Those terms pin some characters that has been often considered a part of Italian neorealism as well.
The film is a voyage through Italian cinema history, marking influential films for Scorsese and particularly covering the Italian neorealism period.
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Inspired by Italian neo-realistic cinema, Bimal Roy made Do Bigha Zameen after watching Vittorio De Sica's Bicycle Thieves (1948).
Olmi's films fit into the artistic mold of Italian neorealism, though Olmi would argue (and does argue, in an interview found on the Criterion Edition DVD of his 1961 film, Il Posto) that this is the artistic tradition he is responding against because, he claimed, he used non-actors in authentic locations whereas neorealism used professional actors.
His first screen role in his own right came in 1940 with Gli Ultimi Della Strada ("The Lowest Of The Low") directed by Domenico Paolella at Pisorno Studios in Tirrenia, an early attempt at the gritty social frankness later to develop into the Italian Neorealism film movement.
Luchino Visconti’s first feature film, it is considered by many to be the first Italian neorealist film, though there is some debate about whether such a categorization is accurate.
The book is presented in two sections (hence the title) - Ray first discusses Indian film, before turning his attention towards Hollywood and specific international filmmakers (Charlie Chaplin, Akira Kurosawa) and movements like Italian neorealism.
They then moved to New York for 9 months, where he spent a great deal of time watching movies by Italian neorealist directors such as Federico Fellini, Luchino Visconti, Michelangelo Antonioni, which sparked his interest in film.