It also mentions that "One of the first successful subtractive processes was a two-color one introduced by Herbert Kalmus’s Technicolor Corporation in 1922.
The film, Cinema Paradiso, directed by Giuseppe Tornatore, explores the values of religion and relationships, symbolized by the movie theatre central to the narrative. The symbol of the cinema is used to reflect how the Italian community 's values are shaped and influenced after the fall of fascism, post World War II. The memories of Salvatore focus on his relationship with the projectionist, when the cinema played an important role in Sicilian society. The film highlights the power of religion in the community, which values it as sacred. These values are explored through the journey of Salvatore, as he is influenced by the cinema and the community.
In the 1920s, movies became the most popular form of American entertainment. No one expected these films, that were once only a couple seconds long, to influence history as much as they did. This addition of technology to the American lifestyle had the rich and the poor lined up to see the newest showings. The movies reflected American culture and personalities. The film industry made an outstanding increase when it changed location, met competition, and when it began adding sound and color.
BBBBBOOOOOOKKKKK The relationship between film and society continue in the 1930’s. With the start of the great depression came the start of the Breen Office. The Breen Office regulated films in the mid 1930’s and the movie makers decided to embrace the American Values the Breen Office was trying to stand for. Sklar states that this new sense of American Values in film helped to “boost the morale of a confused and anxious people by fostering a spirit of patriotism, unity and commitment to national values,” (3597).
Over the fifteen weeks of the first semester of film school, we were taught many interesting types and styles of early world cinema which were extremely informative and influenced the filmmaking style of the whole class and made us better filmmakers instantly. One such ‘ism’ which inspired me the most was German Expressionism which is a unique characteristic of Weimar Cinema. In this essay I am going to talk about the history of this ‘ism’, its impact on cinema, some significant works and how it inspired me and influenced my filmmaking style. German Expressionism is one of the earliest artistic genres to influence filmmaking, and one that ostensibly prepared for some other cutting edge artistic styles and techniques. It is an artistic genre
Hollywood and the Movie Industry The 1920’s was an era of great transformation in the realm of the film industry. Hollywood created the merriment that entertainment brought. With that, it introduced a way of contentment to the entire world. The film industry truly began to flourish in the 1920’s. Thus, Hollywood is considered the birthplace for movie studios.
The Italian westerns, known as "Spaghetti Westerns," didn 't blast onto the American film scene rather, they gradually saturated the true to life scene of the late 1960 's, filling a void made by an increment in Hollywood 's generation of westerns for TV. Regardless of being one of Hollywood 's most considerable and pre-prominent sorts, by the 1950 's the business was delivering less and less western movies. With the developing prevalence of television, significantly more westerns were being created for the little screen rather than the silver screen. As of now, Italian silver screen was still saturated with Neo-authenticity, the national true to life development described by stories of poor people and regular workers, recorded on area, frequently
Rome was frequently taken as an allegory for the greatness of Hollywood itself, its allure and tasteful development, with antiquated Rome in numerous movies serving as a favored subject for the amazing showcase of the innovative prevalence of Hollywood film. As Michael Wood composes, Hollywood 's histories of Rome are "an immense, numerous faceted allegory for Hollywood itself." And as Maria Wyke further remarks, that the projection of antiquated Rome on screen has worked not just as an instrument for the showcase or investigation of national personalities additionally, and regularly in inconsistency, as a component for the presentation of film itself – its specialized limits and its social worth ... Antiquated Rome has been always rehashed