LA TERRA TREMA - Direction visual, narrative and ideological

    After an analysis of the narrative of this work and the different feelings exist in the same step by exposing the visual senses, and ideological narrative of a general point of view.

   Within a neo-realist, Visconti focuses not only represent reality but rather to give an inside view of reality itself. Point of view often provided through the narrator, who in the course of the film highlights the events marked by long and general plans. How, if these same plans, not promenorizados, could mislead the viewer into a narrative not as streamlined as this movie really is. From a raw and real way, this reality marked by the actors themselves, the inhabitants of Acitezza, Visconti intended to shock and demonstrate with a simple plot, as if he lived in this village, in Sicily. Thus, with this approach to the issue neorealist, Visconti wants to give the viewer the unjust and unequal hand, they lived in the post World War II.

   Visconti, tells this story through a mixture, which refers to the narrator and the representation of actors, and begins by showing that every injustice in this village lives. Demonstrating the Church in the foreground, the sea in the second and third homes in background, makes a division between the employers represented by the Church, represented by the sea men and women represented by the houses. The church is associated with the bosses at the bell that rings every time the men go, or come from the sea, like a bell in and out of work. Not only the actions but also in the plans where the church stands in the background contrasted or becomes the point perspective, while men are working.

   The sea is associated with men, because they live devoted to it. The sea represents not only the main power supply, but also a constant threat in the lives of these persons. Why spend almost more time at sea than on land I think it is legitimate to associate the two.

   The houses are associated with women because it is where they stay all day long, anguished by the bell, so that their husbands return from the sea, as if the bell were the division between sea and land, man and woman, fear and hope.

   The change of plans for general plans ultilizada approximate only when there is dialogue between characters in order to capture the viewer's attention to what 's being said in order to create a envolovência with the narrative. In this intimacy desired, plans for an approximate capture the best expressions of the characters, so much suffering, and joy, like the last scene in the movie, which asks N'toni job with his two brothers, when they say: "Look at the chicken with her chicks. Come! I'll take all ", and made a great plan to face the younger brother.

  Focusing not only on hard work, because society does not revolve around just that, Visconti portrays more points of view, as the refuge that these men had in their spare time, which were few. The idea of ​​family at this time was very important, as a hope for a better life. Thus, Visconti portrays young women as symbols of hope that these young people dreamed reach, as they waited for a prince that came seeking a white horse, as told to his sister Mara. This same character is later, the window, watching the horizon, as if it were an infinite wait.

  After presenting an entire generation and a plot of various feelings: acumudação, anger, love, hope, injustice, Visconti focuses not only on portraying these elements, it creates a fiction demarcated all possible adventures that this village would have to go. Marking each with a respective common element, the people. Thus, we can say that it is in accordance with the general feeling of the people, who organizes his narrative Visconti.