thumb|The Betrothed (1941 film)|The Betrothed by [[Mario Camerini (1941)]] Calligrafismo (; ) is an Italian style of filmmaking relating to some films made in Italy in the first half of the 1940s and endowed with an expressive complexity that isolates them from the general context. Calligrafismo is in a sharp contrast to Telefoni Bianchi-American style comedies and is rather artistic, highly formalistic, expressive in complexity, and deals mainly with contemporary literary material, above all the pieces of Italian realism from authors such as Corrado Alvaro, Ennio Flaiano, Emilio Cecchi, Franc
thumb|The Betrothed (1941 film)|The Betrothed by [[Mario Camerini (1941)]] Calligrafismo (; ) is an Italian style of filmmaking relating to some films made in Italy in the first half of the 1940s and endowed with an expressive complexity that isolates them from the general context. Calligrafismo is in a sharp contrast to Telefoni Bianchi-American style comedies and is rather artistic, highly formalistic, expressive in complexity, and deals mainly with contemporary literary material, above all the pieces of Italian realism from authors such as Corrado Alvaro, Ennio Flaiano, Emilio Cecchi, Francesco Pasinetti, Vitaliano Brancati, Mario Bonfantini, and Umberto Barbaro.
==Main characteristics== thumb|Sleeping Beauty (1942 film)|Sleeping Beauty by [[Luigi Chiarini (1942)]] The dominant feature in this heterogeneous corpus of films is the desire to compete with cinema on a European level by affirming the expressive autonomy of cinema with respect to the other arts and, at the same time, the possibility of comparing it on an equal footing with them through a style that can merge and contaminate the different artistic and expressive languages.
Discovered by embedding cosine similarity (sentence-transformers MiniLM, 384-dim).