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Interested in promoting a realist agenda reminiscent of Lukacs's throughout the arts, Aristarco contended that the descriptive approach of early neorealism was too simplistic and ought to be replaced by a more critical method. In Visconti's Senso (1954) he identified the exemplary expression of a realist poetics informed by historical criticism.
With respect to periodization, neorealism generally is supposed to start with Visconti's Ossessione (1942), to culminate in Rossellini's Roma citta aperta (1945) and De Ska's Ladri di biciclette, and to begin to decay after De Sica's Umberto D (1952), which Guglielmo Monetti has portrayed as the last neorealist masterpiece...
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Common topics in this essay:
- ITALIAN REDEMPTION OF CINEMA: NEOREALISM FROM BAZIN TO GODARD, THE
- Jean Luc Godard's Weekend as Didactic Self-Reflexive Cinema
- Sophia Loren And Italian Cinema
- Children in Early Italian Cinema
- Paradise Lost: Censorship and Hypocrisy in the Italian film Cinema Paradiso
- italian neorealism
- expressive means of intonation (russian)
- Third Cinema
- War In Cinema
- Cinema/Film
- Irish Cinema
- Cinema/film
- Hindi Cinema
- Hindi cinema
- indian cinema
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