Several Italian directors and critics referred to the “burden” of the neorealist

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Several Italian directors and critics referred to the “burden” of the neorealist legacy on Italian cinema. Consider the work of directors who started their career decades after the demise of neorealism. How do the directors you have chosen interpret or subvert the conventions of realism and/or the traits of the neorealist style? Do you notice anything interesting in the way they choose their subjects? From which perspective do they look at the events unfolding on screen? You could observe the stylistic choices made by Gianni Amelio (Lamerica) and compare them to the aesthetic of Matteo Garrone or Nanni Moretti. You should choose one or more specific instances and trace them across the films seen in class.
The film’s seen in class:
Gomorrah (Garrone 2008 137 min.)
The Human Capital (Il Capitale Umano Virzi, 2013 109 min.)
Dear Diary (Caro Diario, Moretti 1994, 110 min.)
Lamerica (Amelio, 1994, 116 min.)
The Good the Bad and the Ugly (Il Buono, Il Brutto, e Il Cattivo Leone, 1966 161. Min)
Big Deal On Madonna Street (I Soliti Ignoti, Monicelli, 1958,106 min.)
Divorce Italian Style (Divorzio all’Italiana, Germi 1962 104 min.)
8 ½ (Fellini, 1963, 136 min.)
The Conformist (Bertolucci, 1970 110 min.)
La Notte (Antonioni, 1961 115 min.)
Mamma Roma (Pasolini 1962 110 min.)
The Garden of the Finzi Contini (De Sica 1970, 94 min.)
Night of the Shooting Stars (La Notte di San Lorenzo,Taviani, 1982, 110 min.)
Open City (Roma ,Citta’ Aperta, Rossellini 1945 100 min.)
Bicycle Thieves (Ladri di Biciclette,De Sica 1948)
As you elaborate on your answers, try to be concise and specific. Do not recount the plot, unless it is necessary to clarify a particular point. Please use the names of the characters, not the actors who play them. Do remember to underline or italicize titles and provide complete citations for your sources


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