| In the early 1900s, Italian film production | | | | notably with Luchino Visconti’s debut feature |
| flourished, but after World War One, it was | | | | Ossessione (1943). After the fall of Mussolini, |
| undermined by foreign films. Production further | | | | Rossellini and De Sica would bring world renown to |
| decreased through the 1920s, with only twelve | | | | neorealist filmaling. Rossellini had produced films |
| films been made between 1927-28. However, the | | | | that supported the fascist regime but his 1945 |
| sparking of a revival began in the 1930s, | | | | work, Roma Citta Aperta, shot secretly in Rome |
| depending mainly on escapist comedies and lavish | | | | while the Germans were still pulling out, together |
| musicals- critics sneerily referring to them as | | | | with his Paisa (1946) and Germania, Anno Zero |
| ‘white telephone’ movies after their use | | | | (1947) they formed a classic trilogy that depicted |
| of the colourful device favoured by wealthy | | | | the horrific impact on humanity. Both Rossellini and |
| Italians of the time. Also included in this revival | | | | De Sica used real locations and non-professional |
| were films depicting Mussolini’s Italy and | | | | actors to produce films that depicted the reality |
| historical epics. By the outbreak of World War | | | | of living instead of constant dramatisation of the |
| Two, Italian film was completely controlled by the | | | | subject. However, the crowds didn’t buy it, |
| fascist government who churned out light | | | | they were surrounded with enough misery, the |
| entertainment in an attempt to distract the | | | | last thing they wanted was to go to the cinema |
| sufferings of the population as the Allies began to | | | | to see more. However, these films were |
| win the war. However, the roots of Italian | | | | massively influential, it changed film’s sense of |
| neo-realist film began during the war, most | | | | time and the nature of drama. |