The film theoretical discussion about more realistic films started just before the end of fascism as a counterpart to propaganda and escapist movies. This impulse even became apparent in a few films like Visconti’s Ossessione (Obsession) from 1943. With the end of the war and the begin of struggles for a radical new leftist formation of Italian society, filmmakers had few economic resources but great aesthetic (and political) intentions to form a new cinema style based on the reality of current Italian society. They wanted to create a new realism with stories from the everyday life of ordinary people including the immediate past of war and resistance experiences. There was no explicit manifesto (most declarations came from the writer Cesare Zavattini), but there was a common will to restart cinema aesthetics. So, Neorealism came to light—producing a certain number of films within the great number of other movies (including many US-imports) presented to the Italian audience. The political intentions were disappointed when general politics in Italy took the path of conservative restoration as early as the end of the 1940s. Then forms of comical popularization of neorealism like Rosa-Neorealism arose. Nevertheless, the neorealist ideals have remained a main aesthetic orientation not only in Italian but in world cinema until today.