Neorrealismo de lo periférico: el territorio marginal de Roma desde la mirada nativa de Rossellini

Abstract

Rome is presented as a city of a tourist and historical nature, cinematographically staged from the representation of the Roman Empire or as a sort of
city-museum, an imaginary to which Hollywood cinema has made a decisive contribution. In this research we want to look at the reverse shot of this perspective, we are interested in delving into the filmic representation of the peripheral in this city. So, we have chosen an artistic trend with the intention of reflecting the world of its time: Italian neorealism, whith a focus on everyday experiences. Our object of study is the native filmic gaze of Rossellini, roman director, who is in charge of portraying the reality of the spaces and peripheral lives of Rome affected by the Second World War. Roma, città aperta (1945), Paisà (1946) or Europa 51 (1952) show how precarious territory was inhabited and takes over a space starring the voiceless and the circumstances of the fascist occupation. Also, as Bazin explains, in an anti-spectacular and anti-theatrical way. Look at his work as an anthropology, Rossellini's Rome of the
dispossessed is the crystallized reflection on the screen of a territory and a human being that no longer exists, [...].