| dc.contributor.author | Kartal, Esma | |
| dc.date.accessioned | 2023-10-19T15:13:00Z | |
| dc.date.available | 2023-10-19T15:13:00Z | |
| dc.date.issued | 2013 | |
| dc.identifier.issn | 2159-2411 | |
| dc.identifier.issn | 2158-8724 | |
| dc.identifier.uri | https://doi.org/10.5195/cinej.2013.73 | |
| dc.identifier.uri | https://hdl.handle.net/20.500.12469/5585 | |
| dc.description.abstract | Being 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.language.iso | eng | en_US |
| dc.publisher | Univ Pittsburgh, Univ Library System | en_US |
| dc.relation.ispartof | Cinej Cinema Journal | en_US |
| dc.rights | info:eu-repo/semantics/openAccess | en_US |
| dc.title | Defining Italian Neorealism: A Compulsory Movement | en_US |
| dc.type | article | en_US |
| dc.identifier.startpage | 140 | en_US |
| dc.identifier.endpage | 148 | en_US |
| dc.identifier.issue | 2 | en_US |
| dc.identifier.volume | 2 | en_US |
| dc.department | N/A | en_US |
| dc.identifier.wos | WOS:000446918300009 | en_US |
| dc.identifier.doi | 10.5195/cinej.2013.73 | en_US |
| dc.institutionauthor | Kartal, Esma | |
| dc.relation.publicationcategory | Makale - Uluslararası Hakemli Dergi - Kurum Öğretim Elemanı | en_US |
| dc.khas | 20231019-WoS | en_US |
