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1. Ossessione (1943) a. Gritty love story, poverty, crime, vagrant 2. I bambini chi guardano (1944) a.

Trope of the child that comes into contact with the unpleasantries of the adult world he is about to inherit. The problem of how the current situation in Italy was corrupting the citizen of the future 3. Roma, citt aperta (1945) a. The holy grail of Neorealism; non-professional actors, on location filming, use of documentary footage alongside fictional footage. Picture of the city space as controlled by the german occupation in contrast with the transgressive spaces where the citizens are rebelling to regain control of their homes and their lives. The resistance. 4. Pais (1946) a. Rossellini again; six episodes detailing various accounts of the war in various Italian cities and locations; key issues: communication breakdown, race, identity before and after war, American presence in Italy; stories: black American soldier, drunk, wandering around the city space, Italian children orphaned and stealing, bartering for the goods of the soldiers they can swindle,,Americans soldiers on a mission, aided by an Italian girl, they dont speak the same language, eventually are spotted and killedthe boy by a german bullet, the girl by the Americans when they return to find their comrade dead,,Florence, resistance and clandestine movement through the city by a woman in search of her fiance,newsreel, grainy, voiceover, documentary, 5. Sciusci (1946) a. Return to the children suffering as a result of the trauma their world has lef them; buy a horse with money they have saved, ride it through the streets with the same sense of freedom we will see in ladri biciclete and o grande momento; imprisoned for helping with a black market scam of some sort, their friendship torn apart by the hostilities of the prison; prison contrasting with the free-space of the city; movement inhibited, constrained; surveillance and control remain after the war but within the Italian system. One of the boys dies in the endpredicting the suicide in Germania anno zero, pixote, cidade de dues 6. Germania anno zero (1948) a. Rossellini finds this narrativ while literally wandering around the streets of berlin looking for a story; he finds the shells of the bombed out buildings as physical material for the immaterial suffering of the people still lingering around and putting their lives back together. We follow a young boy as he searches for food and opportunity, dealing with gangs and former teacher of questionable integrity; interprets the teachers words as a suggestion to kill his ailing father to put him out of his misery, does so, informs the teacher who is then recoiled in horror at the childs capacity for murder, the disoriented child eventually throws himself off a building (nearly reduced to rubble itself) to commit suicide. 7. Ladri di biciclette (1948) a. De sica and zavattini strike gold here, finding a balance between the patient camera of the developing neorealist trend and the development of a plot; movement through the streets is key here, as is the freedom to provide for your family. The

failures of the state to bring Italy out of the post-war financial struggle has reduced a man to the sum of his meager opportunities. Pawns his wedding dowry for a bike to use for his employment, has it stolen, and is left with little other options than trying to find it among a thriving bike part market (the only visible market in the film is one of stolen goods, but is bustling in its fervor). Steals a bike himself to replace his old one and is caught in front of his son after a brief chase. They walk home without any prospect of how they will procede from therelike umberto d, there is no sense of how things will get better. Bruno. 8. La terra trema (1948) a. Viscontis tour de forc; the struggle of a fishing village to maintain its dignity in the face of a market that is less than generous with its share of the profits. The young protagonist mortgages his house against a loan to buy a boat and fishing supplies so that he can put their catch directly on the market and take control of their earning potential. The boat is eventually broken up during a storm and their livelihood is reduced to begging and a humble return to the laboring of old. Gritty, non-professional actors, in locus; generational struggle between children and adults; comparable to barravento (rocha) 14 years later. 9. Stromboli terra di Dio (1949) a. Rosselini explores the emotional angst of a woman that marries a stubborn Italian man that moves to a distant village on the coast that sits beneath a volcano. The village is more or less deserted and mirrors and intensifies the sense of isolation and helplessness the woman feels as a result of her situation. The film ends with an attempted escape by crossing the mountain that surrounds the port town. Desperate and lost, the protagonist struggles through smoke and over rocks and is ultimately left without a clear decisionto return to the village or to continue her journey. 10. Riso amaro (1949) a. De santis masterpiece; introduces the important theme of mediation and televisual comercialism as well as popular music/dance. Magazines and radios offer the women working in the rice fields a taste of the glamorous life of movie stars while they slave away in knee-deep water to gather the seasons rice crop. There is an important moment of collective resistance that strengthens the workers resolvea certain unionized strike to incorporate the extra few laborers that have arrived via illegitimate means. The film transforms from a heist/caper, to an escape thriller, to a failed love story, to an exciting love triangle shoot-out. The result is a confused tone and moral whose basis in social organization of labor seems to take the back seat to the narrative emplotment and emotional drama. 11. Non c' pace tra gli ulivi (1950) a. A mans livestock have been misappropriated during his stay in jail; his attempt to retreive it fail and he is subsequently arrested, chased through the countryside by the man that charged him, a posse, and police. 12. Miracolo a Milano (1951) a. De sica and zavattini make a move towrad the miraculous here while maintaining the interest in social injustices, poverty, and post-war socio-economic turmoil. The narrative revolves around a young boy that helps a community of homeless/landless people build and organize a shantytown---the likes of which is

eventually challenged by the landowner on which it is built. Various miraculous events, jokes, tricks, etc are interspersed in the narrative of land control that demonstrate the poor to be as selfish and ridiculous as the wealthy, pushing the boundaries of Neorealism as an aesthetic project and as an ideological continuity. 13. La macchina ammazzacattivi (1952) a. Another magical film, this film revolves around the miraculous power of a portraitmaker whose camera kills people when a picture of their picture is taken. The idea of representation and doubling, simulacra is brought to the fore in another film which, like miracolo a Milano, demonstrates that the poor are as conniving and selfish as the rich. Rossellini delineates the boundaries of Neorealism here in much the same way that de sica does in miracolo a Milano, offering a breach of reality while also swerving in his portrayal of the poor class as reducible to a symbolic good vis--vis the evil of the upper class. 14. Bellissima (1952) a. Visconti explores the issue of fame and celebrity and financial stability with this exploration of a mother and daughter team trying to make it in the film industry. The narrative points to the film industry in a critical way, commenting on its capacity to recreate (if not depend upon) the same socio-economic milieu it criticizes. Another family drama, much like Ladri Biciclete, this time mother/daughter instead of father/son; the mothers desperation for her daughters success overpowers their relationship, drives her to behave in a manner which embarrasses her and her daughter (they are loudly mocked by a room of film executives). 15. Umberto D. (1952) a. The pinacle, the breaking point. Umberto D. struggles to maintain his dignity as his pension is eaten away by skyrocketing inflation. As a representative of his retired agegroup of working class men, he cannot pay rent, he has no family and few friends, and will soon be evicted for back-rent. His dog, Flike, takes the place of the impressionable child of Ladri Biciclete, Paisa, Bellissima, et al, and is the mans one reason for living. The fragile relationship points to the humanizing relationships with pets, and predicts the successful translation of the same empathy for Baleia in Pereira dos Santoss Vidas Secas ten years later. The dog is used to wrench emotion out of the audience, also to contrast against the struggle of the protagonists. 16. I vitelloni (1953) a. A veritable bildungsroman of a group of restless young men that have not quite grown up. Their situation is one of stagnation, predicting the Cafajestes in Brazil, that reflects an ambivalence to the lives theyre reluctantly leaning towards whether these be professional or familial. Fellini would be criticized for his films various movements away from the social crises of his neorealist predecessor and, as is inevitable of a trend following on the footsteps of a genre focused on material poverty, is accused of being escapist in his examination of emotional/internal states. This is supremely important for the latin American filmmakers as well: how to negotiate the rich national mythical heritage and the internal lives of a citizenry without incurring the wrath of a Marxist-leftist critical audience. Ultimately, the young men are the small children of the neorealist films that are themselves

coming of age (emphasized by the fact that one of the actors that played pasquale in sciuscia is one of the guys that isnt exactly eager to enter the world left to him by his parents generation. 17. O cangaceiro (1953) a. Lima Barreto picks up the baton of the above crisis with his nordestern classic about the seizure and hostage of a woman from a town ransaked by the bandits/cangaceiros. Herein lies a complex rendering of rural legend, myth, and history. The national condition of poverty and exploitation merge with the mythical banditry of the cangaceiros. 18. La strada (1954) a. Fellini returns with this film about a childlike protagonist (Gelsomina) and her circus performing caretaker/boss (Zampano), filled with the wonderment of the circus itself. It leaves the realism of the city behind and travels through the countryside with a magical montage that emulates the state of mind of Gelsomina without abandoning entirely the images of poverty and destitution in which they live. True to his neorealist heritage, the film deals with a sense of alienation, emotional angst, and an unfulfilling resolution of the plot. 19. Rio 40 Graus (1955) a. Nelson Pereira dos Santos enters the scene with this urban neorealist film set in Rio, emulating to a degree the titular rome open city as well as the emphasis of the city as character. One key distinction is the use of Rios postcard imagery in contrast to Rossellinis erasure of any of Romes well known monuments as pagemarkers. The children of Neorealisms sciucia appear hear as a lumpenproletariet that runs the city, tracing its contours and delineating its transversive potential (a la de certeau). 20. Rio Zona Norte (1955) a. Like Rio 40 graus, Pereira dos Santos draws on Rios urbanity to tell the story of a dying Espirito (played by Grande Otello), a composer of sambas, via a flashback from his dying place on the train tracks. The train tracks here offer an image of modernity within the bustlingly modern cityscape which threatens the individual purveyors of culture vis--vis the executives and the industry that exploit his talents to make money. Debatably neorealist in its aesthetic, it is certainly faithful to some of the key issues taken up by the neorealist authors: a man hit by a train (Umberto D. and Il Ferroviere), class exploitation, clear distinction between good and evil, urban destitution and poverty. 21. El mgano (1955) a. The same time Pereira dos Santos was filming his neorealist films in Rio, Julio Garcia Espinosa put together this short film that would ultimately provide a mirror of censorship across the division created by the Revolutionas a counterbalance to the freecinematic documentary film P.M. El mgano and its creators would all end up at the head of the ICAIC and of cubans filmic resistance to the Batista regime, as well as setting up an aesthetic conception of cine imperfecto at the end of the 60s. A family is dislocated from its property by the ruling class after

working in the destitution of carbon productionland rights, resistance, poverty, urban vs rural, central vs periphery. 22. Il ferroviere (1956) a. Pietro Germis film combines a polished aesthetic with a neorealist theme: that of a familys struggle to make ends meet after a railroad engineer loses his job due to negligence. Class struggle is herein questioned by the imperfection of the protagonist Andrea (played by Germi)he is seen as a reputable man in his crowd of drunks in the local pub, but is neglecting his family in the meantime and his charismatic, photogenic son Sandro (akin to Bruno or Flike, yet another pitiable face of innocence to contrast with the problems of the adults). 23. Le notti bianche (1957) a. The streets of Venice provide a claustrophobic encounter between a man and a woman that meet on a bridge late at night. Sharp contrasts of light and dark, interior and exterior, private and public, real vs dreamed/desired. 24. Le notti de Cabiria (1957) a. Fellinis pre-8 masterpiece that brings Giullieta Massina back as a prostitute whose faith in people pushes her to her emotional limits (and into rivers and to the edge of cliffs). Cabiria is robbed of her savings by an opportunistic man. The following shot of her walking down a dark road, engulfed in an inexplicable band of singers, dancers, and revelers provides a spark of magic that problematically uplifts the protagonist in an unexpected merriment (but not hope) after another problematic climax. 25. O grande momento (1958) a. The brazilian neorealist film by Roberto Santos offers a comedic take on the social and economic pressures of a young man engaged to be married. He sells his bike in an inversion of bicycle thieves, but not before taking it on one last joy ride, so that he can pay for certain matrimonial formalities and a honeymoon. Like Fausto in I Vitelloni, Zeca has no plans for after the honeymoon and no way to provide for his new family. 26. Rocco e i suoi fratelli (1960) a. Rocco and his brothers and mother relocate to the city to find better living conditions. Poverty, prostitution, murder, boxing. 27. Historias de la revolucin (1960) a. Historias de la revolucin (Gutierez Alea) is an episodic historization of post revolution Cuba. The stories span the time immediately before the rev, leading toward rebellion, and the rebellion itself (fought in the city and in the sierra). Much like Rossellinis Rome open city or Paisan, the episodic structure coopts documentary, newsreel stylistics to engage with the reality of the moment. 28. Il posto (1961) a. Ermanno Olmis depiction of youth on the verge of adulthood echoes I vitelloni and the rest of the children impressed deeply with the conflicts of WWII as they mature into adulthood. An internal struggle not unrelated to the socioeconomic situation they find themselves in, this struggle is emphasized by the protagonists complacency. He sits among the desperate individuals that he will one day become

and has little or no response to it. The Kafkaesque bureaucracy is muted by his sense of calm. 29. P.M. (1961) 30. Il grido (1962) 31. Os Cafajestes (1962) 32. O Pagador de Promesas (1962) 33. Cinco vezes favela (1962) 34. El joven rebelde (1962) 35. Barravento (1962) 36. Assalto ao tren pagador (1962) 37. Vidas Secas (1963) 38. Deus e o diabo na terra do sol (1964) 39. Os Fuzis (1964) 40. Soy Cuba (1964) 41. Cumbite (1964) 42. Now (1965) 43. La muerte de un burcrata (1966) 44. Las aventuras de Juan Quin Quin (1967) 45. Terra em transe (1967) 46. Memorias del subdesarrollo (1968) 47. L.B.J. (1968) 48. Luca (1968) 49. O bandido da luz vermelha (1968) 50. 79 primaveras (1969) 51. Antonio das Mortes (1969) 52. La primera carga al machete (1970) 53. Como Era Gostoso o Meu Francs (1971) 54. De cierta manera (1974) 55. Lcio Flvio, o Passageiro da Agonia (1978) 56. Pixote (1981) 57. Nem tudo verdade (1986) 58. Boca de lixo (1993) 59. Fresa y chocolate (1994) 60. Tudo Brasil (1997) 61. Central do Brasil (1998) 62. Notcias de uma guerra particular (1999) 63. Babilnia 2000 (1999) 64. Lista de espera (2000) 65. Onibus 174 (2002) 66. Uma Onda no Ar (2002) 67. Cidade de deus (2002) 68. Carandiru (2003) 69. O prisioneiro de grade ferro (2004) 70. Tropa de Elite (2007) 71. ltima Parada 174 (2008)

72. El viajero inmvil (2008) 73. Garapa (2009) 74. Tropa de Elite 2: Agora o enemico outro (2010) 75. Memorias del desarrollo (2010)

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