Italian Cinema Study Notes PDF

Italian Cinema Study Notes Terms – Week 5 Section 1: Key Terms and Concepts- 3-5 sentences Art Cinema defintion: A type of European film emphasizing creativity and unique stories over traditional Hollywood styles. Characteristics: Lower budgets. Unique plots. Focus on the characters'...

Italian Cinema Study Notes Terms – Week 5 Section 1: Key Terms and Concepts- 3-5 sentences Art Cinema defintion: A type of European film emphasizing creativity and unique stories over traditional Hollywood styles. Characteristics: Lower budgets. Unique plots. Focus on the characters' inner feelings. Example: Rome, Open City by Roberto Rossellini. Depicts real-life struggles during Nazi-occupied Rome in WWII. Used nonprofessional actors and real locations for realism. Auteur/Auteur Theory Definition: Auteur Theory is the idea that the director is the author of the film showing how they put their unique ideas into a film like a writer of a book being the author Examples: movies like Open City (1945) and Voyage to Italy (1953), Rossellini mixed real-life stories with big ideas about right and wrong, showing how he saw people and the world around them. Class Definition: means the groups people are pout in depending on how much money they have and there jobs and how much power they have Shows who has more or less in life like rich and poor Characteristics: Representation of different social classes in film Films usually show the lives of different classes, showing there struggles and conflicts Often portrayed as a natural state of society Class struggle means the fight between rich and poor people over fairness. Italian Neorealism shows how hard life can be for working people and how the system isn’t always fair to them. Examples: Bicycle thieves: it shows how desperate Antonio was as a working man looking for his stolen bicycle, which represents his ability to provide for his family​ Cut Definition: The editing technique that connects two scenes. Types of Cuts: Jump cuts It skips part of the story to show time has passed, like showing someone in the kitchen and then jumping to them outside. Continuity cuts A flow between shots example moving from one room to another that is beside each other Crosscuts Showing two or more scenes happening at the same time to make it exciting or show how the actions are connected Montage cuts Combines a series of short shots to shorten time, summarize an event, and create a theme connection Compilation cuts Brings together different shots to create a specific mood Cutaways Putting in a shot of something outside the main action to show additional context or a form of symbolism Examples: Continuity Cuts: Used in Open City (1945) to move smoothly between big emotional moments and the story. Denotation / Connotation Definitions: Denotation: The literal meaning of an image or scene. Connotation: The implied or deeper meaning behind what is shown. Examples: Denotation: bicycle thieves when Antonio and bruno were walking hand and hand through the city Connotation: This shows family love, strength, and how working people felt alone in post-war Italy. Discourse Definition: How movies show ideas and tell stories, sharing what people in a culture believe. Examples: Open city and paisan: show post-war struggles and sacrifice Pasolinis acetone: uses religious symbols to judge a society Hegemony Definition: When a powerful group stays in charge by making others think their ideas are normal and how things should be. Examples: Open City It shows people fighting back against Nazi control, standing up to unfair power. Ideology Definition: A set of ideas that make things stay the same and help those in charge stay in control. Examples: Class and power: The Leopard (1963) shows how rich and powerful families adjusted to big changes, showing who had power and how people were betrayed in history. Italian Neorealism Definition: A film movement (1942-1952) focusing on the struggles of ordinary people in post-war Italy. Characteristics: Use of non-professional actors Real locations Stories centred around poverty and hardship Examples: Bicycle Thieves: A man's quest for his stolen bike in real Roman streets. Rome Open City: Shows people fighting back during the Nazi occupation, filmed in real places. Mise-en-scène Definition: How everything looks in a movie scene—like the place, clothes, lights, and how people move. Mise en scene is a theatre term referring to staging. It connotes the setting, costume, and lighting as well as movement within the frame. It became popular in Hollywood when directors have no control over the script, so they used their stage shots to create a discernible style. (Bicycle thieves-low shots Avventura scene with rock, costume design,rome open city) Examples: To be filled with specific films that exemplify mise-en-scène. Myth Definition: Stories and symbols that show what people in a society believe, making big ideas easier to understand. Examples: Lighting and Setting in Open City (1945): The uneven lighting and use of real locations captured the raw and desperate atmosphere of Nazi-occupied Rome The Leopard (1963)**:  Lavish costumes and detailed aristocratic settings reflected the decadence and decline of the Italian nobility. Narrative / Narration Definition: The structure and method of storytelling in films, including how the characters develop and how the plot comes to be Examples: Paisan (1946): Uses an episodic structure to explore cultural clashes and shared human struggles​ Bicycle Thieves (1948): Highlights personal desperation and systemic failure through a father-son narrative​ Realism Definition: A way of making movies that shows real life and talks about important problems. Examples: Open City (1945): Captures the harsh realities of Nazi-occupied Rome​ Bitter Rice (1949): Combines Hollywood drama with social commentary on labor and class​. Social Realism Definition: A sub-genre emphasizing the struggles of ordinary people, particularly the working and middle classes. Examples: La Terra Trema (1948): Depicts the exploitation of Sicilian fishermen​ Shoeshine (1946): Examines the impact of poverty on youth and morality​ Zoom Definition: A camera technique that adjusts the lens to move closer to or further from a subject without changing the camera's position. Examples: The Leopard: Zooms emphasize opulence and societal decay during the Risorgimento. The Battle of Algiers: Used to heighten tension and focus on critical moments. Terms – Week 8 DIEGESIS / DIEGETIC / NON-DIEGETIC / EXTRA-AND INTRA-DIEGETIC Definition - Diegesis: The fictional world of the story, including everything happening on-screen as part of that world. - Diegetic Sound: Sounds naturally occurring within the story's world, like characters talking or music being played on-screen. - Non-Diegetic Sound: Sounds not part of the story's world, like background music or narration added for the audience. - Extra-Diegetic: Elements (like sounds or visuals) that break the illusion of the story, reminding viewers they’re watching a film. - Intra-Diegetic: Sounds or voices from within the story, like a character’s inner thoughts or a narrator who exists in the film's world. Example: - In Open City by Roberto Rossellini, diegetic sound is what you hear in the story, like people talking and noises in the streets. Non-diegetic sound is music added to make scenes feel more emotional, like during sad or hopeful moments. EDITING / SOVIET MONTAGE Definition - Editing: The process of arranging shots in a film to create a sequence or narrative, often using different styles like continuity, cross-cutting, or montage. - Example: In Open City, Rossellini uses abrupt cuts, wipes, and shifts between long shots and close-ups, disrupting traditional continuity to heighten tension and reflect the chaos of Nazi-occupied Rome - Soviet Montage: A fast-paced editing style that creates meaning by combining conflicting images, often used to provoke emotional or intellectual reactions, pioneered by Sergei Eisenstein. Example: - In The Tragic Pursuit, De Santis uses quick editing and dramatic action to highlight ideological conflicts, echoing the style of Soviet Montage​ GAZE / LOOK AND OPPOSITIONAL GAZE Definition - Gaze: Refers to how viewers and characters in a film exchange and interpret looks, often shaped by power dynamics, such as the "male gaze" that positions women as objects of male desire. Example: - In Bicycle Thieves, Bruno's gaze at his father reflects shifting dependence and disappointment, highlighting their evolving relationship and societal pressures​ -  - Oppositional Gaze: A term by bell hooks describing how Black female spectators resist and critique stereotypical portrayals in film, creating space for alternative ways of seeing and understanding. - Example: In Without Pity, an interracial relationship critiques racism and resists racial stereotypes GENRE / SUB-GENRE Definition - Genre: A way to classify films by type, based on shared themes, styles, or conventions, such as horror, comedy, or westerns. - In Bitter Rice, the film blends the social realism of neorealism with elements of Hollywood-style melodrama and gangster genres, creating a hybrid style that critiques American consumerism while addressing social issues​ - Sub-Genre: A smaller category within a genre that has more specific traits, like slasher films within horror or spaghetti westerns within westerns. - Example: In the Name of the Law adapts the Western sub-genre to Sicily, replacing gunfights with knife duels​ ICONOGRAPHY Definition - Iconography: The visual symbols, styles, and motifs in a film, like costumes, props, and settings, that help define its genre or time period. Example: - in the Defeat of Hannibal, the use of Roman salutes, military uniforms, and ancient architecture serves as iconography to glorify Italy's imperial past and align it with Fascist ideology INTERTEXTUALITY Definition - When a film or text references or connects to other texts, like books, songs, or earlier films, influencing how we understand it. Example: - In Open City by Roberto Rossellini, the movie includes Christian symbols to connect with religious ideas. In La Ricotta by Pasolini, it uses scenes that look like famous Renaissance paintings. These show how movies can link to other art to add more meaning. 180-DEGREE RULE Definition - 180-Degree Rule: A filmmaking guideline that keeps the camera on one side of an imaginary line between characters or objects to maintain consistent perspective and avoid confusing the viewer. - Breaking the Rule: If the camera crosses the line, characters or objects may appear reversed, causing disorientation. PSYCHOANALYSIS Definition - Psychoanalysis in Film: Examines how films reflect unconscious desires, fantasies, and identity formation, often drawing from Freud’s theories of the psyche and Lacan’s ideas about language and subjectivity. - Key Ideas: Films explore themes like repressed desires, identity struggles, and social norms, while shaping how audiences view and relate to characters and narratives. Example: - In Persona by Ingmar Bergman, the story looks at hidden feelings and identity struggles between a nurse and her silent patient. - It mixes reality and imagination to show deep emotions and thoughts. SEXUALITY Definition - Sexuality in Film: Refers to how films portray sexual identities, relationships, and desires, often shaped by dominant cultural norms like heterosexuality, while historically marginalizing other identities like queer or Black sexuality. - Representation: Early cinema often depicted men as active and women as passive objects of desire, but feminist and cultural critiques since the 1970s have challenged these stereotypes and broadened the scope to include diverse sexualities and identities. Example: - In Death in Venice by Luchino Visconti, the story shows hidden feelings of love between men, challenging the usual way movies used to only show straight relationships​ STUDIO SYSTEM Definition  - The studio system was when big movie companies controlled everything about making and showing movies. They made lots of movies quickly, but they had too much power, so the courts stopped them from being in charge of everything in 1948. Example: - An example of the studio system is the rise of Cinecittà in Italy under Mussolini's leadership in the 1930s. - Cinecittà centralized film production and aligned with the Fascist regime’s goals, showcasing how a single entity controlled the creation and distribution of movies, mirroring Hollywood's vertical integration model​ THRILLER / PSYCHOLOGICAL THRILLER Definition - A thriller is a type of movie that keeps you excited and nervous with stories about fear and danger. Psychological thrillers, like Psycho or Repulsion, show how people’s feelings and minds can lead to scary and intense moments. Example: - Taxi Driver (1976) by Martin Scorsese is a psychological thriller about Travis Bickle, a lonely war veteran whose mental instability leads to violent tendencies, offering a dark exploration of a disturbed mind​ TRACKING SHOT /TRAVELLING SHOT / DOLLYING SHOT Definition - A tracking shot (or dolly shot) is when the camera moves smoothly on wheels, tracks, or a vehicle to follow the action. - The movement can go in any direction—forward, backward, or sideways—and can be fast or slow, creating different feelings. - For example, a slow shot might feel dreamy, while a fast one could feel exciting or scary. How the subject is positioned in the frame also adds meaning, like showing someone feeling trapped if they’re off to the side. Example: - Tracking shots were innovatively used in Cabiria (1914) by Giovanni Pastrone, where the camera moved on rails to immerse the audience. - In Open City (1945), Roberto Rossellini used tracking shots to enhance realism and follow characters’ movements, aligning with neorealist principles. Both examples show how this technique adds depth to storytelling. Important things to know for mini-essays Roberto Rossellini and Neorealism Impact on Audience: The movie has a big impact because it shows people's real fears and reminds us of the sacrifices made during the war, which makes it very true. Christian Narrative: The movie discusses the Christian story extensively, which emphasizes the importance of sticking together and helping each other. This is tied to Rossellini's idea of neorealism as the “artistic form of truth.” Bicycle Thieves (Vittorio De Sica) Related Readings: M. Marcus on Bicycle Thieves Morris-Hearder: “Italy Since the World War” (p. 244-250) BONDANELLA-PACCHIONI: Chapter 3 "Neorealism: A Revolutionary and Problematic New Film Aesthetics” (p. 83-99) Themes and Ideas: End of Solidarity: The movie shows people struggling, with the poor fighting against each other, and Rome is shown as a confusing and messy place. In Bicycle Thieves, people don’t help each other anymore because everyone is struggling to survive. Antonio is all alone trying to get his bike back, and even the thief is just another poor person. The movie shows how hard times make people stop working together. Father-Son Relationship: The movie shows the tricky relationship between Antonio and his son Bruno while they deal with being poor and not having a job. It mixes their personal story with the bigger problems in society. Poverty and Hope: The movie shows how people felt let down after hard times, showing how a good man becomes so desperate he steals. It also shows how big groups like the police, church, and unions didn’t help him when he needed it. Understanding Neorealism Definition and Features: Context Italian Neorealism started after World War II, from 1943 to 1952. It showed how tough life was in Italy after the war, with people struggling with poverty, no jobs, and big problems in their daily lives. Filmmakers felt it was important to tell real stories about how people stayed strong and faced these challenges.  Definition A post-WWII Italian film style that focuses on truthful storytelling about the real-life struggles of everyday people. It avoids artificial or glamorous elements by using real locations, nonprofessional actors, and simple narratives, aiming to reflect life as it truly is. Roberto Rossellini described it as a way to understand oneself and the world honestly and authentically. The ten defining points of Neorealism 1. Message: Cinema as a means of expression and communication. 2. Topicality: Scripts inspired by real historical and social issues. 3. Detail: Authenticating details to ground the narrative in reality. 4. Masses: Characters shown in relation to societal groups. 5. Realism: Sensitively filtered portrayals of reality. 6. Actors: Use of nonprofessional actors for authentic performances. 7. Décor: Real locations instead of studio sets. 8. Lighting: Natural or uneven lighting to enhance realism. 9. Photography: Reportage-style photography. 10. Freedom of Camera: Mobile, unrestricted filming techniques. Diverse perspectives on the movement Humanistic View: Some people, like André Bazin, thought Neorealism was about showing what’s real and important, focusing on people helping each other and staying strong. Socio-Historical View: Others, like Umberto Barbaro, saw Neorealism as connected to big events in history, like the fight against Fascism and the hard times after the war. They liked how it showed problems like poverty and unfairness. Artistic Approach: Filmmakers like De Sica turned real-life stories into something beautiful, while Rossellini focused on the right and wrong in these stories, not just showing facts. Voyage to Italy (Roberto Rossellini, 1953) Related Readings: P. Brunette on Voyage to Italy BONDANELLA-PACCHIONI: "The Cinema of Reconstruction and the Return of Melodrama" (p. 133-138) Additional files discussing Rossellini, Joyce’s "The Dead" Themes and Ideas: Two Civilizations: The contrast between Katherine and Alex Joyce (modern "stitched suit" individuals) navigating a traditional "toga" society. Literary References: Rossellini's incorporation of James Joyce’s themes enriches the narrative with philosophical depth.  Reality and Beyond: The film presents sacred elements of life through Katherine's experiences, marking a departure from traditional neorealist storytelling. La Strada (Federico Fellini) Themes and Ideas: Stock Characters: Zampano, Gelsomina, and the Fool are like characters from old Italian plays called Commedia dell’Arte. They help show bigger ideas and feelings, not just the problems in their world. Break from Neorealism: Some people who loved pure Neorealism didn’t like the film. But Fellini’s way of telling the story made it more creative and interesting. Moral Imperative: Gelsomina’s goal to "love thy neighbour" helps us understand Zampano’s rough and mean side. Italian Economic Miracle Importance: In the 1950s-1960s, Italy changed a lot because of a big economic miracle. This also changed Italian movies, like those made by Antonioni and Pasolini. Industrial Growth: Shift from rural to urban economy, driven by industries like steel, chemicals, and automobiles (e.g., Fiat). Migration and Urbanization: Millions moved from the rural south to industrial northern cities, causing overcrowding. Social Change: Rise of consumerism, changing family roles, and modern lifestyles (e.g., cars, TVs, appliances). Cultural Impact: Films reflected urbanization and consumerism (Il Boom, 1963). Existentialism in Film Core Themes: 1. Free Choice: Films highlight the individual's power and responsibility to make choices despite uncertainty. 2. Existential Anxiety: Explore feelings of isolation, despair, and the search for meaning in an indifferent world. Examples:  Michelangelo Antonioni: His films like L’avventura (1960) and La notte (1961) depict modern life's alienation, showing fragmented relationships and existential voids​ La Dolce Vita (1960): Examines moral ambiguity against the backdrop of modern societal change​ L’Avventura (1960) Themes and Ideas: Absence and Disappearance: Focus on Anna’s disappearance as a reflection of contemporary existential conditions. Antonioni's Style: His abstract cinema conveys complex philosophical meanings and realities. Mamma Roma (Pier Paolo Pasolini, 1962) Themes and Ideas: Modernization and Contamination: The clash between rural purity and encroaching modernity is visually represented. World of the Downtrodden: Characters like Ettore exemplify the struggles of those outside capitalist dynamics. Homage to Neorealism: The film pays tribute to neorealism through casting choices and thematic parallels. La Ricotta (1963) Themes and Ideas: Contamination of Modernity: The film juxtaposes rich and poor worlds, emphasizing ongoing societal struggles. Passion of Jesus: Reflects daily suffering faced by the marginalized, using intertextual references to art. Marxism and Gramsci Key Concepts: Historical Materialism: Class struggle is a foundational element. Base and Superstructure:  Understanding the interplay between material life and societal ideologies. Gramsci's Contribution: Emphasis on hegemony within cultural contexts, shaping the discourse around cinema and society. CONDENSED CHAT VERSION Roberto Rossellini and Neorealism Impact on Audience: Reflects real fears and wartime sacrifices, making it impactful and truthful. Christian Narrative: Highlights unity and mutual aid, aligning with neorealism as an "artistic form of truth." Bicycle Thieves (Vittorio De Sica) Themes: End of Solidarity: Shows poor turning against each other in a chaotic Rome. Father-Son Relationship: Antonio and Bruno's bond reflects societal struggles. Poverty and Hope: Desperation leads to moral downfall; institutions fail to help. Related Readings: M. Marcus Morris-Hearder, "Italy Since the World War" Bondanella-Pacchioni, Chapter 3 Understanding Neorealism Definition: Post-WWII Italian cinema showing harsh realities (poverty, unemployment) with real locations, nonprofessional actors, and authentic stories. Key Features:  1. Cinema as expression 2. Real historical/social issues 3. Authentic details 4. Societal group focus 5. Truthful portrayals 6. Nonprofessional actors 7. Real locations 8. Natural lighting 9. Reportage-style photography 10. Mobile filming Perspectives: Humanistic: Focus on people’s resilience (André Bazin). Socio-Historical: Links to Fascism, postwar struggles (Umberto Barbaro). Artistic: Beauty and morality (De Sica, Rossellini). Voyage to Italy (Roberto Rossellini, 1953) Themes: Two Civilizations: Modernity vs. tradition through Katherine and Alex Joyce. Literary References: James Joyce themes enrich the story. Reality and Beyond: Sacred elements highlight life’s deeper meaning. La Strada (Federico Fellini) Themes: Stock Characters: Zampano, Gelsomina, and the Fool reflect universal emotions. Break from Neorealism: Critics disliked the move to creative storytelling. Moral Imperative: Gelsomina’s love reveals Zampano’s inner struggle. Italian Economic Miracle (1950s-1960s) Changes: Industrial Growth: Rise in urban industry (e.g., Fiat). Migration: Rural-to-urban movement causing overcrowding. Social Change: Rise of consumerism, shifting family roles. Cultural Impact: Films reflected these changes (e.g., Il Boom). Existentialism in Film Core Themes: Free Choice: Individuals confront uncertain decisions. Existential Anxiety: Isolation, despair, and search for meaning. Examples: Antonioni: Alienation in L’avventura and La notte. La Dolce Vita: Moral ambiguity amid societal change. L’Avventura (1960) Themes: Absence and Disappearance: Anna’s vanishing reflects existential emptiness. Style: Abstract cinema explores deep philosophical ideas. Mamma Roma (Pier Paolo Pasolini, 1962) Themes: Modernization: Clash of rural and modern values. Downtrodden Struggles: Marginalized lives outside capitalism. Homage to Neorealism: Reflects earlier cinematic traditions. La Ricotta (1963) Themes: Modernity vs. Poverty: Stark contrast between rich and poor. Passion of Jesus: Links suffering of the poor to Christ’s story. Marxism and Gramsci Key Concepts: Historical Materialism: Class struggle as a foundation. Base and Superstructure: Interaction of material life and ideology. Gramsci's Hegemony: Culture’s role in societal dominance.