{"id":"italian-neorealism","no":178,"name":"Italian Neorealism","ja":"イタリアン・ネオレアリズモ","era":"1943–1952","family":"映画の視覚様式","kind":"スタイル","collection":"Dictionary expansion 10","addedAt":"2026-08-18","source":{"title":"BFI — 10 great Italian neorealist films","url":"https://www.bfi.org.uk/lists/10-great-italian-neorealist-films"},"reference":{"status":"verified","pageUrl":"https://www.bfi.org.uk/lists/10-great-italian-neorealist-films","credit":"BFI — 10 great Italian neorealist films","gallery":[{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Magnani%20in%20Roma%20citt%C3%A0%20aperta.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Magnani%20in%20Roma%20citt%C3%A0%20aperta.jpg","credit":"アンナ・マニャーニ『無防備都市』1945 — Wikimedia Commons / Public domain"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Ladri%20di%20biciclette%20(film).jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Ladri%20di%20biciclette%20(film).jpg","credit":"『自転車泥棒』1948 — Wikimedia Commons / Public domain"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Sciusci%C3%A0%20(1946)%20lustrascarpe.png?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Sciusci%C3%A0%20(1946)%20lustrascarpe.png","credit":"デ・シーカ『靴みがき』1946 より — Wikimedia Commons / Public domain"}]},"essence":"スタジオを出て街頭で非職業俳優を撮り、戦後の貧しさと日常をそのまま画面の主題にした「現実の側に立つ」映画。","cues":["ロケーション撮影","非職業俳優","自然光","戦後の街路"],"intents":["親密","反骨","静けさ"],"works":["働く人や街の日常を、演出を足さずに当事者の顔で見せたいとき","社会課題を扱う映像で、被写体を美化せず現場で撮る必要がある仕事"],"recipe":{"type":"字幕や題字を控えめにし、書体で語らず撮った物に語らせる","layout":"人物を街の中に小さく置き、背景の生活を切り落とさずに収める","material":"自然光のまま撮り、粒状の残る階調で影の情報を潰さない"},"avoid":"貧しさを画作りの素材として撮ると、当事者が背景の質感になり、現実の側に立つという前提が裏返る。","colors":["#ececec","#656565","#101010"],"motif":"archive","pair":["french-new-wave","snapshot-aesthetic"],"study":["ロベルト・ロッセリーニ","ヴィットリオ・デ・シーカ","チェザーレ・ザヴァッティーニの脚本論"],"en":{"essence":"Cinema that left the studio to film non-professional actors in the street, taking postwar poverty and daily life as its subject and standing on the side of reality.","cues":["Location shooting","Non-professional actors","Available light","Postwar streets"],"works":["Showing everyday work and streets through the faces of the people there","Social-issue film that must shoot on location without prettifying its subjects"],"recipe":{"type":"Keep titles plain and let the filmed thing speak instead","layout":"Place people small inside the street, keep the surrounding life in frame","material":"Shoot in available light, hold shadow detail in a grainy scale"},"avoid":"Filming poverty as raw material for a look reduces the people to texture, which inverts the whole premise of standing on the side of reality.","study":["Roberto Rossellini","Vittorio De Sica","Cesare Zavattini's theory of the everyday"]},"links":{"page":"https://indexstyle.org/styles/italian-neorealism","json":"https://indexstyle.org/api/styles/italian-neorealism","designSpec":"https://indexstyle.org/styles/italian-neorealism/design.md","imagePrompt":"https://indexstyle.org/styles/italian-neorealism/prompt.txt"},"usage":{"license":"CC-BY-4.0","licenseName":"Creative Commons Attribution 4.0 International","licenseUrl":"https://creativecommons.org/licenses/by/4.0/","attribution":"IndexStyle — https://indexstyle.org","attributionUrl":"https://indexstyle.org","scope":"Original IndexStyle text and structured data. Reference images, quoted works, and third-party material are excluded and retain their own rights."}}