Analysis Of Nanook Of The North By Robert Faherty

Analysis Of Nanook Of The North By Robert Faherty
Final Paper Early documentaries, like those done by Robert Flaherty have similarities with the Italian neorealism films, especially by those of
Vittorio De Sicca. De Sica pulled documentary filming techniques to make his films seem realistic and to almost have a documentary feel to them.
Italian neorealism rejected the opulence of Hollywood and instead only wanted to portray real people and their struggles. To do that De Sica borrowed
some techniques that made Flaherty's films so successful and seemingly real; like that of the long take, close–ups, and unobtrusive editing. De Sica
wasn't the only one to borrow techniques, Flaherty also fictionalized part of his narrative in order for it to portray the life he thought was accurate. Both
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We see this in both Nanooks attempt to wrangle the large walrus, which we see in an unedited, unobstructed view of his attempt to take it on shore to
kill and eat. This is a long scene without obvious editing that shows the entire task of harpooning the walrus and then dragging it ashore. As well as the
window–making scene that the audience sees later. This scene occurs when Nanook and his family are working on making the igloo and Nannok
goes off to carve a large block of ice, as to act as a window to let in light to the otherwise dark igloo. Once Nanook has this large block of ice and is
attempting to put it into the igloo, cutting the snow around it to make space, and then packing it back in around the new 'window', this is the long
take. It is an unbroken shot showing the viewer a complex action. We also see other examples of this in some of the scenery shots. Examples of the
Inuit traversing the arctic plane from a wide angle are meant to impress upon the viewer how impressive the scenery is, and that it is in fact very real
and dangerous. Another technique Flaherty used were close–ups, which are a shot close to the subject of the scene, either human or object. Flaherty
uses these shots to fully immerse the viewer in the film, and to also impress upon the audience the humanity and relatability of his subjects. We are
shown close–ups of mother and child, the child resting in the back of her coat, sleeping on her shoulder. These shots
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Bicycle Thieves
Vittorio De Sica's The Bicycle Thieves is a simple story set amidst a post–war Rome. It is a neorealist film characterized by setting the story amongst
the poor and working class. The film surrounds the difficult economical and moral conditions of post WWII Italy, reflecting the conditions of everyday
life: Poverty and desperation, with the implicit message that in a better society, wealth would be more evenly distributed. The plot is simple,
surrounding a man, his son and a bicycle. The film tells a story of Antonio Ricci, an unemployed worker who finally gets a job to paste
advertisements in the city of Rome. To keep this job, he must have a bicycle, in which his wife, Maria had to pawn their bed linens to get money to
redeem their ... Show more content on Helpwriting.net ...
And tells Bruno, "To hell with it! You want a pizza?" In a scene of great cheer, they eat in a restaurant and Bruno is even allowed to drink a little
wine. The scene also shows a contrast in the food that Bruno and the rich family's son eats. As Bruno looks hopefully at a family eating platters of
pasta, he is brought back to reality as he is told by his father, "To eat like that, you need a million lira a month at least."
At that period of time, where the Catholic Church is virtually inseparable from all aspects of society, people turn to seers for their salvation. Even
though the Riccis seem to be believers–they have a crucifix in their bedroom–they do not attend church on Sunday morning, when things are at their
worst. Moreover, Bruno mocks the older boys in the mission church when he kneels and makes the sign of the cross.
There is also an attempt to show a belief in the supernatural powers of the seer when one is at means end. This can be seen when Maria wanted to
pay for the seer's prediction of Antonio getting a job, in which Antonio attempt to stop her, showing that he does not believe in them. Yet, later on
when Antonio was at wits end in the futile search of his bicycle, he turned to the seer for a glimpse of hope and help.
The film also reflects the realist world as it mirrors the happenings of our real world. For example, after the theft of Antonio's bicycle, a report was
made to

Film Theory Vs. Realism
In the initial days of cinema, film theories tended to divide into two opposing views, Formalism and Realism. Formalists believed the formal
properties of cinema shaped the way films were made, as well as our responses to them. For formalists, the challenge was to establish film as an
independent art form. They found their answer in film's formal properties, which enable the filmmaker to alter reality and create new worlds within
the screen. Formalist filmmaking reached its peak in 1920s with Sergei Eisenstein editing technique, and using intellectual montage with startling
effect. In contrast, Realist believed the importance of capturing and recording reality. This is where they considered the essence of filmmaking lies.
Formalists on the other hand can argue if that were pure cinema then "no more actors, no more story, no more sets, which is to say that in the perfect
aesthetic illusion of reality there is no more cinema" (Bazin, Andre). I disagree, capturing reality can still be an art style and Realism proves that and
it's especially highlighted in the period known as Italian Neorealism. Italian Neorealism was a hugely influential film movement. It sprung from the
aftermath of WWII and ended around 1951. Notably emerging from the magazine Cinema, from a particular group of critics who were prevented from
writing about politics. They switch to cinema to rebel against the Italian film industry under Mussolini influences. One of the primary goals of Italian
Neorealism

Irony In The Bicycle Thief
Landscapes of Power and Powerlessness in Graziadei and De Sica's (1948) The Bicycle Thief
Set in the depression times of post–World War II Italy, Graziadei and De Sica's (1948) The Bicycle Thief narrates the story of Antonio Ricci
(Lamberto Maggiorani), who, after finding a job as a bill poster, loses his bicycle to a young thief. He tries to look for it with his son Bruno (Enzo
Staiola); however, despite seeing the thief, he fails to recover his bicycle. Desperate, he tries to steal a bike himself but is easily thwarted by a group
of bystanders. They plan to bring him to the police station until the owner notices the weeping Bruno and, in an act of compassion, ask others to
release the thief. In this paper, I argue that The Bicycle Thief ... Show more content on Helpwriting.net ...
Henri Lefebvre (1991) asserted that the production of space concerns the "performances of power through (as cited in Aitken & Dixon, 2006, p.
332). Space is power. Large spaces between the rich and the poor in the buying area underline the performance of space. The representation of space
is much more crowded for the poor as shown in the Piazza Vittorio. Gonzaga (2017) would call this the "cinematographic unconscious of slum
voyeurism" (p. 102). Representational spaces are filled up with the power of the government and the rich. The scene of the linen being brought up in
the warehouse of linen characterizes society's gross inequality, suggesting that the rich steals from the poor the most. Depicting the poor as they are
illustrates the spaces denied to them. If they are concentrated in any space, it is the space of neglect and impoverishment. Filmic landscapes in The
Bicycle Thief reveal the reel and the real, the widespread social conditions and their social meanings for the working–class in desperate conditions. De
Sica uses mise–en–scene to reveal poverty and mobility to underline the lack of movement of the poor. In the end, they steal from each other, an ironic
misdeed, when the rich steals from them the most, specifically by denying them better economic opportunities. The ending is pessimistic but realistic:
the poor have no one else but themselves, as they huddle to an uncertain

Neorealism In Bicycle Thieves, And Roberto Rossellini
Vittorio De Sica and Roberto Rossellini composed two of the most influential Italian films of all time. Their productions of such captivating and
eloquent pieces, during critical moments in Italy's history, have shed light upon ethics and political quarrel present after the world wars. The wars left
Italy in a devastating state, the economy ruptured, and the film industry dismantled by this detrimental catastrophe. With the introduction of neorealist
films Bicycle Thieves and Rome Open City, society becomes acquainted with the richness of everyday life in Italy. De Sica's Bicycle Thieves
demonstrates a pure vision of neorealism, making each event as objective as possible, reinforcing the meaningfulness of reality, and reproducing it at
exceptional degrees. On the other hand, Rossellini's Rome Open City offers a diverse approach to neorealism, straying away from the conventional
rules, depicting Italy in light of Fascist regimes, and focusing its attention on the attitudes of individuals in political crisis. De Sica's Bicycle Thieves,
and Rosselini's Rome Open City, are films that differ in the representation of societal values and political attitudes.
Bicycle Thieves is an alluring piece, which details the undue hardship Italy faces after World War II (WWII) in 1948. There are various aspects within
the film that demonstrate the undeniable pure quality of De Sica's work as a neorealist picture. Antonio Ricci, played by Lamberto Maggiorani, and
Bruno, portrayed by Enzo

What Is Bicycle Thieves Essay
Bicycle thieves is a Italian film which was made in 1948 Directed by De Sica and . After the end of World War 2 Antonio Ricci who was
unemployed and is struggling to support his family is given a job hanging up posters around the war torn of Italy Rome He was happy at that time
because he was given a chance to have a job and support his family. His wife, Maria had to sell the family's bed linens so Ricci bike could be reclaimed
and he could use it. The bike was gotten from a pawnshop so he could take the job. But, tragedy occurs when his bike that he would use for
transportation to get to his job is stolen on his first day at work, and his new job is condemned and he loses the only way he can maintain this job
and be able to provide for his family unless he can find out who the thief is and regain his bike so he will not get fired from his newly job that he got.
So he had to drop what he was working on at that time to go after the person who has stolen his bike... Show more content on Helpwriting.net ...
It tells a worldwide and still very sad narrative and it does so in a heart wrenching and touching way.
In this film De Sica preferred using real people in his film instead of actors Lamberto Maggiorani, who plays Antonio Ricci, was originally a factory
worker Lianella Carell, who plays Ricci's wife, was originally a journalist whom De Sica met when she asked him for an interview Enzo Staiola, who
plays the son Bruno, was found watching the shoot.
"In his fine essay for the gorgeous new two–disc reissue of Bicycle Thieves, Godfrey Cheshire claims that Vittorio De Sica's neo–realist classic and
Orson Welles' Citizen Kane are the "twin fountainheads" of modern cinema. From Welles came a cinema of egotism and personal expression; from De
Sica, a cinema of collective conscience and social concern. "
Examples of Neo–Realism Cinematography in the Film
Long static shots– allow the viewer to see the impact of the time period on the whole community instead of just the main

Alice In New Germany
Das Neue Kino cannot be characterized by a single ideology or style because the efforts of the filmmakers of this movement were singular, yet the
movement in its own respect expressed a wide sense of dislocation induced by post–war tendencies of German culture to repress its past. The New
German Cinema movement derives from the Young German Cinema movement, which attempted to create a new cinema; however, resulted in a failed
Germany film that lacked a German audience. It was the combined efforts of the Oberhausen group and the younger filmmakers of the Authors Film
Publishing Company that would eventually birth the New German Cinema. The literal dislocation between East and West Germany was a major factor
in the suffering of German cinema ... Show more content on Helpwriting.net ...
In Italy, directors focused on the moral and economic conditions that came with the postwar generation quickly after the war and addressed the war
instead of not acknowledging as German cinema did for so long. Unlike Alice in the Cities and The Bitter Tears of Petra von Kant, films such as
Bicycle Thieves depicted dislocation during the postwar period in the Neorealist style, made in 1948, this film differs greatly from the two former
films discussed. In Bicycle Thieves, Vittorio De Sica delivers a political message regarding the difficulty of survival in postwar Italy, but also conveys
a sense of psychological dislocation through the character development of Antonio Ricci. In many ways, Italy's economy is much to blame for Ricci's
two–year unemployment in which the film begins, however, Ricci has as many internal struggles as he does externally. Neorealism lies heavily on
the depiction of real life problems depicting common people and often used people from the street as actors, in this film the man who played Ricci,
Lamberto Maggiorani, actually was a factory worker, which helps solidify the film's authenticity. Towards the end of Bicycle Thieves, Ricci's efforts
to retrieve his stolen bicycle fail when the people that live near the boy who stole it side with the epileptic boy as he has a

What Was The Influence Of Foreign Films In The 1940's
In the early 1940's, foreign films were made and created an important impact to filmmaking all around the world. Foreign films allowed viewers to see
different cultures and traditions of other countries. Most of these films were shot in black and white with subtitles to go along against the background.
They were sometimes grainy and did not have as good sound quality as Hollywood films had because they were produced with such a small budget.
This transition of new camera techniques and editing began to end the Production Code era and started what was known as the neorealism movement
in Italy. Films with subtitles are not very mainstream nowadays, although, people loved foreign films with subtitles post–war because mostly everyone
was reading newspapers, letters and books during that generation. These foreign films were often played in art houses and they were very trendy for
the newer generation because they were more truthful than the Hollywood films and what could be seen on television at the time.... Show more content
on Helpwriting.net ...
Other countries continued to produce films, however, they were B–movie types and mostly documentaries. The camera wasn't on the tripod and this
caused materials for film–making to be made to weigh less and easier to move around. Also, dialogue from the actors were often being written while
the film was being shot.
This clip is from Rebel Without a Cause, produced by Warner Bros in 1955. https://www.youtube.com/watch?v=OqGDruqXV5g This second clip is
from Gojira, the original Japanese version of Godzilla and it was produced in 1954. I am a definitely a fan of the Godzilla films and I thought it was
very interesting to see how much more advanced the new 2014 Godzilla is compared to the 1954

The Bicycle Thief, By Antonio Ricke
Set in post–World War II Rome, The Bicycle Thief is about a father who is searching for his stolen bicycle because without it, he will lose the job
that is the only way to support his family. This film is one of the greatest works of Italian Neorealism and is also considered as one of the greatest
films of all time. It also received different awards including the Best Director, Best Screenplay and Best Film. This masterpiece was created with
$131,000 as its estimated budget. The Bicycle Thief was directed by Vittorio De Sica and was originally released in Italy on 1948 with the title "Bicycle
Thieves" The film was also released in U.S on 1949 entitled "The Bicycle Thief"
A man whose name is Antonio Ricci has been jobless for years and he is... Show more content on Helpwriting.net ...
After sometime, he mustered his courage and jumps on one of the bicycles. Unfortunately, he was caught in the act and a commotion occurred. Bruno
saw his father being slapped, humiliated, and insulted. Before Antonio was brought to the police station, the owner noticed Bruno carrying his father's
hat and in a moment of sympathy, the owner told the people to let Antonio go. The Bicycle Thief ends with Antonio and Bruno sad and devastated from
what has just happened. Antonio fights back his tears and his son takes his

Bicycle Thieves Essay
Bicycle Thieves (1948) is the story of a father and his desperate search for his stolen bicycle, without which he faces poverty and an inability to
support his young family. The film was directed by Vittorio De Sica, who co–wrote the screenplay with Cesare Zavattini, based on the novel of the
same name by Luigi Bartolini. AndrГ© Bazin (1971) notably champions the view that it is a 'true masterpiece' of Italian neorealism, to which it was a
relative late comer, in fact he insists that De Sica had reignited the aesthetic of neorealism, breathing new life into what he felt was a struggling
movement.1 In many ways, his assertion was true, with the likes of Rossellini and Visconti continuing to produce additions to the canon, De Sica again
contributing... Show more content on Helpwriting.net ...
This produces an almost documentary–like aesthetic, layering the fiction with a sense of honest reality; the camera feels like a spectator placed in the
environment, reflecting the ambience of documentaries. Similarly, in Bicycle Thieves, the use of location shooting produces a similar result; the busy
Sunday market, the search by the Tiber, Antonio's failed theft outside of the stadium; all of these scenes carry an atmosphere of actuality. Bicycle
Thieves succeeds as a realist film here, the use of real location lends a sense of authenticity to the aesthetic quality of the film. While it may not have
the same raw delivery as Rome, Open City, which was haphazardly shot during the liberation of Italy, we are still presented with a cinematography and
mise en scene which respects the reality it is attempting to portray. Bicycle Thieves prospers in this sense, the simple journey through Rome over the
course of the film does not exploit the wonders of the ancient city. De Sica purposefully shows us the streets we are not familiar with, the parts of the
city which belong to its people, not its internationally recognized

Bicycle Thieves
Vittorio De Sica's The Bicycle Thieves is a simple story set amidst a post–war Rome. It is a neorealist film characterized by setting the story amongst
the poor and working class. The film surrounds the difficult economical and moral conditions of post WWII Italy, reflecting the conditions of
everyday life: Poverty and desperation, with the implicit message that in a better society, wealth would be more evenly distributed. The plot is
simple, surrounding a man, his son and a bicycle. The film tells a story of Antonio Ricci, an unemployed worker who finally gets a job to paste
advertisements in the city of Rome. To keep this job, he must have a bicycle, in which his wife, Maria had to pawn their bed linens to get money to
redeem their... Show more content on Helpwriting.net ...
This further creates authenticity of the film and shows the hardship that the people face during that period. As for the actors, none had the slightest
experience in theater or film. Antonio (Lamberto Maggiorani) was a factory worker in Breda factory, Bruno (Enzo Staiola) was found hanging
around in the street and Maria (Lianella Carell) was a journalist. Despite his age, Bruno already plays a mature role in the family, as can be seen in
him working. Nonetheless, dressed like his father in overalls, he remains at his father's side or in his shadow. We first see him proudly cleaning the
newly reclaimed bicycle, and he gently rebukes his father for not complaining to the pawnshop workers about a dent for which they are responsible.
Bruno's self–assured walk and obedience to his father's authority are nothing compared to the love for his father we see in his eyes. In addition, Bruno
serves as his father's moral compass: "What are you, my conscience?" Antonio asks, annoyed, moments after striking him. As his father's conscience,
but also as his son and friend, Bruno suffers public humiliation with him. One distinct prop that the movie uses is the bicycle. the brand name of
Antonio's bicycle, Fides, which means "faith" or, even more ironically for this story, "reliance." (Nothing could be less reliable than that red bicycle.)
This can be seen in many scenes. For example, right at the beginning of the movie, the bicycle is introduced when the government officer

The Work Bicycle Thieves By Vittorio De Sica
The work Bicycle Thieves is chosen to be discussed in this essay. Bicycle Thieves is an Italian film published in 1948, directed by Vittorio De Sica.
It gained both commercial and artistic success, and have won the Academy Award for Best Foreign Language Film in 1948. The film is famous for its
neorealism that reflects the post–war Italian society. In the following essay, I'm going to discuss how did De Sica use the cinematography skills to
strengthen his expressions in Bicycle Thieves, and the ways he conveys the meaning of the film.
De Sica claimed a film is "reality transposed into the realm of poetry" (Turan 103). So, the principle of his directing is to be genuine and realistic.
This shares some similarities with the ideas of Italian neorealism. According to 'Ten points of neorealism' published by the Paris Journal in 1952, a
neorealist movie should have some of the following features: a message; topical scripts by concrete events; a sense of the masses; realism; the truth of
actors (often non–professionals) and lighting; refusal of the studio (Lielm 131–132). Bicycle Thieves comprise with most of the characteristics
mentioned above and made good use of them:
First, the selection of the actors. De Sica denied David Selznick's suggestion of Cary Grant for the lead and his financial support. He insists on
selecting unprofessional actors to be the protagonists of the film. The factory worker Lamberto Maggiorani played the leading role Antonio Ricci, and
another

Italian Neo-Realism Cinema Essay
In this essay I will look at the emergence of Italian neo–realist cinema and how Italian Neo–realism has been defined and classified in the film industry
as well as how its distinct cinematic characteristics could only have been conceived in Italy and how these characteristics set the neo–realist style apart
from other realist movements and from Hollywood. The Italian Neo–Realist movement began to emerge with the fall of Mussolini's Fascist regime in
1943 and was able to entirely establish itself with the end of World War II with the end of German occupation. This caused audiences all around the
globe to be "suddenly introduced to Italian films" (Historical Origins of Italian Neo–realism, n.d.) through works by "Roberto Rossellini... Show more
content on Helpwriting.net ...
They are filmed almost entirely on location, for the most part in poor neighbourhoods or the countryside. Its subject matter usually consists entirely of
or involves life among the poor and the working classes. Realism is emphasized and performances are mainly constructed from scenes of people
performing fairly mundane day to day activities and tasks, whilst remaining completely devoid of the self–consciousness that amateur acting usually
incorporates. Neo–realist films also generally feature children in major roles, though these roles are often more observational than participatory parts.
Early neo–realist films such as Rossellini's 'Rome Open City' (1945). Which received the Grand Prize at the Cannes Film Festival contained many of
these elements which are associated with neo–realist cinema. However Rossellini was also able reverse the ideological and cultural emphasis of the
film as discussed by Bondanella: "It is a fascinating paradox that Roma cittГ aperta continued many of the stylistic characteristics of cinema produced
during the Fascist era, but it embodied, at the same time, a clear antifascist ideology that attempted to reconcile all of the different and conflicting
political positions of the various groups making up the Italian antifascist resistance." (Bondanella in Gottlieb, 2004) Rossellini was especially able to

Analysis Of Nanook Of The North By Robert Faherty

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