Podcasts about Italian neorealism

This episode explores the journey of filmmaker Vibeke Løkkeberg, who spent 52 years creating her film, “The Long Road to the Director's Chair,” which premiered at the Berlin Film Festival. Past cinema discussed includes Italian Neorealism and Andrei Tarkovsky.Vibeke's film highlights the struggles and achievements of women in the film industry, delving into the ongoing fight for equality in filmmaking, the challenges faced by female directors, and the impact of commercialism on artistic expression. The discussion also explores personal resilience, the significance of authenticity in storytelling, and the lessons learned throughout a lifetime of filmmaking.What Movies Are You Watching?Like, subscribe and follow us on our socials @pastpresentfeature

On this episode, we're heading to Brazil and discussing Glauber Rocha's Entranced Earth (1967), a pivotal work of the Cinema Novo movement. Following our exploration of Costa-Gavras' Z (1969), we're delving into the turbulent world of Brazilian filmmaking in the wake of the 1964 military coup. Entranced Earth isn't just a film; it's a cinematic rebellion against political corruption and authoritarianism. Rocha's work, along with the broader Cinema Novo movement, redefined Brazilian cinema with its raw, politically charged narratives and innovative film techniques. We discuss how Rocha and the other Cinema Novo filmmakers, inspired by Italian Neorealism and the French New Wave, crafted a uniquely Brazilian cinematic language to confront social inequalities and spark critical discourse. Join us as we examine Rocha's "Aesthetic of Hunger" manifesto and discuss how Entranced Earth continues to resonate in our ongoing struggle against rising fascism and authoritarianism in the US and worldwide. Follow us at: Patreon / Twitter / Instagram / Letterboxd / Facebook 

On this episode of Cinema Dual, Jon and Chris go to mid-20th century Italy for some neo-realism. Movies Discussed: Rome Open City, Umberto D Recommendations : My Voyage to Italy (Chris), Cloud Atlas (Jon) For more of our movie thoughts, including our series on the films of Akira Kurosawa, you can check them out at www.cinemadual.com.  Cinema Duals' Mountain of Gloriousness The Films of Cinema Dual Follow us on Blue Sky: @joncinemadual @belownirvana  Follow us on Spotify: Cinema Dual

This week on The Tinsel Factory, a look into the history and style of Italian Neorealism.  Movie Reviews: Poor Things, The Zone of Interest, and Aquaman and the Lost Kingdom Criterion Collection: #638 - Following (1998) Support This Podcast: https://anchor.fm/tinselfactorypod  Merch: https://shop.spreadshirt.com/the-tinsel-factory/all Venmo: @tinselfactorypod Buy Me a Coffee: buymeacoffee.com/tinselpod Letterboxd: https://letterboxd.com/tinselfactory/ Sources: The Story of Film, (2011) by Mark Cousins A Short History of the Movies (2011) by Gerard Mast & Bruce F Kawin youtube.com/watch?v=AoRpWU6hHJ8 https://www.movementsinfilm.com/italian-neorealism youtube.com/watch?v=v_uLv6Wt2io&list=PLKQ-dn6dXI4J3SF8iVCEoe738XUSfkzcQ&index=2  youtube.com/watch?v=YL0TNHW-4P4 Music: youtube.com/watch?v=wgrW5niV5Xw&list=PLFzjr1Urf6kt4Z7WGi9_ca1PejgCo-bVL&index=5  --- Support this podcast: https://podcasters.spotify.com/pod/show/tinselfactorypod/support

Jackie and Greg join the search for Antonio's missing bike in Rome for Vittorio De Sica's BICYCLE THIEVES from 1948. Topics of discussion include the film's production, the use of non-actors, its simplicity and clear storytelling, its connection to PEE-WEE'S BIG ADVENTURE, and why it remains the most iconic of the Italian neorealist films.#33 on Sight & Sound's 2012 "The 100 Greatest Films of All Time" list.https://www.bfi.org.uk/sight-and-sound/polls/greatest-films-all-time-2012#41 on Sight & Sound's 2022 "The Greatest Films of All Time" list.  https://www.bfi.org.uk/sight-and-sound/greatest-films-all-timeArbelos Films Shop (use promo code SCENEHEARD for 15% off -- good thru October 12, 2023)https://shoparbelosfilms.comCheck us out on Instagram: https://www.instagram.com/sceneandheardpodCheck us out at our official website: https://www.sceneandheardpod.comJoin our weekly film club: https://www.instagram.com/arroyofilmclubJP Instagram/Twitter: jacpostajGK Instagram: gkleinschmidtGraphic Design: Molly PintoMusic: Andrew CoxGet in touch at hello@sceneandheardpod.comSupport the showSupport the show on Patreon: patreon.com/SceneandHeardPodorSubscribe just to get access to our bonus episodes: buzzsprout.com/1905508/subscribe

Italian Neorealism at its finest. --- Support this podcast: https://podcasters.spotify.com/pod/show/chris-levine/support

I've made fun of film sequels, universes, and series on the pod, accusing Hollywood of taking anything that's successful and knocking it off repeatedly, for the dollars. As well as the yuan; many of the cinematic universes are action/hero/comic book films, which are short on plot and long on thrills and special effects, thus not needing extended passages of subtitled exposition. Which is not to excuse Hollywood, don't get me wrong! It's a lousy use of film, talent, and time, but I suppose an adequate way to make money. But allow me --- I'd like today to look at the end of an arc, a sort of sequel, if I may, on this pod. It's 1952's Umberto D, from the last of the era of Italian Neorealism. It's the antithesis of an action universe film, as very little occurs during the story. But it does sum one director's study of the ages of man --- Vittorio De Sica. email: David@thosewonderfulpeople.comWebsite and blog: www.thosewonderfulpeople.comIG: @thosewonderfulpeopleTwitter: @FilmsInTheDark

About six months ago, I did a pod on Goodfellas, Martin Scorsese's 1990 magnum opus on the wise guys of New York, which to me was sweeping, magnetic and a triumph. And as I said then, it's a young man's film --- it had all the adrenaline, obstinance, the hubris, and the self-belief that young men often possess. A lot of water under that bridge since 1990, with Scorsese directing a slew of incredible films to follow: the remake of Cape Fear, a huge change of pace in The Age Of Innocence, back to wise guys with Casino, Gangs Of New York for a take on the Protestant-Catholic and Nativist battles of the 1860s, The Aviator, a terrific film on Howard Hughes that didn't get its due, then winning the Best Director Oscar in 2006 for The Departed. You've heard me rant about that late, late recognition before, so I'll let it lie. Then through the latter part of the 2010s with amazing films like Hugo, The Wolf Of Wall Street and Silence. Where am I going with this laundry list? Here, you have the protagonist, but where's the antagonist, huh? Where's the drama?  Like De Sica and his Italian Neorealism series of Shoeshine, Bicycle Thieves, and Umberto D, tracing the ages of man in post-WWII Rome, you can conveniently stick a square peg in a square hole and assert that Scorsese is following a similar arc with his gang and wise guy films. Early work with young, promising actors in Mean Streets, followed by the crazy adults of Goodfellas, middle-aged and calculating in Casino. And what's at the end of the arc? The wise guys in old age, looking back. What we find is the film, The Irishman. email: David@thosewonderfulpeople.comWebsite and blog: www.thosewonderfulpeople.comIG: @thosewonderfulpeopleTwitter: @FilmsInTheDark

CALL YOUR MOTHERShop the Store: http://tee.pub/lic/bvHvK3HNFhkTheme Music "A Movie I'd Like to See" by Al Harley. Show Art: Cecily Brown Follow the Show @freshmoviepod YouTube Channel abreathoffreshmovie@gmail.com

In this episode, Sarah and MJ are joined by Rob Wallis to talk about Spielberg's major studio debut, The Sugarland Express. They discuss its similarities and differences with Duel, the "aw, shucks" style performances, how the film was received by critics such as Ebert, Siskel, and Pauline Kael, and how the film was influenced by Westerns, Italian Neorealism, and the French New Wave.

For this episode, Death Ensemble's P Owen Fasso joins me once again, but we're talking about real-life horrors instead. Here, we chose two films from Vittorio De Sica- "Bicycle Thieves" and "Umberto D"- to discuss the Italian neorealist movement, the value of art, and how themes from 70 years ago continue to be relevant.

Welcome to Cool Hand Crypto, where Cinema, Culture and Crypto collide! In this episode of Cool Hand Crypto, Matt speaks with filmmaker, educator and humanitarian Josephine Landertinger Forero about using the tools of filmmaking and NFTs for social good. Matt and Josephine discuss the process of documentary filmmaking, navigating NFTs, cultural initiatives within the NFT ecosystem, and her own organizations and films that merge cinema and human rights. — Josephine Landertinger Forero, born in 1983, is a film director and producer, educator, mother of two daughters passionate about human rights, migration, diversity, gender equality and women's empowerment. She is a member of the Colombian Academy of Motion Pictures (ACACC) in the specialty of Directing, member of Dones Visuals Catalonia, European Women's Audiovisual Network, CIMA Spain and Girls Club Women & Hollywood. Founder of Global Eyes Production and creator of the online directory of organizations that work on gender equality in Ibero-American cinema: accionmujeres.com. Founder of the first online film academy for Spanish speaking female filmmakers, Just Love Film Academy. Her film "Home - the country of illusion" was nominated for Best Colombian Documentary by the ACACC in 2017, a reflection on identity and the sense of belonging. It can be seen on various platforms such as Filmin, Mowies, Amazon Prime or Flixolé. Her second feature "I'm Cris from Tierra Bomba" will be launching in 2022 and will have NFTs to support LBGTIQ organizations. Josephine studied Film and Communication at the Freie Universität Berlin, Germany. She specialized in German postwar cinema, Italian Neorealism, documentary cinema and journalism in armed conflicts. — For more on Josephine head to: twitter.com/Josephine_LF_ instagram.com/josephine_lf_film linkedin.com/in/josephine-lf josephine-lf.com — Cool Hand Crypto Host & Executive Producer: Matt Silverman Assoc. Producer: Cassidy Slamin — Listen and subscribe to the Cool Hand Crypto Podcast! Watch and subscribe to Cool Hand Crypto on YouTube! For the latest episodes and updates head to: CoolHandCrypto.com #CoolHandCrypto #coolhandcrypto,#cinema,#culture,#crypto,#JosephineLF,#metaverse,#movies,#Hollywood,#nft,#dao,#cryptocurrency,#matt silverman,#TikTok

In this episode, Sanjeet, Dhruv, and Simon introduce some major international film movements - Italian Neorealism, French New Wave, and Indian Parallel Cinema - before going through some of Simon's favorite, obscure ones, like the Czech New Wave. Then, each of us recommends three-four films/filmmakers whose films have gotten us more into the world of world cinema.  Also, featuring a never-heard-before theme tune from Powell & Pressburger's "Black Narcissus." **Apologies for some of the background noise in the episode** Follow our Instagram page: https://instagram.com/queenisdead.filmpodcast You can also follow Simon: https://www.instagram.com/the_bong_cinephile_/   Do hit 'Follow' on Spotify if you haven't already to help the podcast reach more people! Follow us on Letterboxd at:   https://letterboxd.com/aterminalcinema/   https://letterboxd.com/Sanjeet_Singh/ https://letterboxd.com/the_bong_cineph/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/queenisdead/support

Don't forget to Rate & Review! Twitter - @ReelOfThieves Instagram - @ReelOfThieves Hey everybody! Welcome back to Reel of Thieves, the show where we go over all the references, riffs and history of your favorite stuff and this week, we're doing a tour in Nam with Apocalypse Now! This is a loose adaptation of Heart of Darkness by Sir Joseph Conrad made by Francis Ford Coppola, one of the biggest names of the American New Wave. This was an artistic film movement attempting to replicate the French New Wave in the US. It's typically known for lackadaisical structure, elements of Italian Neorealism mixed with Interpretive, improvisational, method-style acting and cinematography. So while there is the spirit and some pieces of the Novella here, it is not the same kind of adaptation we analyzed last week. Which is exactly why I chose it. We'll go over the plot of both pieces, what I found to be interesting in the film, and go over some of the history behind the making of Apocalypse Now! Don't Be a Troll, Be an Artist! Show Support Team Jan Brofka-Berends Sources 24 Apocalypse Now from The Cine-Files Apocalypse Now (Directed by Francis Ford Coppola) - Boys with (Horror) Toys from Show Me the Meaning! Hearts of Darkness: A Filmmaker's Apocalypse by Eleanor Coppola --- Send in a voice message: https://anchor.fm/reel-of-thieves/message Support this podcast: https://anchor.fm/reel-of-thieves/support

Alonso Aguilar on one of the last works of Italian Neorealism.

Italian Neorealism. That is the soup du jour and our unsuspecting hosts Martin & Ølund sit down for a hearty bowl on this week's instalment of It's Not That Deep Bro. Unfortunately, just like in Italian Neorealism, everything cannot go well 100% of the time and just for this week, one will have to put up with some minor audio issues due to unforeseen circumstances.  To attempt to make up for this we have provided an extra exclusive slice of music titled "Up" from our in house producer, Brogan, which we hope subsequently soothes the damage we may have caused. Again, many apologies and we will see you next week in what we hope to be a return to from! Thank you ever so much for listening :) Our Insta: https://www.instagram.com/mipltd/ Brogan's Insta: https://www.instagram.com/broganmusic/

The “Cinephile Cuties” are ready to engage in some guerilla warfare. That’s because they’re chatting about Gillo Pontecorvo’s The Battle of Algiers. In this episode, Casey castigates Patrick for having fun while watching this film. And Patrick regales us with Part Two of his “Las Vegas Fiasco.” In addition to that, they put The Battle of Algiers through their proprietary “Fartsy Test.” Patrick recommends a drink pairing. And they give each other notes to improve the show. Listen in to see if it’s working!If you like this show, tell a friend!If you’d like to sponsor the show, Venmo Patrick at Patrick-Mallon$10 for episode sponsorship$25 for sponsorship AND the boys will imbibe a drink of your choosing.Follow Farthouse on Twitter and InstagramFollow Patrick and Casey and TwitterAnd follow Patrick and Casey and on Letterboxd

Our Film to Remember is a pinnacle of world cinema, the devastating BICYCLE THIEVES (1948) from Hugo's homeland. 0:00 Intro/Background 4:52 Italian Neorealism 16:35 Spoiler-free Discussion 37:14 Spoiler Discussion 1:16:56 FTR Ranking/Next Week Next week: FERRIS BUELLER'S DAY OFF (1986) Follow us on twitter: @RTF_pod, @GoodGameGrizz, @Hugo_Pinai, @BroshJadley Follow Grizz on twitch: twitch.tv/GoodGameGrizz

Steps toward being productive! https://tinyurl.com/unhousedla/https://www.waterdropla.org/The Oscars Regain Their Goodwill, And Then Immediately Squander All of It: https://merrygoroundmagazine.com/the-oscars-regain-their-goodwill-and-then-immediately-squander-all-of-it/CheapRVliving: https://www.youtube.com/channel/UCAj7O3LCDbkIR54hAn6Zz7A Aya Lehman: https://twitter.com/ayalhmnKevin Cookman: https://twitter.com/KevinCookmanContact/Mailbag: ayavsthebigboys@gmail.com A Merry-Go-Round Magazine Podcast: https://merrygoroundmagazine.com/Support Merry-Go-Round Magazine!: https://www.patreon.com/mgrm 

Welcome to the Instant Trivia podcast episode 75, where we ask the best trivia on the Internet. Round 1. Category: 4-Letter Birds 1: Ancient Egyptians believed this bird to be a representative of the god Thoth. ibis. 2: Species of this bird include the Caspian, South and Arctic. tern. 3: An elated person is sometimes said to be "as happy as" this songbird. lark. 4: The rook is the most common member of this bird family found in Europe. crow. 5: This bird isn't biologically distinct from the pigeon, it's just smaller. dove. Round 2. Category: Sounds Like Ig-Pay Atin-Lay 1: Maryland's Severn River is an inlet of it. Chesapeake Bay. 2: The 2000 Robert Mondavi one has nuances of hazelnut and goes well with salmon. Chardonnay. 3: Unverified gossip or rumor; it's often excluded from court. hearsay. 4: December 26, when British servants traditionally get gifts. Boxing Day. 5: A stream of electrons from a negatively charged electrode. cathode ray. Round 3. Category: "B" Movies 1: 1948:In a classic of Italian Neorealism, a father and son search for a stolen vehicle. The Bicycle Thief. 2: Bogie stars as Phillip Marlowe in this 1946 film noir classic based on Raymond Chandler's first novel. The Big Sleep. 3: As Josef Mengele, Gregory Peck sets out to breed a new race of Hitlers in this thriller. The Boys from Brazil. 4: This title describes Carroll Baker's thumb-sucking character and nightie she wore. Baby Doll. 5: 1991:Ice Cube co-starred in this saga about a group of friends chillin' out in an L.A. ghetto. Boyz n the Hood. Round 4. Category: He's The Coach 1: Green Bay Packers, 1959-1967. Vince Lombardi. 2: Chicago Bears, 1920-1967 (with a few breaks). George Halas. 3: University of Nebraska Football, 1973-1997. Tom Osborne. 4: Indiana Pacers, 1997-2000. Larry Bird. 5: UCLA Men's Basketball, 1949-1975. John Wooden. Round 5. Category: Manhattan's Museum Mile 1: The exterior of this museum at 5th and 89th was designed to break the rectangular grid of Manhattan. the Guggenheim. 2: New to Museum Mile, the Neue Galerie features works from Austria and this country, home of Ernst Kirchner. Germany. 3: A Latino art museum goes by the name El Museo del this, a Spanish word for the inner city. Barrio. 4: The Museum of the City of N.Y. has the derby of this governor, the first Catholic to be a major party pres. candidate. Al Smith. 5: 5 of the fewer than 40 known Vermeers reside in this 5th Avenue museum. the Metropolitan Museum of Art. Thanks for listening! Come back tomorrow for more exciting trivia!

The “Cinephile Cuties” are ready to find their damn bikes. That’s because they’re chatting about Vittorio De Sica’s The Bicycle Thief. And they are joined by professional editor and co-host of Back to the Movies, their good pal Nat Magee! Patrick is also very sad about baseball. And Casey defends his whiskey preferences. In addition to that, they put The Bicycle Thief through their proprietary “Fartsy Test.” Patrick recommends a drink pairing. And they give each other notes to improve the show. Listen in to see if it’s working!  If you like this show, tell a friend!If you’d like to sponsor the show, Venmo Patrick at Patrick-Mallon$10 for episode sponsorship$25 for sponsorship AND the boys will imbibe a drink of your choosing.Follow Farthouse on Twitter and InstagramFollow Patrick and Casey and TwitterAnd follow Patrick and Casey and Nat on Letterboxd

This week, we discuss Bicycle Thieves (Vitorio De Sica, 1949) with Professor Dan Paul from the BYU French and Italian department. In this podcast professor Paul talks about Italian Neorealism,...

Produced right after the liberation of Rome when the city was still recovering from battle, Roberto Rossellini's Rome, Open City offers us insight into the feelings of average citizens across Europe following years of war. Arthur and Andrew discuss the Italian Neorealism movement, the Cannes Film Festival, our favorite WW2 films, and how we first met years ago.Where to watch Rome, Open CityNYT Review of Rome, Open CityWhere to watch The Best Years of Our Lives

A conversation with Charles Leavitt IV, Assistant Professor of Italian Studies at the University of Notre Dame* Neorealism as a shared cultural discourse and a multidisciplinary aesthetics* Post-war reconstruction as a time of collaborative imagination and innovation* Cinematographic production, the economic boom & the emergence of Italian design* The impact of Italian neorealism on contemporary cinemaPlease visit the official webpage www.italianinnovators.com for more information about the project or subscribe to the YouTube channel for more video content.

In Italian Neorealism: A Cultural History (University of Toronto Press, 2020), Charles Leavitt steps back from the micro-histories focusing more narrowly on, for example, Italian cinema so as to weave together divers cultural strands (literature, the visual arts, drama, journalism, poetry, essays) into a tapestry of historical practice. Which realisms are being invoked under the category of “Neorealism” as it was plied and applied in the mid-20th Century? What were the aims of these realisms? What did they accomplish? Each of Italian Neorealism’s four chapters sketches answers to these questions by approaching a corpus that interweaves some very well-known texts from Italian Neorealism (Rome, Open City, Bicycle Thieves, La terra trema, etc.) with texts that have enjoyed scantier critical attention (like films from the period that have not widely circulated, for example) or which hail from extra-cinematic and even extra-Italian contexts. The result is an eminently readable study whose broad embrace does not sacrifice meticulous attention to detail. Ellen Nerenberg is a founding editor of g/s/i-gender/sexuality/Italy and reviews editor of the Journal of Italian Cinema and Media Studies. Recent scholarly essays focus on serial television in Italy, the UK, and North America; masculinities in Italian cinema and media studies; and student filmmakers. Her current book project is La nazione Winx: coltivare la futura consumista/Winx Nation: Grooming the Future Female Consumer, a collaboration with Nicoletta Marini-Maio (forthcoming, Rubbettino Editore, 2020). She is President of the American Association for Italian Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Italian Neorealism: A Cultural History (University of Toronto Press, 2020), Charles Leavitt steps back from the micro-histories focusing more narrowly on, for example, Italian cinema so as to weave together divers cultural strands (literature, the visual arts, drama, journalism, poetry, essays) into a tapestry of historical practice. Which realisms are being invoked under the category of “Neorealism” as it was plied and applied in the mid-20th Century? What were the aims of these realisms? What did they accomplish? Each of Italian Neorealism’s four chapters sketches answers to these questions by approaching a corpus that interweaves some very well-known texts from Italian Neorealism (Rome, Open City, Bicycle Thieves, La terra trema, etc.) with texts that have enjoyed scantier critical attention (like films from the period that have not widely circulated, for example) or which hail from extra-cinematic and even extra-Italian contexts. The result is an eminently readable study whose broad embrace does not sacrifice meticulous attention to detail. Ellen Nerenberg is a founding editor of g/s/i-gender/sexuality/Italy and reviews editor of the Journal of Italian Cinema and Media Studies. Recent scholarly essays focus on serial television in Italy, the UK, and North America; masculinities in Italian cinema and media studies; and student filmmakers. Her current book project is La nazione Winx: coltivare la futura consumista/Winx Nation: Grooming the Future Female Consumer, a collaboration with Nicoletta Marini-Maio (forthcoming, Rubbettino Editore, 2020). She is President of the American Association for Italian Studies.

In Italian Neorealism: A Cultural History (University of Toronto Press, 2020), Charles Leavitt steps back from the micro-histories focusing more narrowly on, for example, Italian cinema so as to weave together divers cultural strands (literature, the visual arts, drama, journalism, poetry, essays) into a tapestry of historical practice. Which realisms are being invoked under the category of “Neorealism” as it was plied and applied in the mid-20th Century? What were the aims of these realisms? What did they accomplish? Each of Italian Neorealism’s four chapters sketches answers to these questions by approaching a corpus that interweaves some very well-known texts from Italian Neorealism (Rome, Open City, Bicycle Thieves, La terra trema, etc.) with texts that have enjoyed scantier critical attention (like films from the period that have not widely circulated, for example) or which hail from extra-cinematic and even extra-Italian contexts. The result is an eminently readable study whose broad embrace does not sacrifice meticulous attention to detail. Ellen Nerenberg is a founding editor of g/s/i-gender/sexuality/Italy and reviews editor of the Journal of Italian Cinema and Media Studies. Recent scholarly essays focus on serial television in Italy, the UK, and North America; masculinities in Italian cinema and media studies; and student filmmakers. Her current book project is La nazione Winx: coltivare la futura consumista/Winx Nation: Grooming the Future Female Consumer, a collaboration with Nicoletta Marini-Maio (forthcoming, Rubbettino Editore, 2020). She is President of the American Association for Italian Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Italian Neorealism: A Cultural History (University of Toronto Press, 2020), Charles Leavitt steps back from the micro-histories focusing more narrowly on, for example, Italian cinema so as to weave together divers cultural strands (literature, the visual arts, drama, journalism, poetry, essays) into a tapestry of historical practice. Which realisms are being invoked under the category of “Neorealism” as it was plied and applied in the mid-20th Century? What were the aims of these realisms? What did they accomplish? Each of Italian Neorealism’s four chapters sketches answers to these questions by approaching a corpus that interweaves some very well-known texts from Italian Neorealism (Rome, Open City, Bicycle Thieves, La terra trema, etc.) with texts that have enjoyed scantier critical attention (like films from the period that have not widely circulated, for example) or which hail from extra-cinematic and even extra-Italian contexts. The result is an eminently readable study whose broad embrace does not sacrifice meticulous attention to detail. Ellen Nerenberg is a founding editor of g/s/i-gender/sexuality/Italy and reviews editor of the Journal of Italian Cinema and Media Studies. Recent scholarly essays focus on serial television in Italy, the UK, and North America; masculinities in Italian cinema and media studies; and student filmmakers. Her current book project is La nazione Winx: coltivare la futura consumista/Winx Nation: Grooming the Future Female Consumer, a collaboration with Nicoletta Marini-Maio (forthcoming, Rubbettino Editore, 2020). She is President of the American Association for Italian Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Italian Neorealism: A Cultural History (University of Toronto Press, 2020), Charles Leavitt steps back from the micro-histories focusing more narrowly on, for example, Italian cinema so as to weave together divers cultural strands (literature, the visual arts, drama, journalism, poetry, essays) into a tapestry of historical practice. Which realisms are being invoked under the category of “Neorealism” as it was plied and applied in the mid-20th Century? What were the aims of these realisms? What did they accomplish? Each of Italian Neorealism’s four chapters sketches answers to these questions by approaching a corpus that interweaves some very well-known texts from Italian Neorealism (Rome, Open City, Bicycle Thieves, La terra trema, etc.) with texts that have enjoyed scantier critical attention (like films from the period that have not widely circulated, for example) or which hail from extra-cinematic and even extra-Italian contexts. The result is an eminently readable study whose broad embrace does not sacrifice meticulous attention to detail. Ellen Nerenberg is a founding editor of g/s/i-gender/sexuality/Italy and reviews editor of the Journal of Italian Cinema and Media Studies. Recent scholarly essays focus on serial television in Italy, the UK, and North America; masculinities in Italian cinema and media studies; and student filmmakers. Her current book project is La nazione Winx: coltivare la futura consumista/Winx Nation: Grooming the Future Female Consumer, a collaboration with Nicoletta Marini-Maio (forthcoming, Rubbettino Editore, 2020). She is President of the American Association for Italian Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Italian Neorealism: A Cultural History (University of Toronto Press, 2020), Charles Leavitt steps back from the micro-histories focusing more narrowly on, for example, Italian cinema so as to weave together divers cultural strands (literature, the visual arts, drama, journalism, poetry, essays) into a tapestry of historical practice. Which realisms are being invoked under the category of “Neorealism” as it was plied and applied in the mid-20th Century? What were the aims of these realisms? What did they accomplish? Each of Italian Neorealism’s four chapters sketches answers to these questions by approaching a corpus that interweaves some very well-known texts from Italian Neorealism (Rome, Open City, Bicycle Thieves, La terra trema, etc.) with texts that have enjoyed scantier critical attention (like films from the period that have not widely circulated, for example) or which hail from extra-cinematic and even extra-Italian contexts. The result is an eminently readable study whose broad embrace does not sacrifice meticulous attention to detail. Ellen Nerenberg is a founding editor of g/s/i-gender/sexuality/Italy and reviews editor of the Journal of Italian Cinema and Media Studies. Recent scholarly essays focus on serial television in Italy, the UK, and North America; masculinities in Italian cinema and media studies; and student filmmakers. Her current book project is La nazione Winx: coltivare la futura consumista/Winx Nation: Grooming the Future Female Consumer, a collaboration with Nicoletta Marini-Maio (forthcoming, Rubbettino Editore, 2020). She is President of the American Association for Italian Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Italian Neorealism: A Cultural History (University of Toronto Press, 2020), Charles Leavitt steps back from the micro-histories focusing more narrowly on, for example, Italian cinema so as to weave together divers cultural strands (literature, the visual arts, drama, journalism, poetry, essays) into a tapestry of historical practice. Which realisms are being invoked under the category of “Neorealism” as it was plied and applied in the mid-20th Century? What were the aims of these realisms? What did they accomplish? Each of Italian Neorealism’s four chapters sketches answers to these questions by approaching a corpus that interweaves some very well-known texts from Italian Neorealism (Rome, Open City, Bicycle Thieves, La terra trema, etc.) with texts that have enjoyed scantier critical attention (like films from the period that have not widely circulated, for example) or which hail from extra-cinematic and even extra-Italian contexts. The result is an eminently readable study whose broad embrace does not sacrifice meticulous attention to detail. Ellen Nerenberg is a founding editor of g/s/i-gender/sexuality/Italy and reviews editor of the Journal of Italian Cinema and Media Studies. Recent scholarly essays focus on serial television in Italy, the UK, and North America; masculinities in Italian cinema and media studies; and student filmmakers. Her current book project is La nazione Winx: coltivare la futura consumista/Winx Nation: Grooming the Future Female Consumer, a collaboration with Nicoletta Marini-Maio (forthcoming, Rubbettino Editore, 2020). She is President of the American Association for Italian Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

Mike & Harry continue their month-long celebration of horror with two films that demand attention. First up is 80's cult classic "Return of the Living Dead," a punk rock exploration of the zombie subgenre with a taste for BRAAIIIINNNNSSSSSS!! After that, they look at SXSW 2017's top prize winner "Most Beautiful Island," a raw and avant-garde approach to horror that is closer in spirit to Italian Neorealism than it is to its genre contemporaries. . Follow Echo Park Rise Up on IG: @echoparkriseup Donate if you're able: https://www.gofundme.com/f/echo-park-rise-up-a-vision-or-love-amp-community Follow us! IG: @desertislandmoviepod Twitter: @DIM_Podcast

Beginning with his early life spent in the quiet coastal town of Rimini, Neon Eye's Home Cinema explores Fellini's career. From his early roots in Italian Neorealism to developing his very own iconic - Felliniesque - cinema, we analyse Fellini's ideas on the nature of truth and lies along the way.

This week, we watch the Italian Neorealism film classic that is named by many to be the single greatest film ever made. We don’t get it. Bicycle Thieves (1948), directed by Vittorio De Sica.

Shot in black and white on a clockwork camera from the 1970s, the hand-development of its 16mm film resulting in scratches and unpredictable changes in exposure, and its soundtrack entirely post-synchronised, Mark Jenkin's Bait is audiovisually suffused with atmosphere and texture, and not a little dreamlike and weird to boot. It tells the story of Martin, a Cornish fisherman struggling to cope with the upheaval of both his region and his life specifically that results from an influx of middle-class settlers. He's sold his family's cottage to a family of outsiders, his brother now uses his fishing boat to take tourists on drunken stag parties, and Martin snarls and growls his way through dealing with these changes. It's clear that we're meant to see Martin as a hero, but he's tilting at windmills - though perhaps that's WHY he's a hero - and José argues that the film is deeply conservative, asking, for instance, why it's so bad that Martin's brother adapts to his changing environment by taking tourists on trips. Mike argues that the family of newcomers is too caricatured, so keen is the film for us to see them as invaders who fuck everything up, and thinks about the film's parochialism in the wider context of Brexit - the unfriendliness to outsiders displayed here speaks to anti-immigrant sentiment throughout the UK; is there a difference between the way the Cornish in Bait feel and the way Brexiters throughout the country feel? Perhaps there's a tension between the relative power and privilege of the "invaders" and "invaded" that we don't resolve, but in overly simplistic terms we don't emerge from the film feeling entirely on its side. Jenkin's cinematography and editing beautifully conveys what there is to love about Martin's way of life, concentrating on manual labour and his close-knit community. José suggests that the film looking the way it does makes it feel as though it's already an object from the past, with the romance, nostalgia and loss that goes along with it - just as it depicts the decline of its way of life. It also puts us in mind of Italian Neorealism, José bringing up Visconti's La terra trema, Mike thinking of De Sica's Bicycle Thieves, and we're indebted to Mark Fuller for offering a perspective on Bait's place within a tradition of similarly claustrophobic coastal dramas, such as Gremillon's The Lighthouse Keepers, Epstein's Finis Terrae, Flaherty's Man of Aran, and Powell's Edge of the World. Mike also considers the film's visual and tonal similarity to Aronofsky's Pi, thinking about how effectively that film places the audience in the main character's headspace, and suggesting that the visual design here does the same. Bait is a considerable film, one that speaks deeply to the loss of a certain way of life and the anger and resentment to which that leads. But the film doesn't appear keen for this resentment to be questioned, and we feel it needs to be. Recorded on 20th October 2019.

In this episode, I talk about Vittorio De Sica's classic 1952 Italian Neorealist film, "Umberto D." It's about an elderly man trying to evade eviction against the backdrop of post-World War II Italy. As his life becomes more precarious and desperate, he clings to his only companion, his dog Flike, and struggles to survive. I talk about Italian Neorealism, why this film moves me so much, and more. At the beginning of the episode, I also reflect on this being my 100th episode! I'm thankful for all my listeners. Consider making this podcast sustainable by supporting it on Patreon. Subscribe to the Her Head in Films Newsletter. Follow me on Facebook, Twitter, and Instagram. Original logo by Dhiyanah Hassan Full Show Notes Criterion Collection edition of UMBERTO D. Martin Scorsese's MY VOYAGE TO ITALY Italian Neorealism: Rebuilding the Cinematic City (Short Cuts) by Mark Shiel "Seeing Clearly Through Tears: On the Smart Sentiment of Umberto D." by Stuart Klawans (Criterion.com) "Umberto D." by Peter Becker (Criterion.com) Review of Umberto D. by Roger Ebert

From Jonathan Rosenbaum, 1001 Movies You Must See Before You Die: "Antonio Ricci (Lamberto Maggiorani), an unemployed worker in postwar Rome, finds a job putting up movie posters after his wife pawns the family's bedsheets to get his bicycle out of hock.  But right after he starts work the bike is stolen, and with his little boy Bruno (Enzo Staiola) in tow he crisscrosses the city trying to retrieve it, encountering various aspects of Roman society, including some of the more active class differences, in the process. "This masterpiece - the Italian title translates as 'bicycle thieves' - is one of the key works of Italian Neorealism.  French critic Andre Bazin also recognized it as one of the great communist films.  The fact that it received the 1949 Oscar for Best Foreign Language Film suggests that it wasn't perceived that way in the United States at the time.  Ironically, the only thing American censors cared about was a scene in which the little boy urinates on the street.  For some followers of auteur theory the film lost some of its power because it didn't derive from a single creative intelligence.  A collaboration between screenwriter Cesare Zavattini, Vittorio De Sica, nonprofessional actors, and many others, the production is so charged with a common purpose that there is little point in even trying to separate achievements. "The Bicycle Thief contains what is possibly the greatest depiction of a relationship between a father and son in the history of cinema, full of subtle fluctuations and evolving gradations between the two characters in terms of respect and trust, and it's an awesome heartbreaker.  It also has its moments of Chaplinesque comedy - the contrasting behavior of two little boys having lunch at the same restaurant.  Set alongside a film like Life is Beautiful (1997), it provides some notion of how much mainstream world cinema and its relation to reality has been infantilized over the past half century." Have a comment or question for the host?  Email Sean at 1001moviespodcast@gmail.com or follow him on Twitter at @1001MoviesPC.

This week on The Spectator Film Podcast… Bicycle Thieves (1948) 6.7.19 Featuring: Austin, Maxx Commentary track begins at 18:20 — Notes — We watched the Criterion Collection release of Bicycle Thieves for the show this week. It’s a wonderful release full of bonus features and essays and the bluray looks incredible. Bicycle Thieves is also available on The Criterion Channel. ‘Bicycle Thieves: Ode to the Common Man’ by Charles Burnett for The Current — Here’s a link to an insightful essay on Bicycle Thieves from filmmaker Charles Burnett. This essay was included in the original CC DVD release of Bicycle Thieves, but was cut from the Bluray. ‘Bicycle Thieves: A Passionate Commitment to the Real’ by Godfrey Cheshire from The Current — Here’s another essay that accompanies the Criterion Collection release of the film. Bicycle Thieves by Robert S.C. Gordon — Here’s the BFI film classics book on Bicycle Thieves, and it’s as informative and intelligent as you’d expect. Highly recommend for anyone looking for a primer on this monolithic film. André Bazin and Italian Neorealism by André Bazin — Here’s a link to a collection of André Bazin’s writing on Neorealism. Bazin produced some fantastic writing on film and his thoughts on the neorealist movement are not to be missed. Vittorio De Sica: Contemporary Perspectives edited by Howard Curle and Stephen Snyder — Here’s a wonderful collection of essays that cover Vittorio De Sica’s entire career, not merely limiting itself to his path as a director but also dedicating space to examine his acting career. Highly recommended. A History of Italian Cinema by Peter Bondanella — This book is a wonderful tour of the progression of Italian cinema throughout the 20th century. It works as both an introduction and re-examination, and anyone looking to learn more about Italian cinema will enjoying starting with this book.

====> Read the text while you're listening! http://www.arkosacademy.com/podcast-anna-magnani/ The current of Italian Neorealism has given life to many cinematographic masterpieces and has made countless Italian directors and actors shine. Have you ever heard of Anna Magnani? Listen to the podcast and find out more about the life of this great actress!*** Please, leave a feedback! I want to improve this podcast and help you learn Italian! ***

We're talking Italian Neorealism with special guest Nate Sawtell so we're pitching some Neorealist plots! TALLIES: Keith 7 Byron 7 Jacob 6 Check out the main episode where we go in depth into Neorealism and it's affect on American cinema! Music: Mabafu - Changes ft. Alena Sola, Bersarinplatz Simon Mathewson - space bugs, Space Bugs Tech Hause Remix, neon rollers --- Support this podcast: https://anchor.fm/btbfilms/support

We get neoreal this week with our special guest. What is Italian Neorealism and how has it affected American cinema? Listen to find out! Music: Mabafu - Changes ft. Alena Sola, Bersarinplatz --- Support this podcast: https://anchor.fm/btbfilms/support

In episode thirty-one of movies imo., Ben, Brandon, and Daniel yell over each other about Chloé Zhao's poetic slice of Badlands realness in THE RIDER. From there they jump off into the roots of Italian Neorealism with ROME, OPEN CITY and the American Independent cinema's current fascination with hyper-realism in the films of Sean Baker and the Safdies. Ben delivers the Rossellini keynote, Daniel loves Zhao's dance between docu-verité and self-conscious style, and Brandon becomes the bully now. See acast.com/privacy for privacy and opt-out information.

Following on the heels of Italian Neorealism came the French New Wave, so Alex and Jonathan take a trip to France and discuss three films from this explosive movement: The 400 Blows (1959), Breathless (1960), and Cleo from 5 to 7 (1962). We talk about stylistic innovations, semi-autobiographical filmmaking, and the origins of auteur theory. Skip to: 11:05 - The 400 Blows 22:22 - Breathless 34:37 - Cleo from 5 to 7 51:14 - Overall 1:03: 15 - Coming Attractions Coming Attractions: Mughal-E-Azam (1960) - Available on Netflix My Name is Khan (2010) Baahubali: The Beginning (2015) For more information, visit the blog: thefilmlings.wordpress.com/2017/06/27/france-fraiche

As promised, for our Ep. 213 Bonus Content, we continue our Italian Neorealism Movie Series with a review of the classic film, BICYCLE THIEVES! Enjoy :)

Cody Clarke and John D'Amico are joined via Skype by Brad Avery. We discuss his essay 'Bicycle Thieves and Other Apocalyptic Films', and explore his idea that apocalyptic films and Italian neorealist films have a lot in common.

Shannon and Richard argue that John Huston's directorial evolution from "The Maltese Falcon" to the prototype heist film "The Asphalt Jungle" provides a blueprint of the evolution of film noir from the early 40's to the early 50's. With "The Asphalt Jungle" noir enters an even darker phase in it's history: an ensemble of tragic criminals (all brilliantly cast) displaces the strong leading man; the certainty of contained criminality cedes to the anxiety of widespread malfeasance; the city is a wasteland of corruption; time is an inexorable force that marches characters toward their doom. It is a vision so dark, so fatalistic, that it seems to owe as much to Italian Neorealism as to the noir tradition. This podcast is brought to you by Clute and Edwards of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com/ Our program is available at these podcast sites: Rate this podcast @ DigitalPodcast.com Vote for this podcast at podcastalley.com If you already have iTunes 4.9 installed on your computer, click on the link below: Out of the Past--Free iTunes Subscription