Italian Neo-Realism arose
in the oldness next Terrene Contest II: it sought a split from exceeding traditional filmmaking techniques by focusing on "authenticity" rather than entertainment. A decade subsequent, French filmmakers adopted many of their techniques in their knowledge of the French Contemporary Wave. The two movements retain a figure of similarities, including a reliance on spontaneity and the bag of nonprofessional actors. In spite of that, a symbol of vital differences exist between them.
Time Period
The most conclusive digression between the two movements (very the event that they arose in antithetic countries) is the epoch in which they arose. The Neo-Realists operated during a comparatively short amplitude of bit, between the mark of Nature Fighting II and the early 1950s. The French Virgin Wave arose subsequent, and it was besides self-conscious approximately what it was doing. It developed Neo-Realist ideas in and sophisticated instructions, building upon what their predecessors had begun.
Class and Outlook
Italian Neo-Realism arose from a territory which at sea Star Conflict II, during a space when its community were suffering under extreme poverty. It often focused on working class protagonists, and on problems of the suffering poor. New Wave filmmakers, however, came from an ultimately victorious country with a more optimistic view of the future. They often belonged to the middle class, and their films often reflected a more carefree lifestyle.
Tone
French New Wave films tended to be more energetic and upbeat than Italian Neo-Realism. They heightened energy levels through conspicuous techniques such as jump cuts and dialogue aware of its own artifice.
Hollywood
Both the French New Wave and Italian Neo-Realism sought to defy the conventions of Hollywood by providing new cinematic tropes and ideas. However -- unlike Neo-Realism -- the French New Wave often adopted Hollywood ideas as a means of shaking them up or drawing attention to their conventional status.In so doing, the French New Wave hoped to break the boundaries of the fourth wall: reminding audiences that they were watching a movie instead of rendering the apparatus of filmmaking invisible. Italian Neo-Realism was much grittier and less playful. It worried less about making the audience aware of its own artifice, and often focused on the subjects being filmed rather than the apparatus of film (such as editing equipment) which the French New Wave delighted in toying with.
For instance, the movie "Alphaville" features a private eye named Lemmy Caution who had previously appeared a number of more conventional detective movies, but here was subjected to the signature jump cuts and consciously artificial plot structure utilized by the French New Wave.
