Defining Italian Neorealism: A Compulsory Movement

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dc.contributor.authorKartal, Esma
dc.date.accessioned2023-10-19T15:13:00Z
dc.date.available2023-10-19T15:13:00Z
dc.date.issued2013
dc.department-temp[Kartal, Esma] Kadir Has Univ, Istanbul, Turkeyen_US
dc.description.abstractBeing one of the most influential cinematic movements in film history, Italian neorealism has not been very easy to define. Although one can easily recognize a neorealist film, not all neorealist films share the exact same characteristics. In this paper, four films that have often been labeled as neorealist will be discussed in light of their makers' views on neorealism and the general characteristics of neorealism as a movement. These films are Roberto Rossellini's Germania anno zero (1948), Vittorio De Sica's Ladri di biciclette (1948) and Umberto D. (1952), and lastly Federico Fellini's La strada (1954).en_US
dc.identifier.citation0
dc.identifier.doi10.5195/cinej.2013.73en_US
dc.identifier.endpage148en_US
dc.identifier.issn2159-2411
dc.identifier.issn2158-8724
dc.identifier.issue2en_US
dc.identifier.scopusqualityN/A
dc.identifier.startpage140en_US
dc.identifier.urihttps://doi.org/10.5195/cinej.2013.73
dc.identifier.urihttps://hdl.handle.net/20.500.12469/5585
dc.identifier.volume2en_US
dc.identifier.wosWOS:000446918300009en_US
dc.identifier.wosqualityN/A
dc.institutionauthorKartal, Esma
dc.khas20231019-WoSen_US
dc.language.isoenen_US
dc.publisherUniv Pittsburgh, Univ Library Systemen_US
dc.relation.ispartofCinej Cinema Journalen_US
dc.relation.publicationcategoryMakale - Uluslararası Hakemli Dergi - Kurum Öğretim Elemanıen_US
dc.rightsinfo:eu-repo/semantics/openAccessen_US
dc.titleDefining Italian Neorealism: A Compulsory Movementen_US
dc.typeArticleen_US
dspace.entity.typePublication

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