His thought was that the people of Italy have been separated so long that they have developed different customs, cultures, and traditions. With these new things developed he thought that you can’t simply unite those people because they have no common background and therefore won’t want to unite and become one with people they don’t see themselves the same as. Like stated, the views against Italian unification were mainly coming from two people, Vincenzo Gioberti and Daniele Manin. They both believed that Italy shouldn’t unify but there reasons were that if Italy unifies it is taking the princes freedom away and therefore making it easier for foreign invasions and civil wars to occur. Then Menin thought that Italy shouldn’t unify because you can’t force [epp;e with different cultures, customs, and traditions to come
Recorded throughout history, a number of film movements have dared to explore the unconventional; in particular the Italian neorealism movement gave the world a new perspective to contrast Hollywood at the time. From the year 1945 to around 1950 the Italian neorealism movement was declaring to the world how a meaningful motion picture does not have to accept the rules Hollywood lives by. The films of the movement are most often defined by the narratives and the lack of resources used in production. Furthermore they frequently featured nonprofessional actors and location shooting while the story reflected the lives of ordinary working class of the time. Examples of this can be found in important films of the movement, such as Roberto Rossellini’s
Italian Neorealism film captures the hardships of daily life in Italy after World War II, the fall of the Mussolini’s Fascist regime 1943 with the difficult economic and moral conditions of World War II Italy. Italian Neorealism film is being known a documentary visual style-grainy photography (Cardullo B ,1991) based both category film use of actual locations, reveals the real situation of the reality and avoidance of unnatural lighting. Those elements made this category films extremely alike, but not the same. Though the film Paisà (Paisan) (1946), Laidri di biciclettle (The Bicycle Thief) (1948), Germainia anno zero (Germany, Year Zero) (1948), Umberto D. (1952), this research paper will mainly focus on the differences between Italian Neorealism
their own media and movie making. Still, Warner Bros was far from allocating lead roles to Native American actors, which confirms that artistic cultural violence, being a form of cultural appropriation, still persisted in Warner Bros movies of the 3rd period. II. Discussion: Violence in Warner Bros’ Posters In the twentieth century, Hollywood contributed to maintaining positive and (mostly) negative images in 823/1000 of the movies about Native Americans (Fixico, 2006). The explanation we obtained after we applied our theoretical framework to Warner Bros movies, enable us to uncover different aspects cultural violence, including discrimination, othering, stereotyping, and cultural appropriation in this representation.
The neorealist films were a way for Italians to reflect on the past and the events that lead to the conditions in which they were living. The repercussions of relying on one person, specifically one politician, to take responsibility and solve problems for the masses was being reflected on the screen, and this inspired Italians to take control of their own political, social, and economic issues. The paradox created by these films was simply that, although the movies were centered on the fatalism of Italians and how this affected the poor conditions, they inspired the people to rise from the ashes and change for the better. These movies, with the uncertainty of outcomes and fatalistic endings, paradoxically led to a new, prosperous
The French New Wave created a societally and intellectually engaged cinema experience. The status of films became prestigious in a sense that they could spark political and social engagement and debate. The opinion of cinema was forever changed as films were now looked as more than just entertainment, but
As far as the characters of both the novel and the film versions of Fight Club are concerned, we could easily see that some aspects of main characters in the novel, especially Tyler Durden and Marla Singer, are slightly modified in the film version. Fincher’s depiction of Tyler in the movie is closer to the popular culture, while Palahniuk doesn’t favour a popular character as he intends to create a more non-capitalist character. In this sense, Fincher’s manner as a director could be interpreted as a betrayal to the source material. What’s more, Tyler’s portrayal in the novel is more rebellious and chaotic; nevertheless, he isn’t that much impressive in the movie. In other words, Fincher tones down the extent of Tyler’s violence and his approach to capitalism both of which are the main interests of the novel.
The tendencies in Yugoslav film in the 1980s are the answer to its political and social problems. When trying to analyze where Yugoslav film fits into the official Yugoslav ideology and in what way it criticizes this ideology, one can naturally start from the Yugoslav Black Wave and argue that this is the period of Yugoslav cinema where the system was criticized most heavily. However, the Black Wave was not criticizing the ideology itself, but the way it was applied. Yugoslav Black Wave was close to the ideas of Praxis. “Some of these filmmakers were committed socialists whose work was designed to not only exercise the postulates of the ideology that they had studied and practiced but also to play its part in realizing the ‘socialist paradise’ that Tito was intent on creating—though perhaps their vision of that paradise and how to realize it differed from the official
In the conclusion of the three-part war trilogy from Roberto Rossellini is a film titled Germany Year Zero. Released in 1948 and an Italian produced film, Germany Year Zero is shaped by Italian neorealism, an aspect intrinsic in the Italian films of the time. Italian neorealism attempts to paint a true reality of the situation at hand just as it objectively depicts a ruined post-war Berlin. Rossellini also presents melodramatic forms of narrative through the characters in the story in another form of objectivity and distance from emotion. Employing forms of Italian neorealism, Rossellini presents an evocative view of feeling for the audience to experience the situation alongside the characters.
As seen in history before when there is a struggle in the economy many will turn to a more radical solution, such as communism. In 1946 one-fourth of the French had voted for communism and in Italy, the communist controlled one-third of the public voting. President Truman knew that if Europe could not be rebuilt soon then communism would make its way towards the west. Due to these fears of spreading communism, USA wanted to help establish a better political stability before communism would increase. Infrastructure such as railways, bridges, docks and housing had been targeted by airstrikes, which had made the process of continuing work much harder.