UDC 7.01
DOI: 10.36871/hon.202502123
Authors
Dmitry P. Mikhaylyuk,
Institute of Business Communications
Saint Petersburg State University of Industrial Technologies and Design, Saint Petersburg, Russian Federation
Abstract
The article is devoted to the analysis of films made by directors from different countries in the aesthetics of neorealism, which received a special refraction in their screen art. The authors of Italian neorealism touched in their works on acute social themes related to the life of an ordinary person and his everyday life. Neorealist features can be seen in the works of directors from various countries. Following the Italian neorealists, the Czechoslovak directors turned to the ethical aspects of art and supported the viewer in his decision to change the conditions of his life for the better. However, the works of S. Rai, S. Usman, C. Burnett were more active in using the documentary approach in observing the everyday life of the “little man”, which allowed them to strengthen the social identity of the characters. Spanish directors, without confining themselves to a certain style or genre, continued to develop the acute social orientation, so vividly expressed in the films of their Italian colleagues. The Finnish directors M. Niskanen, R. Jarva, E. Kivikoski and the Polish director A. Wajda, relying on the aesthetics of neorealism and the principles of the New Wave, managed to combine realism with the subjectivity of the author’s comments. In M. Khutsiev’s works, the principles of neorealism are reflected in the director’s approach and poetic interpretation of the surrounding reality. Neorealism confirms its relevance today, representing a living tradition capable of adapting to the realities of different countries, which opens up new horizons for future creative research in world cinema.
Keywords
neorealism, film art, aesthetics, Italian neorealism, late modernism, socialist realism
