Italian Contemporary Cinema
Challenge yourself on Italian Cinema History - for fun or for study purposes :)
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Italian Contemporary Cinema - Marcador
Italian Contemporary Cinema - Detalles
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| 🇬🇧 | 🇬🇧 |
| What were the first films of? | Daily activities |
| Most popular films of Early Italian Cinema | Historical Epics & Costume Dramas |
| Main reasons for decline of early Italian cinema | Hollywood and preferred US filmmaking |
| Beginning of cinema: City and Year | Paris, 1895 |
| First film in Italy | King Umberto and Margherita of Savoy Strolling in the Park, 1896 |
| Audience of Early Italian cinema | Unsophisticated Italians, half of whom were illiterate |
| How Italians first watched films | Cafes, theatres, fairs - then later Film theatres (1905-1906) |
| Opener of one of first film theatres, and where | Filoteo Alberini in Florence |
| History based film (Early Cinema) | Taking of Rome (1905) |
| Definition of National Cinema | Cannot be defined, always changing |
| Features of Economic approach | Who produced the film and budget contributions |
| Features of Text-Based Approach | Its relation with the national identity of a country |
| Features of Criticism-Led Approach | The Frontiers they achieved (awards, etc) |
| Features of Consumption-led approach | What people watch |
| What a simplified 'national cinema' can be used as | Marketing tool |
| Italian fascist dictator (1883-1945) | Mussolini |
| Law that confirmed economic public support to film production & decreased foreign films | Alfieri Law (1935) |
| "Cinema" Journal included ... | Essays, articles, etc for discussion of film |
| Cinema complex introduced in 1935 | Cinecitta' |
| Fascist Era contribution to Cinema | Economic support for film-making |
| Reason for Ossessione (1934) not having many views | It was banned and copies were all burned |
| Reason for Ossessione being banned | Homosexuality featured |
| Definition of Neorealism | No common definition |
| Achievements of neorealist cinema | Artistic success, not commercial/economic |
| Development of neorealist cinema due to criticism | Portraying more positive aspects of Italy whilst being grounded in reality |
| Key Directors of neorealist cinema | Robert Rosselini |
| Victorio De Sica's film | Ladri di Biciclette (1948) |
| Frederico Fellini's film | La Strada (1954) |
| Feature of Neorealist cinema | Post-War Italy |
| American director inspired by Neorealism | Martin Scorsese |
| Misleading definition of Neorealism | Identifying the immediate post-war decade's film production in Italy to Neorealism |
| Time Period of Commedia all'Italiana | Late 50s to early 70s |
| Name Origins for Commedia all'Italiana | Divorzio all'Italiana (1961) |
| First film of Ca'I genre | I soliti ignoti (1958) |
| C a'I: Reason for lack of success abroad | Comedy specific to Italy |
| C a'I: Plot usually does what? | Tackles serious subject matter dealt in a comedic way |
| Plot of Divorzio all'Italiana (1961) | Man wanting to kill his wife in order to marry another woman |
| Why Divorzio all'Italiana (1961) was rooted in reality | Lack of Divorce Laws |
| Features of Italian comedies | Element of sadness |
| Themes of Divorzio all'Italiana (1961) | Acceptance of local & national culture |
| SW: Benefit of Name | Highlights/Emphasises Italian roots of the sub-genre |
| SW: Downside of Name | Degrades genre into something silly |
| 'Father' of Spaghetti Westerns | Sergio Leone |
| American director who references Leone | Quentin Tarantino |
| Feature of Spaghetti Western | Expanded times |
| Difference to US Western | More Violent |
| What is a Spaghetti Western? | A Sub-genre of Western movies, made in Italy |
| Example of an Auteur | Victorio De Sica |
| Features of an Auteur | Innovative & Brave in style |
| Period that many Auteurs began in | Neorealism |
| Director of Blow Up (1966) | Michelangelo Antonioni |
| Feature of Antonioni films | Portraying the drama of modern human beings |
| Theme of Blow Up (1966) | Inability to communicate |
| Reason why Blow Up (1966) may not be considered Italian | Location, Cast and Language are all English (British) |
| Exception of Blow Up (1966) from other Antonioni films | Only real commercial success |
| Plot of Blow-Up (1966) | Photographer believes he has seen a murder through developing photographs, and tries to solve it |
| Gialli are based on what? | Thriller/Murder Mystery books with yellow cover |
| Popular genre Gialli inspired | Horror slashers |
| Film the Profondo Roso (1975) poster is somewhat inspired by | Hitchcock's Vertigo |
| Relationship of the killer | Mother and son |
| Director of Profondo Rosso (1975) | Dario Argento |
| Other famous work by Argento, which has recently been remade | Suspiria (1977) |
| New technique introduced in Profondo Rosso (1975) which would later be used in other popular horror movies (such as Halloween (1978)) | Kills from killers perspective |
| PR: Another aspect of the film similar to other horror movies at the time | Soundtrack / Movie theme |
| At times, an Italian Giallo may feature | Supernatural elements |
| Directors of Contemporary Italian Cinema | Luca Guadagnino |
| Audience for successful Italian films | Families and Young People |
| Reason for successful Contemporary Italian films not being distributed worldwide/abroad | Cultural discount |
| Benefit of Speciality films | Good for experimenting directors and actors |
| Benefit of Successful Foreign Films | Film-induced tourism |
| Director of Call Me By Your Name (2017) | Luca Guadagnino |
| Reason why CMBYN (2017) is an Italian movie | Italian budget |
| Reason why CMBYN (2017) could be considered a non-Italian movie | No investigation into Italian culture |
| LdB: Director | Vittorio de Sica |
| LdB: 'Genre' of movie | Neorealism |
| LdB: Names of Father and Son | Antonio and Bruno |
| LdB: What act by the mother (Maria) highlights the family's poverty? | Sells their sheets for money |
| LdB: Even though the film focuses on Antonio's struggle, there are still many wide shots of crowds etc. Why is that? | To highlight that this poverty and job search was common for many people at the time |
| LdB: In the final scene, what camera technique highlights the desperation and indecisiveness of Antonio? | Quick cuts between him, the bicycles and Bruno |
| LdB: Despite being filmed in Rome, why do they not include shots of famous 'tourist' attractions, such as the Colosseum and the Trevi Fountain? | Portrayal of the working Rome |
| LdB: What impression does it give by using different angles for scenes? | Idea of 'stalking' the characters |
| LdB: What commentary does the film give about survival? | What people need to do for stability |