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(Film) films a movement to depict directly the poor in society: originating in postwar Italy
ˌneoˈrealist n, adj
ˌneoˌreaˈlistic adj


(ˌni oʊˈri əˌlɪz əm)

a style of filmmaking prominent in Italy after World War II, characterized by stark depiction of the lives of working-class people.
ne`o•re′al•ist, n., adj.
References in periodicals archive ?
is an intriguing emulation of Italian neorealism -- which still tempts the MENA region's aspiring filmmakers, nearly as much as migration.
Long before Casting JonBenet was flourishing in this Venn-diagram overlap of actor and role, the filmmaking school of Italian neorealism was drawing links between the collapse of acting and being and the representation of truth.
As well, there are ten book reviews and seven articles that engage with various themes and authors (from Leoncavallo's Pagliacci, Primo Levi, Italo Calvino, Enzo Striano, on to the representation of work in Italian cinema from Neorealism to the present, and Italianisms and pseudoitalianisms actively used in Toronto).
Emerging simultaneously in the immediate aftermath of World War II, both Fireworks and Italian Neorealism reimagine adolescence through a dark glass, rendering lingering notions of juvenile innocence obsolete.
The parsimonious and enduring persona the incoming President tries to paint before the people, whether consciously or unconsciously, is an astute personification of Waltzian neorealism.
Whereas Sorrentino's confrontation with Fellini's representation of Rome--and most notably with La dolce vita (1960), Satyricon (1969), and Roma (1972)--has been generally highlighted by criticism, Rosi manages to productively reorient the legacy of Neorealism, through the documentary genre, in order to mirror a disconnected and fragmentary cityscape, paying attention at the same time to peripheral and marginal aspects of city life in the tradition of Pier Paolo Pasolini.
Cinema Paradiso by Tornatore, combines Italian neorealism with coming of age fairytale.
Luzzi begins by looking at neorealist rhetoric and national identity, showing how certain films grouped under the term neorealism established cinematic discourses that illuminate the understanding of concerns in the history of art while reflecting on the question of Italy.
He explored topics such as neorealism, folktale, fantasy, and social and political allegory and experiments with narrative style and structure.
Anticipating the realist debate: RP's three main criticisms of Neorealism
Gomez-Mera's argument is convincing and well developed despite the combination of two seemingly incompatible theoretical and ontological approaches; that is, classical neorealism and constructivism.
Neorealism emerged during the Cold War period (more precisely in the 1970s) and extended and nuanced the precursors' arguments, chiefly by shifting the attention to the international system in which states are determined to behave and interact.