What Constitutes the Neo in Neorealism - Coursework Example

What is Neo in neorealism? Is neorealism an improvement on traditional realism? Introduction Neorealism is referred to a national film movement that started in Italy characterized by scenes set up in the real location played out by mainly non-professional actors. In visual art, it is use of naturalist colors and lighting elements to illustrated objects and events as they are without exaggeration or idealistic modification. Political the term refers to structural realism first highlighted by Kenneth Waltz defining power and security as the factors that influence international relation among states. This essay gives a descriptive analysis of both realism and neorealism in the light of artistic visual products such as paintings, drawings and film highlighting common aspects in philosophy and material use. In defining whether neorealism is an improvement of traditional realism close connection between uses of material, utilization of light and shadow to create realistic perception and conceptualization. Political neutralism has also been discussed highlighting ideological differences with traditional realism. What is the ‘Neo’ in neorealism? Realism can be traced back to events in the 5th century when it was used reliably to chronicle and predict international relations (Crawford, 2000, p. 10-256). Recent developments such as globalization and economic warfare have made the world more complex redefining issues of interest. Politically there are five core premises of realism and neorealism. The central philosophies address causes of war and condition of peace (Crawford, 2000, p. 10-256). Realism holds that selfish interest in every person is the basis of conflict between nations which are collective platform of individualistic interest with each nation defending its interest. Power is the only negotiating factor in realism (Crawford, 2000, p. 10-256). Neorealism holds that lack of a formal global political system creates anarchic situation where nations feel perpetually threatened by others (Crawford, 2000, p. 10-256). To protect their interest each nation develops its central system that endeavors to protect its existence. System structure is necessary explanation depicting international system as a self-help system formed on the basis on security dilemma and powerful incentive for arms-races. Power and security are the central factors in neo-realism (Crawford, 2000, p. 10-256). Central actors are geographical regions defined as states which peruse their interest of autonomy, independence, security, survival, power, relative capabilities and positionality. Realism is based on inductive knowledge from history while neorealism is deductive from close evaluation of theories that best explain current international relation supported by empirical information. Neorealist though, influenced by historical events, integrated current interaction patterns and philosophical basis in international policies and applies this knowledge to develop theories that the best guide foreign policies (Crawford, 2000, p. 10-256). Neorealism has been criticized as adopting a pessimistic view of human nature that assumes that all persons are preoccupied with their own well being and are in constant competition with each other (Orlando, 2008, p. 100-352). This movement prefers inertia to innovation, stability to change and experience to experimentation. Rational behavior in neorealism indicate that states as the main actors in the global system make decisions that best reflect their national interests and needs (Crawford, 2000, p. 10-256). In visual art realism is a movement dominant in the 18th and 19th centuries that depicts a scene exactly as it is in real life. Neorealism is an improvement on traditional methods triggered by the episode of derailed idealism which seemed to emphasis on fiction issues at the cost of communicating actual problems in modern society (Orlando, 2008, p. 100-352).. Prominent realist artists include Thomas Eakins, John Singleton, Henre de Toulouse-Lautrec, Gustave Courbet and Leonardo da Vinci. Their work captures everyday objects and activities within rural and urban working classes instead of idealistic objected based on mythology without exaggerations or softening. They depict problems of the middle and lower classes, nudity and sexual objects subjects that were sensitive to the upper class. For instance Gustavo’s paintings ‘The Painters Studio’ and A Burial at Ornans’ were rejected by the universal exhibition in 1855 prompting his resolve to withdraw all his paintings and set up his exhibition in a pavilion nearby. Jean Millet moved to rural Barbizon to get closer to his rural subjects that he portrayed in his work. His ‘The Gleaner’ painting depicted rural life and working peasants who continued to live in poverty causing shock and scandal in the society (Orlando, 2008, p. 100-352). Neorealism is mainly influenced by emerging issues such as poverty, oppression and desperation in modern society. Classical realism upholds principles embodied in traditional representation of artistic products. It is characterized by elements essential to western European artistic tradition: truth, nature, beauty and skillful craftsmanship (Bondanella, 2001, p. 5-132). Truthfulness is achieved through strict adherence to color integrity and authentic representation of light and shadow. Beauty is defined through the harmonious confluence of lines, patterns and color that focuses on eliciting positive emotional response from the viewer (Bondanella, 2001, p. 5-132). To achieve this impeccable skills realist artist insist on extended training, constant practice and uncompromised discipline. Technical skills acquired this way allow classical realist to convey completeness of an object projected by the thoroughness from conception to execution. This craftsmanship is applied in drawing, painting or sculpting which do not try to be pretty or diminishing rather portraying reality which was sometimes harsh, sordid or ugly truth. For instance Francisco Goya portrayed his unbending neorealism even when it reflected pain and suffering. He painted monarchs and horrors of the war raising social questions on the cost of war in the society (Bondanella, 2001, p. 5-132). The term classical realism was first used as the title of the 1982 exhibition by Richard Lack who had been trained by Ives Gammel. Their work is characterized by love for the visible world with a realistic representation of primary subject matter based on the artist direct observation. Majority of his work inspired by popular belief Lack sued color to reflect emotions and reality. Another artist Andrea Nutt is a contemporary neorealist trained on traditional realism whose work reflects the beauty within the created world such as landscape, still life, portraits, religious and figurative paintings. This aligns with common practice within the movement to reflect real scenery for instance her painting Light through the trees’ depicts a grove of sapling near her parents home in Georgia. Similarly, her Self Portrait was draw from a picture of herself. She is among the young generation of neorealist of the 21st century. Traditional realism focused on the use of literary scripts based on real life events played out in theaters while neorealism focused on improvisation on undramatic daily events in the lives of common people (Orlando, 2008, p. 100-352). In film, it is characterized by a definite social context, sense of historical actuality, political commitment to progressive social change, authentic on location shooting, as opposed to modified studio set up, extensive use of non- professional actors (Bondanella, 2001, p. 5-132). This movement started in post war Italy between 1944 and 1952 with stories illustrating the poverty and social issues that faced the working class during this period. The war had destroyed past economic infrastructures. Difficult economic and moral conditions engulfed Italy and entire Europe after the World War II leading to oppression, injustice, poverty and associated desperations. These films communicated realities with new democratic emphasis on the value of ordinary people. Families struggling for existence and suspicion towards strangers are some social effects from the war. Significant avoidance of neatly plotted stories in favor of loose, episodic structures that evolved organically improved authenticity (Bondanella, 2001, p. 5-132). Rome, Open City directed by Roberto Rossellini are based on collaboration between Catholics and communist fighting Nazi occupation of the city. Some of the scenes are set during actual Nazi retreat out of the city conveying the hostility by Nazi. The Bicycle Thief is another film that reflects the desperation within post modern Italy with 25 percent population being jobless during its shooting. The combination of comedy and pathos directed by Vittorio de Sica touches on institutions and culture: government, bureaucracy, popular belief, neighborhood and the family. Poverty and desperation are clearly narrated through the main character Antonio and his son ‘Bruno’ both of who were non-professional actors (Bondanella, 2001, p. 5-132). In neorealism, the plot is secondary to the principal aspect of the truth and search for it in everyday events among common persons (Bondanella, 2001, p. 5-132). The result would be a constant emphasis on the responsibility and dignity of every human being which is the central ambition of neorealism. To guide everyone to the proper awareness of human beings and existing nature which is depicted in lines of workers in the fields, passengers lining up at bus stations, group of priest sheltering form sudden storm, people attending social events among other common occurrences. This movement rest n the acknowledgement that life is hard and recognition that one must go on since there is something in human nature that will persist in the face of defeat (Bondanella, 2001, p. 5-132). It is clear that neorealism is an improved version of traditional realism complying with common philosophical basis. The prior refines the ideas of the latter to include changes brought along by modernism and globalization. Both utilize real objects in their natural color to communicate with the viewer. The main difference is time and events from which inspiration is derived. Realism existed prior to world wars I &II while neorealism was influenced by events during and after the war (Orlando, 2008, p. 100-352). Conclusion Realism has wide application giving its dynamic definition depending on the field. The significant principle is reliance on reality to inspire political interactions and/or artistic content and its communication. Lack of exaggerations or diminishing value on the concept is emphasized with the notion of allowing individuals gain gimp of actual events. Neorealism is basically a refined concept of traditional movement which was stimulated by constant movement towards fiction and imaginative narrations based on metaphysical objects and events. This is thought to have derailed focus on reality and challenges faced in modern society. Capitalism, persistent unemployment, poverty, desperation, pain, suffering are some of the issues that form the list of modern challenges. Reflecting daily events in common person triggers appreciation of the worth of contributions made through individual actions that are not necessarily dramatic. Political topography is highly dynamic hence power is no longer the only defining factor of international interactions. Increased competitiveness brought out by technological development in communication and transport. Security concerns among states motivate the creation of foreign policies based on rational decisions that favor continued competitive existence of every state. References Orlando Emily, 2008, Edith Wharton and the Visual Arts: Amer Lit Realism and Naturalism. University of Alabama Press Bittermann Michael, 2007, Blur in Human Vision and Increased Visual Realism in Virtual environment. Advances in Visual Computing. Springer Keohane Robert, 2001, Neorealism and its Critics. Columbia University press Crawford Robert, 2000, Idealism and Realism in International Relation: Beyond the disciplines. Routledge Bondanella Peter, 2001, Italian Cinema: from Neorealism to date. Continuum International Publishing Group Hetdarian Arash, 2009, Comparing and Contrasting Classical Realism and Neorealism: A Re-examination of Hans Morgenthau’s and Kenneth Waltz’s Theories of International Relations. Oxford University Press. Italian Neorealist Cinema: an Aesthetic Approach. Oxford University press Shiel Mark, 2006, Italian Neorealism: Rebuilding the Cinematic City. Wallflower Press Anne Trubek, 2001, American Literary Realism and the Problem of Trompe I’Oeil Paintings. Mosaic Winnipeg Lorenz Eitner, 1992, An Outline of 19TH Century European Paintings From David Through Cezanne. Westview Press Read More