We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
140 MOVIES IN SOCIETY
For example, the film Open City by Rossellini describes an episode of life in the Italian capital under German occupation, depicting highly individualized characters, individualistic even in their manner of speech. The film won success all over Europe because in every Roman, the spectator whatever his nationality, discovered a man with his own passions, sentiments and suffering, the human victim of brutality; blinded by war but, far from considering himself defeated and resigned, continuing the fight until the time came for him to make a sacrifice for a better world in which man will no longer act like a wild beast toward his neighbor.
The film Paisan by the same director — Rossellini — also presents different types of regional Italians from Sicily to the swamps of Comachio, with their blunt frankness, their misery, their heroism, and their religious faith, during the period of upheaval when the Allied troops were advancing northward. The film portrays the painful effort of a people, and at the same time of all peoples that experienced the war.
Other films; principally Luchino Visconti's The Earth Trembles (A Terra Trema) and Obssession (Ossessione) ; Giuseppe de Sands' Bitter Rice (Rizo Amaro) and Pietro Germi's The Path to Hope (II Camino della Speranza) show in all their cruel reality certain touching aspects of Italian life and from those scenes there arises spontaneously and without undue rhetoric an aspiration for greater social justice. The problem is particularly acute in present-day Italy, where economic inequality is more apparent than in other places, but it is not exclusively an Italian problem since the situation exists in every country to some degree. In the films made by De Sica and Zavattini, Shoe Shine (Sciuscia), The Bicycle Thief (Ladri di Biciclette) and Miracle in Milan (Miracolo a Milano) the social problem is individualized through the hero and the characters in the story.
The renewed vindication of the rights of the individual is of deep concern to the masses. The neo-realism of these two