These films were neorealist in style, being semi-documentary studies of the lives of ordinary people.

Although Losey's films can in the main be described as naturalistic, The Servant's hybridization of Losey's signature Baroque style, film noir, naturalism, and expressionism and both Accident's and The Go-Between's radical cinematography, use of montage, voice over, and musical score amount to a sophisticated construction of cinematic time and narrative perspective which edges this work in the direction of neorealist cinema.

It is filmed in a neorealist / documentary style with a troupe of non-professional actors who play characters with the same names and occupations as the actors have in real life, blurring the boundaries between drama and reality.

The movie was filmed in a documentary-like, " neorealist " style involving hidden cameras and natural lighting.

These films show strong affinities with the work of Italian neorealists, not least Roberto Rossellini's neorealist trilogy which included Germany Year Zero ( 1948 ), and are concerned primarily with day-to-day life in the devastated Germany and an initial reaction to the events of the Nazi period ( the full horror of which was first experienced by many in documentary footage from liberated concentration camps ).

The term Neorealism was used for the first time for Luchino Visconti ’ s Ossessione ( 1943 ): it is considered by many to be the first Italian neorealist film.

Vittorio De Sica ( 7 July 1901 or 1902 – 13 November 1974 ) was an Italian director and actor, a leading figure in the neorealist movement.

Rossellini was one of the directors of the Italian neorealist cinema, contributing films such as Roma città aperta ( Rome, Open City 1945 ) to the movement.

The vision of the existing poverty and despair, presented by the neorealist films, was demoralizing a nation anxious for prosperity and change.

" The first foreign language film honored with such an award was the Italian neorealist drama Shoe-Shine, whose citation read: " the high quality of this motion picture, brought to eloquent life in a country scarred by war, is proof to the world that the creative spirit can triumph over adversity.

The first recipient was the Italian neorealist drama La Strada, which helped establish Federico Fellini as one of the most important European directors.

In the late 1940s, the U. S. public's perception that Italian neorealist films and other serious European fare were different from mainstream Hollywood films was reinforced by the development of " arthouse cinemas " in major U. S. cities and college towns.

" Fellow Italian neorealist film director Luchino Visconti criticized the film, saying that it was a mistake to use a professional actor to dub over Lamberto Maggiorani's dialogue.

By the early 1950s, the neorealist movement was falling out of favour with critics and audiences.

Williams was Dick's literary executor for several years after Dick's death and used that position to get several of the author's previously unpublished neorealist novels into print.

Scorsese also developed an admiration for neorealist cinema at this time.

Instead, neorealist thinkers developed a theory that privileges structural constraints over agents ' strategies and motivations.

Nevertheless, in 1942, Alessandro Blasetti produced his Quattro passi fra le nuvole ( Four Steps in the Clouds ), the story of a humble employee, considered by many others as the first neorealist work.

The first neorealist film is generally thought to be Ossessione by Luchino Visconti ( 1943 ), while Aniki-Bóbó by Manoel de Oliveira remained generally unnoticed since its release in 1942.

Killer of Sheep has been likened by a number of critics and scholars to the work of Italian neorealist directors, particularly Vittorio De Sica and Roberto Rossellini, for his documentary aesthetic and use of mostly non-professional, on-location actors.

Neoliberalism seeks to update liberalism by accepting the neorealist presumption that states are the key actors in international relations, but still maintains that non-state actors ( NSAs ) and intergovernmental organizations ( IGOs ) matter.

Bicycle Thieves (), also known as The Bicycle Thief, is a 1948 Italian neorealist film directed by Vittorio De Sica.

Umberto D. is a 1952 Italian neorealist film directed by Vittorio De Sica.

It is inspired by neorealist works.

One of the most idealistic neorealist filmmakers of the 1940s and 1950s, he wrote and directed films punctuated by ardent cries for social reform.

With Gianni Puccini, Antonio Pietrangeli and Giuseppe De Santis, he wrote the screenplay for his first film as director: Ossessione ( Obsession, 1943 ), the first neorealist movie and an unofficial adaptation of the novel The Postman Always Rings Twice.

Visconti continued working throughout the 1950s, although he veered away from the neorealist path with his 1954 film, Senso, shot in colour.

Using psychoanalysis, Vincent Rocchi characterizes neorealist film as consistently engendering the structure of anxiety into the structure of the plot itself.

Many film historians date the end of the neorealist movement with the public attacks on the film.

Her film career had spread over almost 20 years before she gained international renown as Pina in Roberto Rossellini's neorealist milestone Roma, città aperta ( Rome, Open City, 1945 ).

William Siska argues that Italian neorealist films from the mid-to late-1940s, such as Open City ( 1945 ), Paisa ( 1946 ), and The Bicycle Thief can be deemed as another " conscious art film movement ".

The case centred on Roberto Rossellini's neorealist short film Il Miracolo ( The Miracle ), which had originally been filmed as a segment of L ' Amore ( Love ) in Italy in 1948.

Many critics have compared the films of the Black Independent Movement to Italian neorealist films of the 1940s, Third World Cinema films of the late 1960s and 1970s, and the 1990s Iranian New Wave.

Pedrero's plays are, for the most part, short quasi-comedies that explore questions of identity, the subversion of gender roles, and the nature of individual freedom in postmodern society, based around a neorealist model.

While working as a journalist for Cinema magazine, De Santis became, under the influence of Cesare Zavattini, a major proponent of the early neorealist filmmakers who were trying to make films that mirrored the simple and tragic realities of proletarian life using location shooting and nonprofessional actors.

Crowther had a reputation for admiring foreign language films including many of the Italian neorealist films such as Open City, The Bicycle Thief, and Shoeshine.

In the early years, De Laurentiis produced neorealist films such as Bitter Rice ( 1946 ) and the Fellini classics La Strada ( 1954 ) and Nights of Cabiria ( 1956 ), often in collaboration with producer Carlo Ponti.

Its portrayal of the Algerian resistance during the Algerian War, follows in the footsteps of neorealist pioneers such as de Santis and Rossellini, employing the use of newsreel-style footage and non-professional actors and focusing primarily on the disenfranchised population that seldom receives attention from the general media.

In the period from 1944 – 1948, many neorealist filmmakers drifted away from pure neorealism.

While neorealists agree that the structure of the international relations is the primary impetus in seeking security, there is disagreement among neorealist scholars as to whether states merely aim to survive or whether states want to maximize their relative power.

One of the main challenges to neorealist theory is the democratic peace theory and supporting research such as the book Never at War.

* With Rossellini's Roma Città aperta, Italian neorealist cinema begins.

Kenneth Waltz, the founder of the neorealist theory of international relations, uses a set of five criteria to determine great power: population and territory ; resource endowment ; economic capability ; political stability and competence ; and military strength.