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lista de codigos linguisticos disponibles: ["fr", "en"].<end_of_turn>
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Décrit l'esprit du néoréalisme durant l'histoire du cinéma.<end_of_turn>
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Luchino Visconti (1906-1976) innovated with Ossessione or the Diabolical Lovers (1942), screen adaptation of James Cain's novel The Postman Always Rings Twice. Mario Serandrei, the film's editor, defined it as "neorealist." From then on, neorealism will be applied to films which take an ethical and political look at a country defeated by war. Visconti would subsequently shoot more lyrical films (The Leopard, 1963; The Damned, 1969; Death in Venice, 1971).
By directing Rome, Open City (1945) at the end of the war, Roberto Rossellini (1906-1977) created a break with traditional cinema. Produced with few resources and outside official structures, his film combines fiction and documents to tell an episode of Roman resistance; he reaches an incredible truth. After Païsa (1946), which remains in this perspective, the filmmaker will move towards melodrama (Voyage enItalie, 1953) and documentary (India, 1959).
Famous actor, Vittorio De Sica (1901-1974) brought neorealism to triumph with Sciuscià (1946) and The Bicycle Thief (1948). He further filmed Miracle in Milan (1951) and Umberto D. (1952), before sacrificing to a more conventional inspiration (La Ciociara, 1960).
After social melodramas (Chronique d'un amour, 1950; Les Vaincus, 1952; Le Cri, 1957), Michelangelo Antonioni (1912-2007) aimed at abstraction (Le Désert rouge, 1964), flourishing in the parable cosmic (Blow Up, 1967) and reconsiders cinematographic writing (Profession reporter, 1975).<end_of_turn><eos>