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Fairy tales of the Viennese wood
LOOK ONLINE On the contrary, we seek to highlight its merit and importance in the long term consistent historical development.It is obvious that a certain way can be born on the basis of artistic trends that have aesthetic integrity and effective basis for the existence in the history of art. If neorealism was not artistic phenomenon, he would certainly have not generated a certain manner.But to recognize that it is a worthwhile phenomenon of art, not to justify why styling or claim that neo-realism is all the film at large.Bohemian translation Elio Vittorini1 Problems realism in Italian cinema and literature, I am convinced that "the realistic" you call some private realistic direction that exists in the film among many other such realistic ways.For today, I do not see anything in the film that would not be a realistic. Surreal and expressionistic attempts made twenty years ago and more, belong ultimately to a greater extent the history of theater, rather than the history of cinema. These were attempts to extend to the cinema some typical theatrical techniques.And if they make the brackets, it appears that the cinema to date developed in one direction, which, in my opinion, is the naive and spontaneous naturalism to naturalism sophisticated, veiled and ultimately abstruse.In any case, I can only assume that this is a trend among many other destinations in realistic kineVoprosy mooted by the magazine "Chinema nuovo": Do you admit the existence of the realist movement in cinema;What, in your opinion, is its specificity, what is its historical and aesthetic value? Is there a link between the non-random kinetic matografom realistic and contemporary Italian literature? What is their time difference? What are the most important, from your point of view, the production of reference.matografe you call "realistic", thus emphasizing its uniqueness. Is not it makes a direction that you recently welcomed determined by other, less common term - "neo-realism"?However, based solely on the assumption I would not want to indulge in arguments about the specifics of this trend. There is no doubt that modern prose between the lowest and cinema poshiba bad sense, there are many non-random connections.But between the entity and a typical prose Brancato, Alvaro, Pavese, Vittorini, Carlo Emilio Gadd, Moravia, Pratolino, Piovene, Calvino or Komisso2 on the one hand, and with the nature and typical in film Blazetti, Visconti, Rossellini, De Sica, Antonioni or Castellani - on the other, I see no other ties than common life material.In the very intent of both, I do not see the connection, which would not be random. As for the differences, I do not see what similarities, if any of our writers, could be countered few or many common features that distinguish our recent films.Is there anything should the general, in a positive sense, between Brancato, Pavese, Carlo Emilio Gadd and others, that would distinguish them as a whole, as a phenomenon from the integrity, which represent our best directors?The most significant events of Italian realist cinema, in my opinion, was the film "Payza", "Bicycle Thieves," "difficult years", "Obsession", "La Terra Trema", "Girl with the Spanish", 3 "two a penny of Hope" and almost certainly there are others who just do not now come to mind.Translation Alova Italo Calvino Film, like literature, makes me dislike, however, like literature, like a movie.