Document Type : Original Article
Authors
1
Doctoral student of philosophy of art, faculty of art, Islamic Azad University, Tehran Branch
2
Department of Art, Faculty of Arts, Central Tehran Branch, Islamic Azad University, Tehran, Iran
3
Professor of all art faculties, Tarbiat Modares University, Tehran
10.30510/psi.2022.351955.3822
Abstract
Examining the theories about neorealism shows that this school has always been examined in terms of form and the basis of its difference has focused on a different formal attitude compared to other forms of cinema. Also, we should not forget Deleuze's ontological view and those of others, which are clearly based on the relationship between this cinema and reality as well as moving towards being more real.
However, the main question here focuses on the whyness of moving to reality. What causes the formation of such cinema is the era before this cinema and the cinema before neorealism, that is, the era of fascism and the cinema of fascism.
The cinema of fascism had distanced man from his own moral existence and equivalized being limited to power and denying human individuality replaced with a subordinated and unified population to the concept of nationalism.
However, the failure of the government and the disasters caused by the war showed the Italian artists that when morality is trampled and individual rights are ignored, great disasters occur. Italian cinematographers came to the realization that they should remind the society that if man abandons his moral existence, he will become a dangerous being.
Therefore, from such a point of view that emphasizes ethics and commitment, the emergence of form can only be achieved through the lens of showing reality, and the rest of formal techniques are aimed at introducing humans as social beings, ethical and committed.
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