The filmmakers associated with Italian Neorealism are celebrated for their commitment to representing post-World War 2 Italy as realistically as possible and their influence has been significant. In this one-day course, I will examine the richness of this ‘movement’ and consider the reasons for its enduring legacy, while countering some of the myths that have grown up around it on the way.
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This course will chart Italian Neorealism’s development, from precursor films such as Luchino Visconti’s Ossessione (1943), through Roberto Rossellini’s war trilogy - Roma città aperta/Rome, Open City (1945), Paisà/Paisan (1946) and Germania anno zero/Germany, Year Zero (1948) - on to its consolidation with films directed by Vittorio de Sica, such as Sciuscià/Shoeshine (1946) and the perennially popular and critically lauded Ladri di biciclette/Bicycle Thieves (1948) and concluding with films made in the 1950s - Stromboli (Rossellini 1950) and Umberto D (De Sica 1952), as well as those described as ‘Magic Neorealism’ such as Miracolo a Milano/Miracle in Milan (De Sica 1951).
Italian Neorealism has unsurprisingly cast a long shadow over the Italian film industry. Its global influence and the importance of its films has meant that from the mid-1950s onwards, Italian film is constantly referenced in relation to this particular period in its cinema history. This course will explore the reasons behind this and consider some of the misconceptions that have grown up around Italian Neorealism.
What will we cover?
The course will explore the inception, development and demise of Italian Neorealism, while considering its considerable legacy, both for Italian and global cinema. It will examine a number of films in some detail, while situating others within its remit. The course will also seek to explain the broader political, social and cultural history of the period in order to better understand the films of the Neorealists and their intentions.
What will I achieve? By the end of this course you should be able to...
Demonstrate a broad understanding of Italian Neorealist cinema
Identify and critically analyse a number of the films associated with Italian Neorealism
Have an understanding of the political, social and cultural context for the production and reception of the films of the Italian Neorealists
Have some understanding of the legacy of Italian Neorealism for both Italian and global cinema
What level is the course and do I need any particular skills?
The course is suitable for all levels and you do not require any particular skills - just an enthusiasm for film and discussing film.
How will I be taught, and will there be any work outside the class?
The course will be delivered by the tutor with small and large group discussions. Short film extracts will be screened throughout.
Are there any other costs? Is there anything I need to bring?
You will require a pen and paper (or laptop/device) but the tutor will provide all other materials such as handouts.
When I've finished, what course can I do next?
Please look also for other Film Studies courses under History Culture and Writing/Film Studies at www.citylit.ac.uk.
Dr. Paul Sutton is an independent film scholar who has taught Film Studies in UK higher education for over 25 years. His research covers psychoanalytic and film theory as well as Italian and French cinema and critical theory. He has published articles in journals such as Screen, French Studies and the Journal for Cultural Research. He has developed a psychoanalytic theory of film spectatorship, Afterwardsness in Film, and published work on television as a form of palliative care, as well as an assessment of the films of the Italian experimental filmmaker Ugo Nespolo. In 2025 he published the ‘comprehensive and highly readable’ In the Scene: Agnès Varda, a book on the celebrated and much-loved French film director Agnès Varda. Paul is a Film Studies tutor and the co-ordinator for Film, TV and Media Studies at City Lit.
Please note: We reserve the right to change our tutors from those advertised. This happens rarely, but if it does, we are unable to refund fees due to this. Our tutors may have different teaching styles; however we guarantee a consistent quality of teaching in all our courses.
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https://www.citylit.ac.uk/italian-neo-realism3085255Italian Neo-Realismhttps://www.citylit.ac.uk/media/catalog/category/third-man-HF186-1024.jpg7979GBPInStock/Courses/Courses/Culture, history & humanities/Courses/Culture, history & humanities/Film studies/Courses/Culture, history & humanities/Film studies/European film22851177158020881228511771580<p>The filmmakers associated with Italian Neorealism are celebrated for their commitment to representing post-World War 2 Italy as realistically as possible and their influence has been significant. In this one-day course, I will examine the richness of this ‘movement’ and consider the reasons for its enduring legacy, while countering some of the myths that have grown up around it on the way.</p>003085192Italian Neo-Realism7979https://www.citylit.ac.uk/media/catalog/category/third-man-HF186-1024.jpgInStockDaytimeSatKeeley StreetAvailable coursesOne-off onlyWeekend2027-06-05T00:00:00+00:00Beginners, Some experience, Advanced, Suitable for allJun 2027Culture, history & humanitiesHF4187979Italian Neo-Realism635179Paul Suttonitalian-neo-realism/hf418-2627<p>The filmmakers associated with Italian Neorealism are celebrated for their commitment to representing post-World War 2 Italy as realistically as possible and their influence has been significant. In this one-day course, I will examine the richness of this ‘movement’ and consider the reasons for its enduring legacy, while countering some of the myths that have grown up around it on the way.</p>0000-Available|2027-06-05 00:00:00<p>This course will chart Italian Neorealism’s development, from precursor films such as Luchino Visconti’s Ossessione (1943), through Roberto Rossellini’s war trilogy - Roma città aperta/Rome, Open City (1945), Paisà/Paisan (1946) and Germania anno zero/Germany, Year Zero (1948) - on to its consolidation with films directed by Vittorio de Sica, such as Sciuscià/Shoeshine (1946) and the perennially popular and critically lauded Ladri di biciclette/Bicycle Thieves (1948) and concluding with films made in the 1950s - Stromboli (Rossellini 1950) and Umberto D (De Sica 1952), as well as those described as ‘Magic Neorealism’ such as Miracolo a Milano/Miracle in Milan (De Sica 1951).</p><p>Italian Neorealism has unsurprisingly cast a long shadow over the Italian film industry. Its global influence and the importance of its films has meant that from the mid-1950s onwards, Italian film is constantly referenced in relation to this particular period in its cinema history. This course will explore the reasons behind this and consider some of the misconceptions that have grown up around Italian Neorealism.<br> </p><p>The filmmakers associated with Italian Neorealism are celebrated for their commitment to representing post-World War 2 Italy as realistically as possible and their influence has been significant. In this one-day course, I will examine the richness of this ‘movement’ and consider the reasons for its enduring legacy, while countering some of the myths that have grown up around it on the way.</p><p>The course will explore the inception, development and demise of Italian Neorealism, while considering its considerable legacy, both for Italian and global cinema. It will examine a number of films in some detail, while situating others within its remit. The course will also seek to explain the broader political, social and cultural history of the period in order to better understand the films of the Neorealists and their intentions.</p><ul><li>Demonstrate a broad understanding of Italian Neorealist cinema</li><li>Identify and critically analyse a number of the films associated with Italian Neorealism</li><li>Have an understanding of the political, social and cultural context for the production and reception of the films of the Italian Neorealists</li><li>Have some understanding of the legacy of Italian Neorealism for both Italian and global cinema</li></ul><p>The course is suitable for all levels and you do not require any particular skills - just an enthusiasm for film and discussing film.</p><p>The course will be delivered by the tutor with small and large group discussions. Short film extracts will be screened throughout. </p><p>You will require a pen and paper (or laptop/device) but the tutor will provide all other materials such as handouts.</p><p>Please look also for other Film Studies courses under History Culture and Writing/Film Studies at www.citylit.ac.uk.</p>Film studiesEuropean filmvirtual637951HF418NONESat05/06/2710:30 - 16:3010:3016:301 session1One-off onlyDaytimeWeekendKSKeeley StreetPaul SuttonBeginners, Some experience, Advanced, Suitable for allAvailable courses2027-06-05T00:00:00+00:00Jun 2027Culture, history & humanities7979Italian Neo-Realismitalian-neo-realism/hf418-2627<p>The filmmakers associated with Italian Neorealism are celebrated for their commitment to representing post-World War 2 Italy as realistically as possible and their influence has been significant. In this one-day course, I will examine the richness of this ‘movement’ and consider the reasons for its enduring legacy, while countering some of the myths that have grown up around it on the way.</p>0000-Available|2027-06-05 00:00:00<p>This course will chart Italian Neorealism’s development, from precursor films such as Luchino Visconti’s Ossessione (1943), through Roberto Rossellini’s war trilogy - Roma città aperta/Rome, Open City (1945), Paisà/Paisan (1946) and Germania anno zero/Germany, Year Zero (1948) - on to its consolidation with films directed by Vittorio de Sica, such as Sciuscià/Shoeshine (1946) and the perennially popular and critically lauded Ladri di biciclette/Bicycle Thieves (1948) and concluding with films made in the 1950s - Stromboli (Rossellini 1950) and Umberto D (De Sica 1952), as well as those described as ‘Magic Neorealism’ such as Miracolo a Milano/Miracle in Milan (De Sica 1951).</p><p>Italian Neorealism has unsurprisingly cast a long shadow over the Italian film industry. Its global influence and the importance of its films has meant that from the mid-1950s onwards, Italian film is constantly referenced in relation to this particular period in its cinema history. This course will explore the reasons behind this and consider some of the misconceptions that have grown up around Italian Neorealism.<br> </p><p>The filmmakers associated with Italian Neorealism are celebrated for their commitment to representing post-World War 2 Italy as realistically as possible and their influence has been significant. In this one-day course, I will examine the richness of this ‘movement’ and consider the reasons for its enduring legacy, while countering some of the myths that have grown up around it on the way.</p><p>The course will explore the inception, development and demise of Italian Neorealism, while considering its considerable legacy, both for Italian and global cinema. It will examine a number of films in some detail, while situating others within its remit. The course will also seek to explain the broader political, social and cultural history of the period in order to better understand the films of the Neorealists and their intentions.</p><ul><li>Demonstrate a broad understanding of Italian Neorealist cinema</li><li>Identify and critically analyse a number of the films associated with Italian Neorealism</li><li>Have an understanding of the political, social and cultural context for the production and reception of the films of the Italian Neorealists</li><li>Have some understanding of the legacy of Italian Neorealism for both Italian and global cinema</li></ul><p>The course is suitable for all levels and you do not require any particular skills - just an enthusiasm for film and discussing film.</p><p>The course will be delivered by the tutor with small and large group discussions. Short film extracts will be screened throughout. </p><p>You will require a pen and paper (or laptop/device) but the tutor will provide all other materials such as handouts.</p><p>Please look also for other Film Studies courses under History Culture and Writing/Film Studies at www.citylit.ac.uk.</p>Film studiesEuropean filmconfigurable
20881580European filmhttps://www.citylit.ac.uk/courses/humanities/film-studies/european-film1/2/285/1177/1580/20881/Courses/Culture, history & humanities/Film studies/European film
