Hitler's Death Term Paper Example | Topics and Well Written Essays - 1250 words

Hitler's Death - Term Paper Example Speculations, arguments, doubts and questions arose regarding the validity of the death of the most famous dictator to date, Adolf Hitler. Different analysis were conducted and different results were obtained from these studies the issue still had been going on for a while until the skull fragment was displayed in Moscow a little over a decade ago. Although it may seem still a little vague to some today, it is no longer a question whether Hitler is dead or alive but just the truth behind his death. Considering his recorded condition before the 30th of April in 1945, he would unlikely survive a decade after that. So whether he escaped from the ruins of Berlin or not, he is, for the lack of better term, ‘dead’, by now. Some historians doubted Hitler’s death and suggested that the Nazis orchestrated propaganda to make the Fuehrer a hero. The US also doubted the dictator’s death and speculated the he may have escaped from Berlin in 1945 and did not take his own life. These doubts were caused by the unclear showcasing of facts and mismatching data in the past. These speculation and arguments just settled when the skull fragment with a hole caused by a gunshot was put on display in Moscow in 2000.

The influence of mass media in the american election Research Proposal

The influence of mass media in the american election - Research Proposal Example The US mass media concentrates almost exclusively on elections during the presidential election year. Several television channels are wont to support one or other presidential aspirant. Traditionally, Fox News and the National Review have supported the Conservative point of view, whereas the Liberal ideology has been promoted by MSNBC (Quinn). The use of exit polls by the media to predict winners in elections, on the basis of whom voters say they had voted for in the elections, subsequent to casting their vote has resulted in considerable controversy. These estimates are generally made on the basis of marginal differences in the stated number of votes. Such predictions have the effect of influencing persons who have yet to exercise their franchise (Mass Media Play Important Role in U.S. Elections). The general view is that television channels do not provide accurate political information to their viewers. Some people argue that TV channels have failed to provide their viewers with correct information. However, this notion is not correct; because several studies in this area have revealed that TV news channels reach a broader section of the populace, in respect of political issues, than newspapers. More importantly, during election times, TV channels provide accurate information about candidates; and clarify at length the ideological and issue based differences between them. Studies by scholars in this regard indicated that the audience of these broadcast acquire better and more accurate political information, if they concentrate on the content of these programs. Therefore, the attention of the audience is essential in grasping the various issues under discussion (Perloff). Barack Obama’s outstanding victory at the polls has confirmed the fact that he understood the nuances of the mass media’s power to influence people. In fact his dominance over McCain was total in every area that related to social media activity. Obama based his

Personal Code of Ethics Essay Example | Topics and Well Written Essays - 250 words

Personal Code of Ethics - Essay Example ed commitment, principled living style, objectivity, harmonious behavior, constructive criticism, beneficial communication, learning passion, and critical reflection. In pursuing my career in finance and accounting, I will take care to conduct myself as much ethically as possible in both personal and professional life by always ensuring the definite presence of this ethical code in my mind. By keeping the values which form the hallmark of my code, I will learn the ropes to establish a smooth career which would not be marred by insignificant criticism, harsh communication, unprofessional thinking, workplace debauchery, and demoralized behavior. Developing a code of ethics prior to initiating a professional career holds utmost importance, because it saves one from engrossing in character-destroying activities and ruining one’s career for life. I will promote healthy and constructive dialogue with fellow colleagues and managers, while taking care to criticize where necessary but in a bias-free manner. I will negotiate certain issues with other people at workplace by being critical, reflective, and ethical at the same time. I will never hold back my passion and commitment for offering solutions for myriad problems and will always consult my code of ethics for maintaining workplace

Poor Law Amendment Act of 1834 Essay Example | Topics and Well Written Essays - 1250 words

Poor Law Amendment Act of 1834 - Essay Example The Poor Law Amendment of 1834 has been based upon three particular ideas that include Malthus' principles on population raise and resource decline, Ricardo's Iron Law of Wages and Bertham's doctrine on relaxation and perception over work1. These particular bases of the law's idealism leads towards a more important sense of clarity as to what the law was really for. However, since the law interests many critics as to how much applicable the law is in saving the welfare of the poor people in the society (Blaug 1964 p.122). The tests that were used to at least measure the different issues that are in consideration with the application of the law in the society to which it is practically made for includes the less eligibility and the workhouse test. (Boyer 1990p.55) From the measuring examination, the less eligibility test provided a result that only those who are really needy would be able to be considerably considerate on taking workhouse jobs. Believably, the process of inculcations about the major conditions of working in workhouses makes them less interesting even for the poor (Dakyns 2005 p. 49). The other test that has been done was that of the workhouse test. The workhouse test on the other hand gave out a different result pointing out that people who are poor enough move to areas that are ready to welcome them; areas where there seems to be more opportunities of employment. From these resu From these results, it could be found that the law could have been effective for implementation if the actual missions of its creation have been carried through (Lees 1998 p. 342). These missions or particular objectives could be noted as follows: To create a protective consideration on the values of the tax payers helping them to avoid the dilemma of paying too much in comparison to what they are actually making for a living. (Lees 1998 p. 341) To help the unemployed individuals in urban areas to be transferred to their rural origin to reduce scarcity of resources in the city. To ensure the level of consideration given to those who are to be transferred, creation of jobs [or better workhouses] in the rural areas is to be pursued. (Lees 1998 p. 341) These missions impose a larger scope of identity that makes a huge difference on the recognition of employment and acceptability in the human society. Basically, through this, the implication of better jobs and the creation of better work areas or workhouses could interest more to work both in the rural and the urban areas2. It is also through this mission that the inculcation of the role of the Parish groups in assisting individuals who have no jobs to be counselled and motivated to get jobs of their own has been addressed as an aggressive manner of propagating the belief that working is a must and that having a chance to feed one's self and one's family is more important than self praise or social recognition. True, the same as it was before, the human society of the past was less able to control the sense of recognizing the need to live than the need to be known; this has a same implicative effect in the society today. As the poor law amendment of 1834 was also noted for its attributes being based on utilitarianism, this law aims to provide the greater number of people the level of satisfaction and happiness that they deserve

The Ancient World Article Example | Topics and Well Written Essays - 1000 words

The Ancient World - Article Example Question 2.Through the Roman Literature and Art, we are able to learn a lot about how Roman women could have power through their ability to influence men so as to achieve their objectives. For instance in the Thucydides’, History of the Peloponnesian War, we learn the great role that the women played in the Peloponnesian War. Also, in Livy’s book, The History of Rome from its Foundation, (Gochberg, 338- 400), we see the great political influence that the Roman women had in the development of the Roman Empire. Also, in, Xenophon the Laws and Customs of the Spartans (Gochberg 160-172), we find the great roles that women played in the ancient Greece’s culture and politics through influencing men on various matters. Question 3. Roman culture has had lasting influence upon the neighbours of the Roman Empire. Some of the areas in which Roman culture has had lasting influence include in the areas of art, architecture, Religion and language. For instance in Demosthenes, First Philippic (B&L 247-251), we find how Hellenistic culture spread to all the neighbours of Greece. Also, in Livy’s book, The History of Rome from its Foundation, we find how the Greece politics influenced politics of the neighbours of Greece. ... Herodotus’ Histories explains how Roman -Spartan war took place in 195 BC., and lastly in the Livy’s book, The History of Rome from its Foundation, we see how war emerged following Rome’s attempt to impose their culture upon other people. Question 5. Emperors used religion to support their power. In his book, The Golden Age, Apuleius discusses how emperors used religion as a tool to support their power. This is also discussed by the Historian Josephus in, Jewish War (Mellor 331-345). We find the same discussion on this immoral behaviour of emperors in the book, The History of Rome from its Foundation, (Gochberg, 338- 400), by Livy. Part 2 Many ancient civilizations were characterized by one group of people being empowered through a marginalization of another group of people. The marginalization of one group of people by another was a result of a war in which the losers in war were made slaves by their conquerors. In this paper we are going to look at three groups of people who were continually marginalized by others. The three groups of people that we are going to look at and who were marginalized by their neighbours are the people of Macedonia, Spartans, and the Syrians. Marginalization of the Macedonians resulted from a war between the Romans and the Macedon state, led by Philip V (Robin and Mattern- Parkes, web). This war was fought in between the years 200-197. The result of the war was that King Philip of Macedon was defeated and he was forced to relinquish all his possessions in South of Greece. King Philip had, however, put up a very spirited resistance against the Romans although eventually he was defeated. Through this war, the people of Macedon were dominated and enslaved by the Romans. The result of this domination was

See Order Instructions below Essay Example | Topics and Well Written Essays - 2250 words

See Order Instructions below - Essay Example Discuss the Australian Nursing and Midwifery Council’s (ANMC) National Competency Standards for the Registered Nurse and the ANMC Codes of Ethics and Professional Conduct (see www.anmc.org.au to access documents) as they shape the registered nurse role and as they contribute to your understanding of your preparation as a registered nurse. Use the ANMC National Competency Standards for the Registered Nurse as well as the ANMC Codes of Ethics and Professional Conduct as an underpinning to describe and evaluate your preparation for registered nursing clinical practice. This requires that you crystallise, reflect upon and document aspects of your professional development. You will do this through your reflections on both successful and less successful instances from your own learning and clinical practice. Your reflection should be informed by the available literature and integrate any and evidence of your claims from assessments and specific relevant, learning experiences or incidents.

Neo Realism In Italian Cinema

Neo Realism In Italian Cinema In complete contrast to the Fascist cinema it superseded, Neo-Realism was committed to representing life as it is lived. With this in mind, analyse the reasons why Neo-Realism as a movement lasted only ten years. Please refer to at least two films. In contrast to the Fascist cinema that it superseded, Neo-Realism was committed to representing life as it is lived; its films are therefore characterised by narratives set amongst Italys poorest, examining the difficult economic and moral conditions experienced during World War Two and in the post-war years. The movement has therefore been labelled a moral and aesthetic cinema (lecture, Heath-Williams, A., 2009). This essay will discuss and examine the reasons why Italian Neo-Realism lasted just ten years, between 1942 and 1952 (Cook, P., 2007: 233). It will focus briefly on Fascist cinema and then examine Neo-Realism and some of its key films, notably those by Rossellini, De Sica and Visconti, and the subsequent moves by these directors away from Neo-Realism to more individual projects. It will then assess the variety of state and Church constraints imposed on Neo-Realism during its ten years, and will discuss changes in the tastes of contemporary audiences, to determine whether it was these changes that ultimately sounded the death-knell for the movement. Italian film production was virtually non-existent after World War One and cinemas were forced to show only foreign films, which was intolerable for the Fascist regime (filmreference.com, 2010). Following intervention by Mussolinis government the industry slowly revived throughout the 1930s, creating an Italian, rather than a specifically Fascist cinema (Cook, P., 2007: 233). Fascist filmmakers did make some films that have been rightly dismissed as propaganda, such as the short newsreels that were made to educate not entertain the public. However, of the seven hundred or so films produced by them, most were not actually propaganda films, but rather were entertaining, patriotic epics, such as Red Passport (dir. Brignone, 1935), which highlights an Italian peasants love for his country, as he returned home from abroad and fought and died for Italy in The Great War (Bondanella, P., 2009: 49). In complete contrast, the same film industry also produced White Telephone films a derogatory name coined by the Italian public (allmovie.com, 2010). These films are big-budget melodramatic productions frequently set in grand hotels, fancy nightclubs or on luxurious ocean-liners, with each film featuring a distinctive white telephone, which was viewed as a symbol of middle-class bourgeois wealth. They portray a false view of Italian life, as the existence led by most Italians was the exact opposite of that being shown onscreen. Indeed, within these films, the simple protagonists always found a simplistic resolution to their equally simplistic and insipid dilemmas (greencine.com, 2010), which was wholly unreflective of Italys reality. These films were intended to distract the Italian public from that reality and to recreate the box office success of the popular Hollywood narratives of the 1930s. Mussolini also encouraged the filming of grand, historical epics that were intended to ma ke Italians proud of their Roman history (greencine.com, 2010) again, another distraction from contemporary problems. Whilst Fascist cinema tended to produce decadent white telephone films, there were calls for filmmakers to develop a film realism that was authentically Italian (filmreference.com, 2010). With the outbreak of war in 1939 and the increasing breakdown of Italian society, a number of screenwriters also began to call for a cinema that resembled the Verismo or reality of 19th century Italian literature (Bordwell, D., Thompson, K., 2008: 459). Italian directors and writers were also influenced by French films of the 1930s and by Calligraphist films of the early 1940s, which were heavily reliant on the finest of detail (Bondanella, P., 2009: 52, 53). This use of fine detail and mise-en-scene would become a major aspect of the Neo-Realist movement. Although philosophical ideas formed the basis of the Neo-Realist movement, the main aim and true goal of the movement was to express societys issues in an entirely new and innovative way. Accordingly, Neo-Realist films may be seen as something o f a reaction against the white telephone dramas and superficial Hollywood imports of the 1930s (cinema-scope.com, 2010). Neo-Realism was therefore a rejection of Fascism and fantasy (criterion.com, 2007) but its realism was also born from absolute necessity. Indeed, the reasons for shooting on location and over-dubbing dialogue were purely practical, as Romes Cinecitta studios were heavily bombed by Allied forces and could not be utilised and sound equipment was of poor quality and in short supply (Bordwell, D., Thompson, K., 2008: 459). However, the use of exterior locations rather than studio sets lends the films a great deal of authenticity, because they show the actual physical destruction of the Italian landscape. This destruction as shown in various scenes of bombed-out shells of buildings throughout Rome, Open City (dir. Rossellini, 1945), and Germany, Year Zero (dir. Rossellini, 1947) could not easily be recreated in the studio. Similarly, in Obsession (dir. Visconti, 1943) the director uses the natural degradation of a typical farming community to set his film, and this too is difficult to re create in the studio. Filmmakers were also allowed much more freedom on location with sound and dialogue because everything could be carefully re-recorded later in the studio (Bordwell, D., Thompson, K., 2008: 459). This is evident in the scene from Obsession where the characters are walking back from a singing contest and are filmed chatting together from some distance away; their conversation is obviously over-dubbed, as it could not be recorded naturally during filming with the poor sound equipment available. The use of conversational speech and non-literary dialogue also lends Neo-Realist films an authentic air because it makes characters more realistic, to which audiences can relate. Neo-Realist filmmakers also use many non-professional actors for supporting roles, which adds realism and depth to their characters. Professional actors usually portray the principle characters but sometimes non-professionals are also utilised. The reason for the use of amateurs is because many professional actors perished during the Allied bombings or were exterminated by the Nazis (lecture, Heath-Williams, A., 2009). The use of non-professionals in principle roles gives the films added realism, especially in critical scenes. For example, when Vittorio De Sica was casting actors to play the main character in his iconic film Bicycle Thieves (dir. De Sica, 1948) he chose an ordinary factory worker to play him because, according to De Sica, everything about him was perfect (Bordwell, D., Thompson, K., 2008: 460) for the working class character he had envisioned. A professional actor would simply not have had the life experiences to draw upon to accurately portray him. Neo-Realist films are divided into two distinct categories, that is, Ideology and Style (facstaff.gpc.edu, 2010). Ideologically, Neo-Realist films portray Italy with a new, revitalised democratic spirit, strongly emphasising the value of ordinary, working class people. The films also show a compassionate viewpoint and refused to make superficial moral judgements (lecture, Heath-Williams, A., 2009). Many films are pre-occupied with Italys Fascist past and others deal with the difficult economic and moral conditions faced by Italians throughout the war and during its aftermath. There is one particular scene in Rome, Open City where a mob raids a bakery, stealing everything, including the weighing scales, which perfectly portrays the fear and desperation prevalent in contemporary Rome. Neo-Realist films also have a tendency to emphasise strong emotions rather than abstract ideas to convey their ideas, thereby inviting audiences to empathise with the plots and characters, whose experienc es mirror their own. Stylistically, Neo-Realist films avoid neatly plotted stories in favour of a loose and episodic structure, whilst mixing in a documentary-like visual style (facstaff.gpc.edu, 2010). Obsession is a prime example of the use of this loose structure, with the plot revealing itself like the chapters of a book. Its documentary-like style is shown through its use of real-time long shots, which convey the natural coming-and-goings of the characters, capturing life as it happens. This is perfectly illustrated by the infamous scene in Obsession where Giovanna eats a bowl of pasta and falls asleep at the table in her ramshackle kitchen, which confirms her exhaustion and carefully matches film-time with real-time. It is this style that gives Neo-Realist films their unique perspective, because real life is loose and episodic, it is not neatly plotted or clearly defined, sometimes literally nothing happens as in the pasta eating scene and it often ends unhappily or uncertainly. One of the first directors to focus the attention of international film critics onto Neo-Realism was Roberto Rossellini, a close friend of Mussolinis son, Vittorio. Despite his Fascist background, one of the most notable examples of Neo-Realism can be found in Rossellinis highly acclaimed film, Rome, Open City (lecture, Heath-Williams, A., 2009). The film is centred on the unlikely collaboration between Catholics and Communists fighting the Nazi occupation of Rome, shortly before the Americans liberated the city. Some footage was allegedly shot during the Nazi occupation and subsequent retreat out of Rome because of its accurate portrayal of society at the time. Indeed, Rossellini wanted to convey the cruel atmosphere that existed during the Nazi occupation, and the scene wherein Romes socio-political reality is vividly demonstrated, is when Pina is mercilessly gunned down by German soldiers as she chases the vehicle that takes her lover, Francesco, away. Perhaps, more importantly, f or a director with links to Mussolinis regime, the film with Romes resistance movement at its core has a very real anti-Fascist message. The box-office success of Rome, Open City hinted that a film revolution (ccat.sas.upenn.edu, 1996) was underway, and Rossellini remains true to Neo-Realism in his next two films, Paisan (dir. Rossellini, 1946) and Germany, Year Zero. Paisan is another example of Neo-Realisms use of an episodic structure, as its six sections loosely capturing the Allied defeat of Italy are edited together by authentic newsreel footage. The film further revolutionised filmmaking when Rossellini chose much of his cast from people who simply gathered around when his film crew set up in a town square (ccat.sas.upenn.edu, 1996). His next film, Germany, Year Zero, is set in the ruins of Berlin and shows a German viewpoint of the war and its aftermath. This film, however, was criticised by some Marxist Neo-Realists, who sensed something of a moralistic, less objective tone in this work and a distinct change of direction from Rome, Open City (archive.sensesofcinema.com). Indeed, Rossellini establishes his m oral perspective at the outset of the film when a brief written quotation and accompanying voice-over, appears to suggest that a society that strays from a decent, moral and religious path will undoubtedly plunge into chaos (Bondanella, P., 2009: 80). This is a damning indictment of Germany and its recent experiences under Hitler, but it strays a long way from Neo-Realism and its supposed reluctance to make moral judgements of this nature. Rossellini seems to suggest that German society may have broken down irretrievably because of Hitler, as Germany, Year Zero is full of relentless, bleak imagery, which illustrates its downfall, such as in the scene where desperate Berliners are reduced to eating a horse that has died in the street because they are starving (Bondanella, P., 2009: 81). In contrast, Rome, Open City differs in that Rossellini shows some vestige of hope for Italy, most notably in the scene where a group of young children even though they witness the execution of Don Pietro still find the courage to return to Rome and continue their resistance efforts. However, Rossellinis change of direction is more apparent in his films of the late 1940s and early 1950s as he moves from attempts to capture social realism to the investigation of more complex issues, such as marriage, emotional alienation, and personal despair (Bondanella, P., 2009: 130). Indeed, Rossellinis exploration of these subjects requires the exp ertise of professional actors rather than the gritty amateurs who worked on his Neo-Realist films, which is perhaps his most blatant change of style. Whilst Rossellini brought Neo-Realism to international attention, it was Vittorio De Sica who maintained its impetus (facstaff.gpc.edu, 2010). De Sica was an established film and theatre actor when he turned to filmmaking in 1939, but his films lacked any renown until he began to examine the harsh realities faced by Italians during the war (starpulse.com, 2010). Elements of Neo-Realism can therefore be found in The Children Are Watching Us (dir. De Sica, 1942) with its simple plot, social problems and use of children in key roles. However, it was during the post-war era that De Sica became one of the key figures of Neo-Realism with such classics as Shoeshine (dir. De Sica, 1946) a tragic account of the lives of two children during Americas occupation of Italy and Bicycle Thieves (biography.com, 2010). The latter is undoubtedly his greatest film and, in true Neo-Realist style, is acted mostly by non-professionals, is shot on location and deals with various social issues, including t he impact of long-term unemployment and familial relationships, in this case, between father and son. Shot on the streets of Rome, the films protagonist is Antonio, who finally secures work putting up film posters, but to keep the job he has to have his own bicycle; Antonio and his wife are therefore forced to pawn their bed sheets to secure one. The scene in the pawnshop is poignant, as the shop is overflowing with household goods that have been exchanged for money or alternative goods, which highlights Italys desperate poverty. However, the bike is stolen and the film deals with Antonio and his sons attempts to recover it (facstaff.gpc.edu, 2010). Antonio ultimately steals someone elses bicycle and is apprehended by angry locals, becoming the very person that drove him to where he is now a bicycle thief! There are clearly depths to which even desperate Italians must not descend. Bicycle Thieves successfully highlights Italys bleak situation during the post-war years, and it is this accurate, heartbreaking portrayal that makes it such an achievement. The film is not, however, witho ut controversy, as it exposes societys problems but does not offer solutions to them. Certainly Bicycle Thieves does not have a satisfying happy ending, so perhaps De Sica simply intends that society find its own solutions to the problems he reveals in Bicycle Thieves. His next Neo-Realist production was Miracle In Milan (dir. De Sica, 1951) a comic parable about the clash between Milans rich and poor followed a year later by Umberto D. (dir. De Sica, 1952), which is now accepted as a film masterpiece. However, Umberto D. was a contemporary box-office disaster (starpulse.com), as Italian audiences appeared to prefer Hollywood escapism to De Sicas themes of loneliness, poverty, suffering and the plight of the elderly in society. De Sica was therefore forced to return to more lightweight and commercial films, such as It Happened In The Park (dir. De Sica, 1953). When subsequent films also failed commercially, De Sicas career as a director stalled and, struggling to secure funding for further projects, he returned to acting and did not direct again until 1960 (starpulse.com). Neo-Realists struggled to find funding because the Italian film industry was effectively under state control by the early 1950s (Bordwell, D., Thompson, K., 2008: 460). Indeed, Giulio Andreotti, the Under-secretary of Public Entertainment, introduced a law that limited foreign imports and provided loans for domestic film production, as long as these films were not overtly critical of post-war Italy (Bondanella, P., 2009: 112). Unfortunately, Neo-Realist films clearly fell outside this strict funding criterion. A government committee was actually established to read prospective film scripts and to deny finance to openly political productions (matthewhunt.com). The Catholic Church also began to censor films according to their suitability for screening in its parish cinemas, which had been opened to combat the supposed menace of immorality and Communism as portrayed in Cinema Paradiso (dir. Tornatore, 1989) many years later. And, in 1949, the Vatican actually excommunicated Communist v oters, sympathizers, and their allies (Bondanella, P., 2009: 112), which made producing and watching Neo-Realism films extremely risky in an era when any form of social criticism seemingly equalled Communism. Similarly, as economic prosperity returned to post-war Italy, Neo-Realist films no longer felt as relevant and they started to become obsolete. Italians had recently lived through a very dark time in their history and did not appear to want it continually replayed on the big screen. Perhaps the realism of these films was just a little too accurate and a reminder of times sooner forgotten. Consequently, many Italians turned to the glamorous escapism of imported Hollywood productions and whilst Rome, Open City was the highest grossing domestic film of 1945 (cinema-scope.com, 2010) by 1952 Umberto D. was the aforementioned disaster at the Italian box-office. Indeed, historians date the end of the Neo-Realist movement with the public attacks onà ¢Ã¢â€š ¬Ã‚ ¦ Umberto D. (Bordwell, D., Thompson, K., 2008: 461). The Neo-Realist movement therefore had to adapt and a modicum of escapist comedy was introduced to dilute the realism and make the films more socially acceptable. The resulting new film style is known as Pink Neo-Realism (matthewhunt.com) that eventually gave way to the distinctive Comedia AllItaliana (matthewhunt.com). The Neo-Realism movement was therefore effectively at an end. During the occupation years the message of the Neo-Realist movement led to a social revolution amongst Italys people and government. However, as Italys post-war resurgence gained strength this message faded, as audiences preferred to forget issues like mass unemployment, extreme poverty, social decay and politics. Realism therefore became the antithesis of social change and filmmakers and audiences ironically gravitated towards the types of films made by the Fascist cinema popular taste had come full circle. With hindsight, however, it is apparent that no other film movement has achieved such an accurate portrayal of real life and won such recognition as the Italian Neo-Realist movement. Its impact on contemporary filmmaking was enormous, establishing the reputations of its key directors and offering audiences some of the outstanding films of the post-war era. And while Italian Neo-Realism lasted just ten brief years, its influence was felt immediately amongst filmmakers of the 1950 s (Bordwell, D., Thompson, K., 2008: 461), and it is still felt amongst filmmakers of today. Bibliography Bondanella, P., 2009, A HeatHistory of Italian Cinema, New York: The Continuum International Publishing Group Ltd. Bondanella, P., 2007, Italian Cinema: From Neorealism To The Present, 3rd edition, New York: The Continuum International Publishing Group Ltd. Bordwell, D., Thompson, K., 2008, Film Art: An Introduction, 8th edition, New York: McGraw-Hill. Cook, P., 2007, The Cinema Book, 3rd edition, London: Palgrave Macmillan. Heath-Williams, A. (2009) Introduction to Italian Neorealism, FV2S13 [Lecture] Italian Cinema, Bridgend College, School of Creative Arts, Seminar Room, Queens Road Campus, 24th September. Heath-Williams, A. (2009) Neorealism: Wartime Resistance, FV2S13 [Lecture] Italian Cinema, Bridgend College, School of Creative Arts, Seminar Room, Queens Road Campus, 8th October. Web Resources Allmovie.com (2010) History of Italian Cinema [online] Available from: http://www.allmovie.com/essays/Italian-cinema-41 [23/06/10] Senses of Cinema (2010) Roberto Rossellini [online] Available from: http://archive.sesnseofcinema.com/contents/directors/02/rossellini.html [25/06/10] Film Drama (2009) Rome, Open City (Roma, Citta Aperta) [online] Available from: http://www.bbc.co.uk/bbcfour/cinema/features/rome-open-city.shtml [23/06/10] Biography.com (2010) Vittorio de Sica Biography [online] Available from: http://www.biography.com/articles/Vittorio-de-Sica-9272724 [25/06/10] University of Pennsylvania (1996) The Cinema Under Mussolini [online] Available from: http://ccat.sas.upenn.edu/italians/resources/Amiciprize/1996/mussolini.html [23/06/10] Cinema Scope (2010) Rome, Open City: Neorealism Wasnt Built in a Day [online] Available from: http://www.cinema-scope.com/cs24/spo_kaltsounakis_rome.htm [23/06/10] Criterion Collection Online Cinematheque (2007) Bicycle Thieves: A Passionate Commitment to the Real By Godfrey Cheshire [online] Available from: http://www.criterion.com/current/posts/467 [23/06/10] Facstaff.gcp.edu (2010) Film 1301, Notes 10, Italian Neorealism [online] Available from: http://facstaff.gcp.edu/njriggs/film1301/notes10.htm [3/07/10] Filmcritic.com (2007) Bicycle Thieves [online] Available from: http://www.filmcritic.com/reviews/1948/bicycle-thieves/ [23/06/10] Filmreference.com (2010) Cinema Under Fascism: The Advent of Sound and The Increase of National Production [online] Available from: http://www.filmreference.com/Independent-Film-Road-Movies/Italy-CINEMA-UNDER-FASCISM-THE-ADVENTOF-SOUND-AND-THE-INCREASE-OF-NATIONAL-PRODUCTION.html [23/06/10] Filmreference.com (2010) Historical Origins Of Italian Neorealism [online] Available from: http://filmreference.com/encyclopedia/Independent-Film-Road-Movies/Neorealism.html [23/06/10] Greencine.com (2010) Italian Neo-Realism by Megan Ratner [online] Available from: http://greencine.com/static/primers/neorealism1.jsp [24/6/10] Matthewhunt.com (2010) Neo-Realism [online] Available from: http://www.matthewhunt.com/cinema/worldcinema.html [30/06/10] The New York Times (2009) Open City (1945) [online] Available from: http://movies.nytimes.com/movie/36504/Open-City/overview [23/06/10] Starpulse.com (2010) Vittorio de Sica Biography [online] Available from: http://starpulse.com/Actors/De_Sica,_Vittorio/Biography [25/06/10]