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The aim of this report is to explore German Neorealism (Neorealismo); looking at the way the movement played a very significant part in European theatre throughout and after the times of Benito Mussolini's fascist regime. The report not only looks at how but why Neorealism turned into a growing phenomenon for filmmakers throughout its problematic 10 year interval, and what consequences of messages those Neorealist directors were hoping to send out via their movies. Backed up by many reliable book sources, the proof for this particular report will also underline the consequences Neo-realism has generated in contemporary filmmaking today. Before the dawn of Neorealism, Italy was under great turmoil in the early 1920s suffering from major economic meltdown, bank failures and a collapsing government, which would also indicate a collapse in the Italian film industry and also the 'Silent Era' of cinema (Roberts, 2005). After Benito Mussolini took control since the 40th Prime Minister of Italy in 1922 the resurrection of Italian cinema could be once again be relived, but this time suppressed under the control and guidance by Mussolini and his fascist government (Bondanella, 2001). It was not until the mid 1930s that the brutish dictator truly comprehended the potential power of press, in which in 1935 a special funding was provided to the creation of Italian movies that was used to start up film institutions such as the 'Centro Sperimenale di Cinematografia' (CSC) movie school, also 'Cinecitta' (Cinema City) studios at 1937 (Ruberto and Wilson, 2007). The growth of those institutions sparked the visual appeal of early sound theatre, specializing in genres such as comedies, melodramas, musicals and historical movies, but were all categorized as 'propaganda' and 'white phone' films by many critics due...