Editing Cinema of Italy (section)

===1940s===
====Neorealism (1940s–1950s)====
{{Main|Italian neorealism|Women in Italian neorealism}}
[[File:Vittorio De Sica.png|thumb|upright|left|[[Vittorio De Sica]], a leading figure in the neorealist movement and one of the world's most acclaimed and influential filmmakers of all time.<ref>{{cite web|url=https://shockwavemagazine.it/cinema-serietv/vittorio-de-sica-regista-attore/|title=Vittorio De Sica: l'eclettico regista capace di fotografare la vera Italia|date=6 July 2020|access-date=14 January 2022|language=it}}</ref>]]

By the end of [[World War II]], the Italian "neorealist" movement had begun to take shape. Neorealist films typically dealt with the working class (in contrast to the ''Telefoni Bianchi''), and were shot on location. Many neorealist films, but not all, used non-professional actors. Though the term "neorealism" was used for the first time to describe [[Luchino Visconti]]’s 1943 film, ''[[Ossessione]]'', there were several important precursors to the movement, most notably Camerini's ''[[What Scoundrels Men Are!]]'' (1932), which was the first Italian film shot entirely on location, and Blasetti's 1942 film, ''[[Four Steps in the Clouds]]''.<ref name=bergan>{{cite book|first=Ronald|last=Bergan|author-link =Ronald Bergan|url=https://books.google.com/books?id=f8YeCNSBiOcC&dq=italian+neorealism+blasetti+four+steps&pg=PA154|title=The Film Book|publisher=Penguin|year=2011|page=154|isbn = 9780756691882}}</ref>

[[File:Mario Monicelli Roberto Rossellini Leone d'Oro.jpg|thumb|upright|[[Roberto Rossellini]] and [[Mario Monicelli]] winning the [[Golden Lion]] for ''[[General Della Rovere]]'' and ''[[The Great War]]'' 
respectively.]]

''Ossessione'' angered Fascist officials. Upon viewing the film, Vittorio Mussolini is reported to have shouted, "This is not Italy!" before walking out of the theatre.<ref>{{cite book|first=Steve |last=Ricci|url=https://books.google.com/books?id=Tuq7FNacGvgC&pg=PA4|title=Cinema and Fascism: Italian Film and Society, 1922–1943|publisher=University of California Press|year=2008|page=169|isbn = 9780520941281}}</ref> The film was subsequently banned in the Fascist-controlled parts of Italy. While neorealism exploded after the war and was incredibly influential at the international level, neorealist films made up only a small percentage of Italian films produced during this period, as postwar Italian moviegoers preferred escapist comedies starring actors such as [[Toto (actor)|Totò]] and [[Alberto Sordi]].<ref name=bergan />

Neorealist works such as [[Roberto Rossellini]]'s trilogy ''[[Rome, Open City]]'' (1945), ''[[Paisan|Paisà]]'' (1946), and ''[[Germany, Year Zero]]'' (1948), with professional actors such as [[Anna Magnani]] and a number of non-professional actors, attempted to describe the difficult economic and moral conditions of postwar Italy and the changes in public mentality in everyday life. Visconti's ''[[La Terra Trema|The Earth Trembles]]'' (1948) was shot on location in a Sicilian fishing village and used local non-professional actors. [[Giuseppe De Santis]], on other hand, used actors such as [[Silvana Mangano]] and [[Vittorio Gassman]] in his 1949 film, ''[[Bitter Rice]]'', which is set in the [[Po Valley]] during rice-harvesting season.

Poetry and cruelty of life were harmonically combined in the works that [[Vittorio De Sica]] wrote and directed together with screenwriter [[Cesare Zavattini]]: among them, ''[[Shoeshine (film)|Shoeshine]]'' (1946), ''[[Bicycle Thieves|The Bicycle Thief]]'' (1948) and ''[[Miracle in Milan]]'' (1951). The 1952 film ''[[Umberto D.]]'' showed a poor old man with his little dog, who must beg for alms against his dignity in the loneliness of the new society. This work is perhaps De Sica's masterpiece and one of the most important works in Italian cinema.<ref name="iicistanbul">{{cite web|url=https://iicistanbul.esteri.it/iic_istanbul/it/gli_eventi/calendario/umberto-d-89-1952.html|title=Umberto D (regia di Vittorio De Sica, 1952, 89', drammatico)|access-date=9 January 2022|language=it}}</ref> It was not a commercial success<ref name="iicistanbul"/> and since then it has been shown on Italian television only a few times. Yet it is perhaps the most violent attack, in the apparent quietness of the action, against the rules of the new economy, the new mentality, the new values, and it embodies both a conservative and a progressive view.<ref name="iicistanbul"/>

Although ''Umberto D.'' is considered the end of the neorealist period, later films such as [[Federico Fellini]]'s ''[[La Strada]]'' (1954) and De Sica's 1960 film ''[[Two Women]]'' (for which [[Sophia Loren]] won the Oscar for Best Actress) are grouped with the genre. Director [[Pier Paolo Pasolini]]'s first film, ''[[Accattone]]'' (1961), shows a strong neorealist influence.<ref name=bergan /> Italian neorealist cinema influenced filmmakers around the world, and helped inspire other film movements, such as the [[French New Wave]] and the [[Polish Film School]]. The Neorealist period is often simply referred to as "The Golden Age" of Italian cinema by critics, filmmakers, and scholars.

<gallery widths="200px" heights="165px">
File:Girotti e Calamai.jpg|''[[Ossessione]]'' (1943), by [[Luchino Visconti]].
File:Screenshot, di Roma città aperta.jpg|A still shot from ''[[Rome, Open City]]'' (1945), by [[Roberto Rossellini]].
LadriDiBicicletteStaiola1948.jpg|''[[Bicycle Thieves]]'' (1948), by [[Vittorio De Sica]], ranked among the best movies ever made and part of the canon of classic cinema.<ref>{{cite news|last=Ebert|first=Roger|title=The Bicycle Thief / Bicycle Thieves (1949)|url=http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19990319/REVIEWS08/903190306/1023|newspaper=Chicago Sun-Times|access-date=8 September 2011}}</ref>
Battle-of-Algiers-screenshot.jpg|[[Gillo Pontecorvo]]'s ''[[The Battle of Algiers]]'' (1966) is often associated with Italian neorealism.<ref>{{cite journal|title=Slow Looking: The Ethics and Politics of Aesthetics: Jill Bennett, Empathic Vision: Affect, Trauma, and Contemporary Art (Stanford, CA: Stanford University Press, 2005); Mark Reinhardt, Holly Edwards, and Erina Duganne, ''Beautiful Suffering: Photography and the Traffic in Pain'' (Chicago, IL: University of Chicago Press, 2007); Gillo Pontecorvo, director, ''The Battle of Algiers'' (Criterion: Special Three-Disc Edition, 2004)|first=Michael J.|last=Shapiro |date=1 August 2008|journal=[[Millennium: Journal of International Studies]]|volume=37|pages=181–197|doi=10.1177/0305829808093770}}</ref>
</gallery>

====Calligrafismo (1940s)====
{{main|Calligrafismo}}
[[File:Tragica notte fotoscena.jpg|thumb|''[[Tragic Night]]'' by [[Mario Soldati]] (1942)]]
[[Calligrafismo]] is in sharp contrast to [[Telefoni Bianchi]]-American style comedies and is rather [[Imitation (art)|artistic]], highly [[Formalism (art)|formalistic]], [[Expressionism|expressive]] in complexity and deals mainly with contemporary literary material,<ref>{{cite book|first=Gian Piero |last=Brunetta|publisher=Einaudi|year=2002|volume=III|pages=357–359| title=Storia del cinema mondiale|isbn=978-88-06-14528-6|language=it}}</ref> above all the pieces of Italian [[Realism (arts)|realism]] from authors like [[Corrado Alvaro]], [[Ennio Flaiano]], [[Emilio Cecchi]], [[Francesco Pasinetti]], [[Vitaliano Brancati]], [[Mario Bonfantini]] and [[Umberto Barbaro]].<ref>{{cite book|first=Andrea |last=Martini|title=La bella forma. Poggioli, i calligrafici e dintorni|publisher=Marsilio|year=1992|isbn=88-317-5774-1}}</ref>

The best-known exponent of this genre is [[Mario Soldati]], a long-time writer and director destined to establish himself with films of literary ancestry and solid formal structure. His films put at the centre of the story characters endowed with a dramatic and psychological strength foreign to both white-phone cinema and propaganda films, and found in works such as ''[[Dora Nelson (1939 film)|Dora Nelson]]'' (1939), ''[[Piccolo mondo antico (film)|Piccolo mondo antico]]'' (1941), ''[[Tragic Night]]'' (1942), ''[[Malombra (1942 film)|Malombra]]'' (1942) and ''[[In High Places (1943 film)|In High Places]]'' (1943). [[Luigi Chiarini]], already active as a critic, deepens the trend in his ''[[Sleeping Beauty (1942 film)|Sleeping Beauty]]'' (1942), ''[[Street of the Five Moons]]'' (1942) and ''[[The Innkeeper]]'' (1944). The internal conflicts of the characters and the scenographic richness are also recurrent in the first films by [[Alberto Lattuada]] (''[[Giacomo the Idealist]]'', 1943) and [[Renato Castellani]] (''[[A Pistol Shot (1942 film)|A Pistol Shot]]'', 1942), dominated by a sense of moral and cultural decay that seems to anticipate the end of the war.

Another important example of a calligraphic film is the film version of ''[[The Betrothed (1941 film)|The Betrothed]]'' (1941), by [[Mario Camerini]] (very faithful in the staging of [[The Betrothed (Manzoni novel)|Manzoni's masterpiece]]), which due to the perceived income, became the most popular feature film between 1941 and 1942.<ref>{{cite book|first=Gian Piero |last=Brunetta|publisher=Einaudi|year=2002|volume=IV|pages=670 and following| title=Storia del cinema mondiale|isbn=978-88-06-14528-6|language=it}}</ref>

==== Animation (1940s–present)====
[[File:Bruno Bozzetto - Lucca Comics & Games 2016.jpg|thumb|upright|[[Bruno Bozzetto]]]]
The pioneer of the Italian cartoon was Francesco Guido, better known as [[Gibba]]. Immediately after the end of [[World War II]], he produced the first animated medium-length film of Italian cinema entitled ''L'ultimo sciuscià'' (1946), which took up themes typical of [[Italian neorealism|neorealism]] and in the following decade the feature films ''Rompicollo and I picchiatelli'', in collaboration with Antonio Attanasi.<ref name = "az" >{{cite book|first=Tommaso|last=Iannini|title=Tutto Cinema|publisher=De Agostini|page=235|year=2010|language=it|isbn=978-8841858257}}</ref> In the 1970s, after many animated documentaries, Gibba himself will return to the feature film with the erotic ''[[Il nano e la strega]]'' (1973) and ''Il racconto della giungla'' (1974). Also interesting are the contributions of the painter and set designer [[Emanuele Luzzati]] who, after some valuable short films, made in 1976 one of the masterpieces of Italian animation: ''Il flauto magico'' ("The Magic Flute"), based on the homonymous opera by [[Mozart]].

In 1949, the designer [[Nino Pagot]] presented ''[[The Dynamite Brothers]]'' at the [[Venice Film Festival]], one of the first animated feature films of the time, released in theatres in conjunction with ''[[La Rosa di Bagdad]]'' (1949), made by the animator [[Anton Gino Domeneghini]].<ref name = "az" /> In the early 1950s, the cartoonist [[Romano Scarpa]] created the short film ''La piccola fiammiferaia'' (1953), which remains, like the two previous films, little more than an isolated case. Apart from these examples, Italian animation in the 1950s and 1960s failed to become a major reality and remains confined to the television sector, due to the various commissions provided by the [[Carosello]] container.<ref>
{{cite web|url= http://www.archivioluce.com/luce_storia/index.asp?documentID=688&page_num=5|title= Archivio LUCE, disegni d'autore|access-date= 24 October 2007|url-status= dead|archive-url= https://web.archive.org/web/20030816183303/http://archivioluce.com/luce_storia/index.asp?documentID=688&page_num=5|archive-date= 16 August 2003|language=it}}</ref><ref>{{cite web|url= http://www.italgiure.giustizia.it/nir/lexs/1965/lexs_208851.html|title= LEGGE 4 NovemberE 1965, n. 1213 (GU n. 282 del 12/11/1965)|access-date= 24 October 2007|url-status= dead|archive-url= https://web.archive.org/web/20061028062000/http://www.italgiure.giustizia.it/nir/lexs/1965/lexs_208851.html|archive-date= 28 October 2006|language=it}}</ref>
[[File:Iginio Straffi.jpg|thumb|left|upright|[[Iginio Straffi]]]]

But it is with [[Bruno Bozzetto]] that the Italian cartoon reaches an international dimension: his debut feature film ''[[West and Soda]]'' (1965), an irresistible caricature of the Western genre, received acclaim from both audiences and critics.<ref name = "az" /> A few years later his second work entitled ''[[VIP my Brother Superman]]'' was released, distributed in 1968. After many satirical short films (centred on the popular figure of "Signor Rossi") he returned to the feature film with what is considered his most ambitious work, ''[[Allegro Non Troppo]]'' (1977). Inspired by the well-known Disney ''[[Fantasia (1940 film)|Fantasia]]'', it is a mixed media film, in which animated episodes are molded to the notes of many classical music pieces. Another illustrator to underline is the artist [[Pino Zac]] who in 1971 shot (again with mixed technique) ''The Nonexistent Knight'', based on [[The Nonexistent Knight|the novel of the same name]] by [[Italo Calvino]].

In the 1990s, Italian animation entered a new phase of production due to the Turin Lanterna Magica studio which in 1996, under the direction of [[Enzo D'Alò]], created the intriguing Christmas fairy tale ''[[How the Toys Saved Christmas]]'', based on a short story by [[Gianni Rodari]]. The film was a success and paved the way for other feature films. In fact, in 1998, ''[[Lucky and Zorba]]'' based on a novel by [[Luis Sepúlveda]] was distributed, which attracted the favour of the public, reaching a new apex in the Italian animated cinema.<ref>{{cite web|url=http://www.movieplayer.it/film/la-gabbianella-e-il-gatto_1251/incassi/|title=Movieplayer.it - Pagina incassi del film|access-date=19 January 2008|language=it}}</ref>

The director Enzo d'Alò, who separated from the Lanterna Magica studio, produced other films in the following years such as ''[[Momo (2001 film)|Momo]]'' (2001) and ''[[Opopomoz]]'' (2003). The Turin studio distributed on its behalf the films ''[[Aida of the Trees]]'' (2001) and ''[[Totò Sapore e la magica storia della pizza]]'' (2003), accompanied by a good response at the box office. In 2003, the first entirely Italian animated film in computer graphics was released entitled ''[[Little Bee Julia & Lady Life|L'apetta Giulia and Signora Vita]]'', directed by Paolo Modugno.<ref>{{cite web |url=http://www.cgitalia.it/guida/Film/Apetta-Giulia-E-La-Signora-Vita |title=L'Apetta Giulia e la Signora Vita |date=22 November 2006 |access-date=6 September 2008 |url-status=dead |archive-url=https://web.archive.org/web/20110525011338/http://www.cgitalia.it/guida/Film/Apetta-Giulia-E-La-Signora-Vita |archive-date=25 May 2011|language=it}}</ref> To underline the work ''La Storia di Leo'' (2007) by director Mario Cambi, winner, the following year, at the [[Giffoni Film Festival]].

In 2010, the first Italian animated film in [[3D film|3D]] technology was made, directed by [[Iginio Straffi]], entitled ''[[Winx Club 3D: Magical Adventure]]'', based on the homonymous series; in the meantime Enzo D'Alò returns to theatres, presenting his ''[[Pinocchio (2012 film)|Pinocchio]]'' (2012). In 2012, the film ''[[Gladiators of Rome (film)|Gladiators of Rome]]'', also shot in 3D technology, received credit from the public, followed by the feature film ''[[Winx Club: The Mystery of the Abyss]]'' (2014), both again by Iginio Straffi. Finally, ''[[The Art of Happiness (film)|The Art of Happiness]]'' (2013) by [[Alessandro Rak]], a film made in Naples by 40 authors, including only 10 designers and animators from the Mad Entertainment studio, a true absolute record for an animated film was made.<ref>{{cite web|url=http://www.mymovies.it/film/2013/lartedellafelicita/|title=L'arte della felicità|access-date=10 October 2014|language=it}}</ref> ''[[Cinderella the Cat]]'' (2017), taken from the text ''[[Pentamerone]]'' by [[Giambattista Basile]], came out of the same studio. The work won two [[David di Donatello]]'s, one of which was for special effects, becoming the first animated film to be nominated, and win, in this category.