A visual diary of my travels through Italy, and an exploration of my lifelong passion for film through new lenses.

Overview

Movies & Me

I’m assuming most of you who have found your way to my site are beloved friends, family, peers, or educators. Whether that’s true or not, I thought it would be fitting to introduce myself and share what this is all about. My name is Molly Stephens and I’m a rising sophomore at Claremont McKenna College. I was born in the Bay Area, but moved shortly after to Austin, TX, where I spent the majority of my childhood. It was during this time that I developed a certain adoration (some might say obsession) that came to define my life in a number of ways. For those who know me, I’m sure you’re aware I’m referring to popular culture—specificially movies.

My entry into the world of film happened at a young age, thanks entirely to my parents, John and Lisle. Two of my greatest inspirations, they’re pop culture aficionados in their own right; my mom began her career in the music industry, while my dad’s path has taken him from sports marketing into various creative roles. Growing up, they were frequent planners of backyard movie nights and outings to our cherished Alamo Drafthouse. In 2014, my dad’s job at Dolby Laboratories (based in SF) brought us back to the Bay Area—a return well suited to my developing interests. The global epicenter of entertainment, I definitely credit my home state of California with fostering my excitement and career aspirations in the industry.

All this to say, media and entertainment have been a significant part of my life for as long as I can remember. However, as my intellectual interests and curiosities have refined themselves, my relationship with cinema has also evolved. I’ve found myself interacting with movies more, and I’ll explain what I mean by this. There’s nothing wrong with walking away from a movie having simply had fun, but there’s something to be said for the films that leave an inexplicable feeling in your gut—one that lingers for hours, days, even years. These are the films that forge bonds with audiences, withholding just enough to keep them returning for more. The experience can feel almost spiritual, and it compels me to regard cinema as an art form equal to music or literature.

Over the years, my love deepened when I began to embrace movie-watching as an academic medium through which I could explore my many other fascinations. In other words, my discovery of historical fiction on the screen allowed me to engage with the intersection of my two passions. For example, the 2008 financial crisis is dramatized in Margin Call, the Nixon era is investigated in All the President’s Men, and Mozart’s unconventional genius is reimagined in Amadeus. You see where I’m going with this, and my point is that watching films has expanded and, thus, complemented my understanding of events that have shaped all global discourse. Cinematic interpretation has brought extraordinary depth to my study of history, as I’ve found my favorite filmmakers confront our dark and complex pasts with unmatched creativity and fearlessness.

And channeling that same creativity and fearlessness guided me to the heart of Italian neorealism and defined my approach to solo travel and research. To avoid repetition, I’ll restrain myself from revealing too much here and instead direct you to the navigational tabs. Under “Neorealism,” you’ll find a more formal, academic exploration of the movement’s history and artistic intricacies. “Cities” offers a more informal, blog-style account of my travels through Italy’s major and minor destinations. The “Unexpected” tab holds everything in between. A full journal and three rolls of film later, I could not be more excited to share what these tumultuous six weeks have held. Enjoy!

Why Study Neorealist Cinema: Intrigue, Goals & Pursuits

A history major and film fanatic, the basis of my idea was to fixate on a particular collection of movies and explore their historical context. Though I’ve never been particularly drawn to a genre of film confined to a single time period, I landed on Italian Neorealism, which emerged during the years following Mussolini’s regime and the Nazi occupation. Prior to this project, my knowledge of Italian cinema started and ended with Fellini, in addition to the visions of postwar Italy emulated in the backlots of Hollywood studios. In stark contrast, neorealist films are raw, true products of their time, and their illumination of working class resilience is something that seems to recycle itself through generations of cinema all over the world.

It’s worth mentioning that this isn’t the first time I’ve studied the artistic portrayal of an underrepresented working class. During my junior year, I analyzed the works of American novelist John Steinbeck, who, on a controversial excursion through the Eastern Bloc, documented the private lives of working-class people across Soviet Russia. Amid bitter tensions with the United States, Steinbeck’s authentic and empathetic portrayals gave identity to the Russian people at a time when extreme political divisions fueled prejudice and sweeping generalizations.

It’s interesting how, once again, I found myself grappling with the idea of perception versus reality — only this time, I was experiencing it firsthand. On June 2nd, I left San Francisco on a direct flight to Rome, where I spent six weeks immersing myself in authentic Italian culture and daily life. For the first three and a half weeks, I stayed with a host family in the small Umbrian town of Attigliano, where, as the only American, I quickly became somewhat of a local celebrity. From there, I took solo trips to Rome and wandered the ancient streets of neighboring towns. For the latter part of my travels, I headed north to Florence, Riomaggiore, and finally, Turin

In the spirit of Neorealist cinema, I set out to discover the truest, most complete version of each city I explored. This meant traversing the lesser-known, working-class districts of Florence, observing Rome’s fascist architecture, and watching fishermen haul their boats ashore in Cinqueterre at dawn. Alongside documenting these human moments, I visited exact filming locations of iconic Neorealist works, such as the neighborhoods captured in Rome, Open City. And while Neorealist filmmakers often turn us away from monuments and museums, I made a point to visit them as well—after all, they are integral to the vision of Italy that the West has come to know, thanks in part to fairy tale films like Roman Holiday.

It takes a rather minimal inspection of Neorealism’s Hollywood counterparts to notice clear discrepancies in narrative spirit and character representation. I couldn’t have completed this project without it, but my HBO Max subscription only took me so far. By adapting to the culture of an authentically Italian community—its language, cutoms, and traditions—I saw a side of the country rarely seen. Yes, Italy is romantic and picturesque in all the ways Hollywood captured it to be, but there is also beauty in the stories of its people. Recognizing this gave my studies a depth that no classroom or streaming service could provide, and I do hope my work encourages you to gain a similar appreciation.

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A Brief Note to CMC

Before sharing my project, I want to thank the many people who made it possible. To the donors—your generosity turned a dream into reality, giving me, at 19, the chance to travel to Italy alone for the first time and return with a new perspective on the world and my future.

Thank you as well to the Scholar Communities office for helping me organize and get this trip off the ground. Your support was a true vote of confidence.

Lastly, thank you to everyone at CMC for fostering an environment where students are encouraged to take risks, follow their passions, and learn outside the lecture hall. This experience was transformative, and I’m thrilled to share it here.

MS

Admitted Students Day 4/5/2024

First CMC Tour 4/1/2023