Bicycle Thieves Analysis

Bicycle Thieves Analysis
While Rossellini's Rome Open City portrays the struggle for freedom, De Sica's Bicycle Thieves
tries to find the human face. He discovered it not in the exceptional sorrow of war but in the misery
of daily life where war is just one aspect of the human lot. Bicycle Thieves takes place at a specific
time under a unique series of social conditions that shape both its narrative and its embrace of the
Neorealist style. Consider the intricate sociopolitical climate of Italy just before the film's release in
1948. Italy would hold its first election after almost twenty years of rule, Benito Mussolini was
overthrown as head of Fascism and prime minister of the Italian government on July 15, 1943. The
political framework of the Italians ... Show more content on Helpwriting.net ...
We see alleyways, overflowing soup kitchen, and brothel neighborhood, and everywhere hordes
unemployed men whose frustration gives the film an urgent energy. Amidst this contextual
background, Bicycle Thieves therefore, makes a rare, true entry in the Neorealism form in which
only a handful of films qualify, even though, it does not portray or refence the times of its making
within the film, it rather shows class division, and ineffective employment system. The film
however, operates in two distinct modes: the narrative of a profoundly human struggle for survival
that remains common to all, and the unromantic depiction of Italian class struggle in the postwar era.
In the latter mode, the film illustrates a series of behaviors, and social structure that remain
indifferent to Antonio and his desperate situation. It identifies Antonio and his family by their
situational relationship, with the various groups present in Rome during the postwar period. E.g.,
Antonio's family is displaced from his local group of communists, churchgoers, and market folks As
Antonio and his son Bruno undertake a desperate search through Rome, De Sica charts a geography
of poverty. We see alleyways, overflowing soup kitchen, and brothel neighborhood, and everywhere
hordes unemployed men whose frustration gives the film an urgent energy. In a way, it could be said
that Rome and its various neighborhood serve as pseudo–characters in the film. Beginning from the
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Antonio Ricci Bicycle Thieves
Jacob Spence
September 17th, 2014
ITA1113
Antonio Ricci: The Bicycle Thief
Antonio Ricci, the protagonist of Vittorio De Sica's Bicycle Thieves, inhabits an Italy torn apart by
the Second World War. The decaying city streets and mass poverty is a far cry from the society
united under communism envisioned by earlier neorealist filmmakers. De Sica uses Ricci to critique
capitalism, as well to document the struggle of the masses in Post War Italy. The theft of his Bicycle
sends Ricci, along with De Sica's camera, across Rome and into the depths of Roman society.
The film emphasizes the rift between the upper and lower classes of Italy. The job Ricci lands at the
beginning of film has him putting up posters featuring Rita Hayworth, a reminder of Hollywood
idealism and a symbol of American wealth and glamour. Ricci later claims that movies bore him,
perhaps echoing the sentiments of the neorealists. The restaurant scene juxtaposes Ricci and his son,
Bruno, with a bourgeois family sitting at another table. The staff act contemptuously towards the
protagonists, avoiding eye contact and hurriedly delivering their food, furthermore their table is the
only one in the entire restaurant without a tablecloth, De Sica suggests that capitalism is not only the
division of wealth, but the division of people. ... Show more content on Helpwriting.net ...
After he loses it, he seems to value its return as much as he values his own family. He repeatedly
fails to consider his son's well being in his unrelenting quest to locate the bike, marching onward as
Bruno trips and falls behind him. Capitalism in effect corrupts and distorts Ricci's values and
morals. The bicycle itself works as a symbol of this corruption, a material possession (like money),
that becomes almost a physiological need within a capitalist

City Of Thieves: Morality
The biggest thing that separates humans from animals is our sense of moral obligation. Often we are
blinded by fear and hardship thus our brains adapt and our moral obligations are corrupted. In the
historical fiction novel City Of Thieves, David Benioff explores the hindering of characters moral
obligations during times of war. Set in 1942 in Leningrad, the country is war stricken and under
siege, its people are starving and desperate for survival. Two boys were caught luting a dead german
soldiers body and in order to avoid the death sentence have been sent on a dangerous journey
through enemies territory in order to find a case of eggs for a commander's daughters wedding.
During the war, society was fractured resulting in the characters ... Show more content on
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This is a display of Kolyas originally disrespectful and overly proud nature. Koyla originally came
across to have a chip on his shoulder. "Kolya asked for a cup of tea and an omelet, jokes must have
been rare in the crosses because it wasn't such a good joke." (Green 37). David Benioff used this
scene to show Kolyas utter disrespect and disregard for the situation amongst him. This quote is
prior to his personality development and accurately displays Kolyas personality at the start of the
novel. When kolya realises the crosses didn't laugh at his joke, it is a wake up call that maybe he
needs to tone down his vile personality in certain times. As situations became tense Kolya put
himself into his place and actually became a rather thoughtful caring young man. In the following
quote we can see Kolya giving Lev a few words of wisdom as Lev starts to question his journey due
to the recent attack on Zoya, Lev feels responsible for what happened to her and is doubtful on
weather or not he should carry on. "Listen to me. I know you're afraid. You're right to be afraid.
Only an idiot would be calm sitting in a house knowing the Einsatzgruppen are coming. But this is
what you've been waiting for. This is the night. They're trying to burn down our city; they're trying
to starve us to death. But

Human Thieves Poem
"The Human Cylinders, Revolving in the Enervating Dusk" There once was a man named Jasper. He
deeply appreciated the setting of dusk and desired to travel to different states to observe the
differences that dusk presented; therefore, every week he migrated to a new city within the United
States. The first place he traveled to was New York City, his home city. In this city, dusk was bright
and exciting. The brilliant streetlights beamed through the dark shadows and lit up the city around
him. The lights from the buildings transformed New York City into an effervescent metropolitan
area, while multitudes of people gathered to enjoy this unique ambiance. He then traveled to Atlanta,
Georgia. The Georgian dusk differed from the bright lights of New York City. This dusk was dark,
but not in a chilling sense. The city was calm and relaxing. The darkness covered the streets like the
blanket children pull over their eyes right as the morning glow begins to appear. The roadways were
surrounded by acres of forestation; however, the forests were not quiet. These forests carried the
sound of creatures large and small. The constant melodies of crickets sing through the night, while
the bustling vibrations of dear and squirrels ring aloud. The contrasts of ... Show more content on
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Green. I enjoyed listening to Butler read the poems, but I didn't necessarily understand the
references that Wood made to other stories. The first poem he read was a poem was called "The
Bitter Part of Heaven." There were funny moments throughout the poem and basically simple
language, so I was able to just sit and listen to Butler's reading without worrying about not
understanding the "deeper meaning." The second poem Butler read was called "Opie and the
Apples." This poem was also funny, but there were a lot of references to a television show that I
have never seen. Although I may not have understood the entire poem I did appreciate

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

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. André 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
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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

Identity Thieves Research Paper
I pulled myself out of bed and I noticed that I was late for work because I didn't set my alarm. I went
to the kitchen and made 2 eggs and 4 strips of bacon. I felt like I forgot something and I noticed that
I didn't take my credit card from my computer chip.
"David why aren't you at work?" "Sorry Jane my alarm clock didn't detonate from my computer,
because it was turned off. Alright I need to talk to you later have a good day. Love you!" I work with
identity thieves, and today we are planning on busting into a dealership because that's where most
people give their personal information.
Identity Thieves HQ
"Hey Noah you ready to get down to business, because we need to hit up the Flying Car Dealership.
By the way Mason how are those magnetic ... Show more content on Helpwriting.net ...
Just call me when you're done skimming those cards for us." The only reason I wanted Mason to
make the gloves because now I don't need to go up to the computers personally, so now I can just
steal the computer with the gloves. The U.S. President banded paper so now you can't steal personal
information from dumpster diving.
Police Station
"Today I encountered some identity thieves, and they just stole a great mass of personal information
about the customers. All they did was set an EMP off and plugged a microchip into the robot. Why
is it that identity theft is becoming more common over the years? We need to find these identity
thieves and see if there's others." Told Commissioner Jack.
"Alright, you heard the man let's get out there and find these thieves! Now I need one cop on every
street looking for a white van."
DownTown Mason and I were heading downtown to try out the new magnetic gloves to steal
citizens credit cards from them, so we can make some serious money. "Hey Mason want to start at
the gaming center because that's where most people go these days?"
"Indeed. First, we need to go to a clothing store and pick some new clothes to wear to fit in." Mason
went into the clothing store and he came out with a green ball cap on backwards, and a purple

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

There are many interpretations regarding what defines a 'realist film'. One particular film movement
that is hailed as being realist is Italian Neorealism. The Italian Neorealist movement came about in
an attempt to move away from the cultural heritage of Fascism post World War Two, as such the
effects of the war on the working class can be seen within the reality of the cinema at the time.
Bicycle Thieves (1948) is often referenced as a classic Italian Neorealist film. André Bazin in
particular, praises it for it's neorealist approach and goes so far as to hail it as 'a true masterpiece' of
Italian neorealist cinema. This suggests Bicycle Thieves could be considered a 'pure' realist film, to
what extent this is true is debatable.
One feature of a realist film is it's concern with depicting life, in particular the life of the working
class, as accurately as possible. Often these films focus on the social issues and problems of the
working class. They try to avoid presenting ... Show more content on Helpwriting.net ...
Many neorealist stylistic techniques are employed in order to give the film a sense of realism and
authenticity thus causing the viewer to think about the film in it's historical and social context.
Neorealist films are somewhat influenced by the documentary genre and therefore employ similar
stylistic techniques. One such technique is using long takes, this can be seen in Bicycle Thieves in
the scene at the Ricci home, rather than cutting the camera follows Maria as she walks through the
house carrying the water then the bedsheets. This allows the camera to act as the viewers eyes
through the use naturalistic movement such as panning camera. It also gives the audience a chance
to take in the mise en scene. The sparse walls of the Ricci home, with the exception of the religious
ornaments, is very telling of the family's financial state and therefore evokes sympathy from the

Bicycle Thieves Themes
Bicycle Thieves, an Italian film directed by Vito De Sica is a classic of the Neorealist film
movement. The film depicts a story of a father and son and their journey together to find the main
character's; Antonio Ricci's; stolen bike. On a baseline level, this film shows a sense of mystery and
action, all surrounded by the family unit. The family unit divides into a few prevalent themes within
the film such as the bond of husband and wife, the bond of the father and son and the karma
philosophy and specifically how it affects community. The sense of family is a strong theme within
the film Bicycle Thieves. This is played out through Antonio's relationships with his wife, Maria. In
the beginning, Antonio and Maria's relationship takes hold of the story. Their relationship to another
is compact and yet pure. In many ways, at first one can see Maria's character as plot device. Yet
upon closer examination one can see she sets up the strong family unit that drives her husband and
son; Bruno; upon their mission. Maria is a strong character and a strong women. I believe it is her
strong presence that makes Antonio want to be strong. It is ... Show more content on Helpwriting.net
...
It speaks to the philosophy around decision making, and how one decision against another human
being can affect one's own life. While Karma is a mere theory I believe this film brings this theory
to life. There is a scene between the " One who sees", Maria and Antonio. Within this scene
(approximately 20 minutes into the film) Antonio convinces Marias not to " waste her money" on
repaying the physic women; who predicted Antonio's grace of a new job to Maria in a previous off
screen B–Story. It is this decision that provokes Antonio's desperate need is to have his bike
returned.Antonio lost his bike, and therefore lost his job (implied narrative). Bicycle Thieves,
displays a themes that shows how one choice upon the human family will effect a person on a
personal

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

Bicycle Thieves
Bicycle Thieves (1948), tells the story of a poor man and his family, who have struggled while he
was unemployed. It begins with him being offered a job of hanging posters that requires the
employee to ride a bike, one not provided by the employer. While Antonio has a bike, we find out
that he was forced to pawn it in order to feed his family. Getting it back also requires the pawning of
items, specifically their sheets, but the act was worth it as he gets the job. However, it is on
Antonio's very first day that things turn upside down for the family.
On his first assignment alone, Antonio's bike is stolen as he was up on the ladder pasting up one of
the posters. What follows, is his attempt to find the stolen bike by searching the city. In the end,
Antonio attempts to steal another person's bike after sending his son to catch a street car. Not only
does he get caught, but his son also witnesses the entire scene. The film ends on a depressing note as
both father and son walk down the street, with Antonio beginning to cry. ... Show more content on
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We see a family's future rest solely on a bicycle, and what they have to do to get it, along with the
lengths they are willing to go to get it back. We also see the struggles of other individuals as we see
the thief living in one room with his family. There is also the big crowds of people who go to a
church for food and a shave, or those that go to wait for jobs everyday, It is a bleak world that ends
rather realistically as Antonio doesn't find the bike and has to go back to struggling to take care of
his

The Road And City Of Thieves
Everyday people are put into tough situations, and how they get past these situations is up to them.
The choice is to overcome these challenges or give up and let the challenge triumph. Cormac
Mccarthy's novel The Road, takes place in a post apocalyptic world in the present day. With ash
covering the land, cannibal groups roaming and freezing temperatures, a father and son manage to
stay strong and survive. The father's main goal is to keep his innocent scared son alive, and teach
him life lessons while doing so. David Benioff's novel City of Thieves, occurs during World War II
while the Nazis are invading Russia. The two men who begin as strangers, have to perform a near
impossible task to be able to keep their lives. They must hide from Nazis, survive the harsh winter
and have the faith to complete their task. Both The Road and City of Thieves demonstrate that
people can overcome difficult situations by having faith, and keeping strong relationships. For
starters, The Road displays that people can overcome tough situations by having faith and never
giving up. A father and son in the novel are forced to survive and adapt to a new way of living that
includes, searching for food and shelter to survive, and always being on the lookout for evil people.
Never giving up, and having faith in these tough situations is how the pair survive and live the best
life possible. The man in the novel always believed in never giving up, and to keep moving forward.
After days without food

Picture Paris And Bicycle Thieves Similarities
Sometimes people forget that food is an art and that it has the power to move us emotionally just as
music, literature and paintings can. Picture Paris and Bicycle Thieves are two films that both employ
the usage of narrative devices hand in hand with food to develop the characters and their family
bonds. Although each narrative revolves around the central themes of food, family and dignity the
two are developed in radically different ways. The Bicycle Thieves uses the concept of neorealism
to employ the theme of hunger by focusing on the day to day struggles the Italians faced after World
War II to develop a family bond whereas in Picture Paris the theme of food is used to draw a parallel
connection between her obsession with Paris and the ... Show more content on Helpwriting.net ...
Throughout the entirety of Picture Paris, we are following the story as an external narrator who
seems to know all the actions of everyone, primarily of Ellen, tells it. The audience is under the
impression that this narrator is predicting what will happen to Ellen even though noting has
happened to her through an omniscient perspective. Until the very end the narrator is anyone but
someone who plays a major role in the short film. Towards the end the narrator is revealed to be an
internal character, the protagonists boyfriend. Due to this newly acquired knowledge it has the
audience question the accuracy of the story. Did Ellen really kill her husband and bake him into the
Pâté or did the narrator toy with our minds and make us think what he is revealing is the truth.
Bicycle Thieves conversely mounts the story without a narrator. Without the narrator the story is
unbiased and the audience knows without a doubt in their mind where the story is heading and that
Ricci unfortunately will most likely end up with

City Of Thieves Themes
There have been many stories written about gruesome battles and heroic feats, but there are few that
center around a carton of a dozen eggs. City of Thieves by David Benioff is a tale about how two
lone characters are thrown together to achieve an incredible feat. By themselves, the two men would
have had no chance whatsoever of completing the task set before them, but together they form a
much stronger bond, a friendship of sorts, and are able to overcome hardship and grow personally.
By starting out needing each other just to survive a friendship soon blossoms and becomes one of
the most recurring themes throughout the book.
The main character in City of Thieves is a young boy, Lev, who was caught looting the frozen
corpse of a Nazi pilot ... Show more content on Helpwriting.net ...
On the border of St. Petersburg, just minutes away from delivering the eggs to the colonel, they are
picked up by some Russian city snipers: "As we stood, Kolya grimaced and stumbled, nearly
falling...We both saw the bullet hole punched through the thick wool at hip height" (244). Even
though they had made it so far, kolya couldn't make it to the end of the story: "Can you believe it?
Shot in the ass by my own people...It's not the way I pictured it, he told me" (251). The Irony of
being put through all these trials and tribulations, and kolya gets shot in the ass and dies? These two
were suddenly thrown together, and suddenly they were taken apart. But in the time that they spent
together they managed to achieve a great feat and create a memorable bond

Neorealism reflecting social conditions and moral relationships in De Sica's Bicycle Thieves
De Sica's film Bicycle Thieves was egarded as one of the neorealist films' masterpiece. This film
was released in 1948, where Italy was still striving for the reconstruction of the society. Under this
time background, the film was highly realistic. He portrayed Italy's real socio–economic conditions
in the post–war period by using a cutting–point of a father Antonio and his son Bruno. In the film,
the harsh living of Italians was exposed under the camera (e.g. lack of jobs and foods, destroyed
infrastructure) and brought out reflections on morals and ethics. The following comments from
different authors would reveal the implications behind the scenes.
Nagib, Lucia and Anne Jerslev. Impure Cinema: Intermedial and Intercultural Approaches to Film.
London, U.K.: I.B. Tauris & Co Ltd, 2014. Print.
The author claimed "the bicycle offers a chance to find fulfillment and function within normal,
traditional societal roles". (131) In the film, the father Antonio was unemployed for some time, and
the mother Maria became the breadwinner of the family. This made him shameful in the patriarchal
Italian society. The significant meaning of a bicycle was it gave him a chance to bear the original
responsibilities as a husband, a father and a worker. These ... Show more content on Helpwriting.net
...
(97) In Bicycle Thieves, there's only three important female roles: the seer, the suspect's mother and
Antonio's wife Maria. There's no any kind of adulterous plots in the movie but only pure depiction
of marital and parent–child relationship. Despite of the seer, the other two showed a traditional
image of a woman: the suspect's mother indignantly denied his son as an offender, Maria pawned
her dowry (a valuable linen) to support his husband. In addition, Maria also worked outside and
upbrought the younger children at home. The figure of a loving mother was

Ignorance In The Bicycle Thieves
Humans have the tendency to romanticize many aspects of our society, be it wars, relationships, or
histories. However with this romanticism, comes ignorance, of most negative aspects of truth and
reality. This nostalgic ignorance and apathy towards those negatively affected by generally
romanticized events is the central theme of Vittorio de Sica's neorealist work The Bicycle Thieves.
This argument is created by accurate incidental music, stark contrast in shots, and fluid, human
camera tracking throughout the film.
Every background and still of The Bicycle Thieves tells its own story, via the mise–en scen
technique. One of the first scenes is the pawn store scene, where Maria turns their bedsheets in order
to redeem Antonio's bike, a necessity ... Show more content on Helpwriting.net ...
This realism is based in both the very human nature of the acting, as expressed in Charles Burnett's
essay Ode to the Common Man, as well as in the fluid camera movements of the film. This humanist
camera movement is best exemplified by the scene where Antonio believes Bruno to have jumped
into the river, after Antonio slapped him. The camera follows Antonio, creating an effect of truly
being there, further enhancing the realism, and therefore the thematic material as the two were
linked. The human nature is further revealed within the acting of the film, an observation made in
Burnett's essay. "Her [Maria] look of disappointment is powerfully affecting. I [Burnett] often
wonder if that was de Scia or her." (Burnett). This argument is a direct proof at the argument, as the
disappointment expressed at the denial by the richer store operator, directly paralleling the apathy, if
distaste of the rich towards the society's poor. This connection however, would be completely lost if
not for the inherently human and personal performances by the

The Bicycle Thieves
The Bicycle Thieves is an Italian Neorealist black and white movie directed by Vittorio De Sica.
The movie is about an unemployed father named Antonio Ricci, who is finding a way to recover the
family's lost bicycle. The bicycle was a very important thing that was owned by the Ricci family, but
it was stolen by a young man while Antonio was working. The movie was filmed in an outskirt of
Rome. However, this film is different from other films, because it is neither romantic nor
sentimental, but it is a movie that showcases the real life drama of the Italians after the second
World War.
The editing in the last sequence of the movie The Bicycle Thieves is inconsequential in that it does
little on its own to contribute to a scene because it alludes to reality than fantasy. It continues to
show the audience a real life drama, rather than a stereotypical movie drama where fantasy is added.
Especially in the last sequence of the movie, the build up of Antonio's intensity does not need much
editing because then it will look overly dramatized. For example, with the long shot part where
Antonio finally stole the bicycle, there was ... Show more content on Helpwriting.net ...
In addition, the audience was also introduced to settings that avoided the usual associations of Rome
to truly immerse the audience to the real life Italian culture. Especially in the last sequence of the
film, everything seems to be continuously raw from the setting to the main actors and to the
supporting actors in connection from the beginning of the film. In the last remaining shots, as the
camera was following the two main characters, Antonio and Bruno, it was as if the they were the
only ones that mattered; no more thoughts of the bike but just both of them as two human beings.
Until, they blended with the other people, making them part of the reality

Identity Thieves
In the past few decades, there been a tremendous amount of research which has been written on
victim characteristics, prevention techniques, and emerging legislation based on the research,
however, there has been no offender based studies done, but why is this? According to Copes and
Vieraitis, "Although reports from public and private agencies that collect data on identity theft
indicate that is growing both more common and more costly, researchers have devoted little
attention to studying those who engaged in this crime" (2012, p. 122). Therefore, in their book,
Identity Thieves, written by Heith Copes and Lynne Vieratitis seek out to the motives and methods
behind identity thieves, to fill the knowledge gap and gain a more comprehensive ... Show more
content on Helpwriting.net ...
One limitation the research possessed is that it relieved heavily on interviews from federally
convicted thieves, as they excluded local ones due to local authorities inability to often convict
offenders as a result of their lack of resources. Another limitation which should be noted, is that
according to Copes and Vieraitis, "Any sample based on convicted offenders may actually tell us
more about enforcement patterns and priorities than about the actual distribution of crime...It is
possible that those convicted at the federal level are not representative of identity thieves in general"
(2012, p.

Comparing The Bicycle Thieves And The 400 Blows
Judy Park
COMM 460
Dr. Miller
03/11/15
The Beauty in Ordinary Life
Vittorio De Sica's The Bicycle Thieves (1948) and Francois Truffaut's The 400 Blows (1959) are
both recognized as highly influential films of their specific era that introduced an innovative way of
cinema world–wide. With the Italian Neorealism intention of using a more realistic approach to film,
The Bicycle Thieves highlighted post–war Rome's cultural society and economy by following the
journey of an ordinary man and his family's efforts to survive. The 400 Blows, being a French New
Wave film, went against the traditional French cinema and practiced the auteur approach through its
style of autobiography of the director Truffaut, himself, as a troublesome child. Similar ... Show
more content on Helpwriting.net ...
Instead, they intend to reflect how real life is truly like and leave the audience to interpret the ending
or the entire film on their own. In The Bicycle Thieves, the final scene is shows Antonio and his son
holding hands in tears, as they blend into the mass of anonymous people walking down the street,
defeated by poverty. Antonio's shoulder gets blatantly hit by the vehicle that is driving through the
middle of the crowd, but numbed by powerlessness, he does not react. The camera watches the two
solemnly walk away with the crowd and into an uncertain

Thomas Keneally's 'A Commonwealth Of Thieves'
How could a land that was used as a continental prison possibly become a new nation? Well,
Thomas Keneally masterfully answers this question in his nonfiction A Commonwealth Of Thieves
– The Improbable Birth of Australia. To tell the first four years of this treacherous journey, Keneally
uses a plethora of centuries old anecdotal accounts originally written and told by the unfortunate
colonials themselves. Soon after the success of the American Revolution, this historical beginning
took place in the land of King George III.
By the late 18th century, England's prisons were almost completely filled with convicts. With barely
any room left in these prisons, England built large ships that would be used as alternatives to prisons
called hulks. Keneally describes these prisons and hulks as "eyesore[s] detested by respectable
London and unpopular with convicts"(12). Stricken with disease, these prisons were not suitable for
the sheer amount of people being ... Show more content on Helpwriting.net ...
Whether it was food shortages, disease, or even conflicts with the natives, the colony faced many
challenges. Rations were frequently cut in order to accommodate for the ever increasing lack of
supplies in the colony. Furthermore, Keneally explains how since barely any records for the
criminals were brought to the tragic colony, no convict could prove that they served their full
sentence. Later on, readers will learn of the precarious relationship between the Europeans and the
natives. Keneally tells of one instance where a native was actually kidnapped and taken to the
European officials, in attempts to manifest a mediator between the natives and Europeans out of a
frightened Aboriginal. There was, however, some violent conflicts between the Europeans and
natives. Keneally tells of one story, where a misunderstanding led to a spiked spear being thrown
into the back of Arthur Phillip, the leader of the entire

Kidney Thieves Anthropology
Since 1991 one of many chilling tales, that has been told by various people in different areas of the
world which is "Beware of the kidney thieves". According to this urban legend, victims awake in
immense pain in their lower back in a bathtub full of ice to discover that their kidneys have been
removed. This urban legend warns travelers, such as business men or women, that "medically
trained criminals are stealing kidneys". They drug their victim at a bar or any sort of social
gathering, remove their kidneys, leave them in an unfamiliar hotel in a bathtub full of ice and sell
their kidney on the black market. Besides entertainment, this urban legend preys on our cultures
tendency to blow things out of proportion. Although there have been similar ... Show more content
on Helpwriting.net ...
It originally started in Europe and quickly traveled all around the world. In 1997 New Orleans had
an outbreak, and it was believed that this urban legend was to be a real story. It is unknow why this
urban legend started. In the article "The Kidney Thieves an Urban Legend" by David Emery states,
"As the city geared up for its annual Mardi Gras festivities in January, a rumor began spreading via
word–or–mouth, fax, and forward email to effect that a highly organized crime ring in New Orleans
was carrying out plans to drug visiting tourists, surgically remove healthy kidneys from their bodies,
and sell the organs on the black market." As a result of this urban legend arising immensely, the
local police department were receiving calls from many people claiming their kidneys were stolen.
Authorities organized an investigation regarding these insane story, only to find no true evidence of
this occurring. Even the National Kidney Foundation had repeatedly asked for alleged victims of
this crime to validate their stories and come forward, but to this day no person has. This goes to
show that there is no actual victim of this case. If there has it turns out to be a false story just to add
onto the urban

Analysis Of The Film 'Bycle Thieves'
The film Bicycle Thieves is the story of Antonio, an Italian father of two who, upon finally getting a
job, has his bicycle stolen. The story follows the journey of him and his son, Bruno, as they search
for his bicycle. With his job on the line and survival of his family at stake, Antonia goes to the
furthest ends to retrieve his bicycle. Along the way, he faces frustration, heartbreak, and
embarrassment. In Vittorio De Sica's 1948 film, Bicycle Thieves, the aspect of mise–en–scène,
screen space, is used to portray the difficulty of life in post World War II Italy as well as the
dynamic relationship between father and son. Screen space is first used in the sense of camera
placement and angle. Throughout the film, many scenes are shot from eye level and placed behind
the characters. In the beginning, the camera is placed behind a long line of men waiting up the stairs
to the unemployment office. Because of the perspective of the shot, the viewer feels like they too are
waiting in the back of the line for employment. This shot creates a sense of frustration, chaos, and
panic for the viewer– emotions that mimic what many 1948 Rome citizens were feeling. This
perspective continues in the middle of the film when Antonio finds his wife at the seer's home. The
camera is behind Antonia, who is in the doorway, as well as behind the long line of townspeople
waiting for the seer. This choice of camera placement also makes the viewer feel as if they were in
line for the seer. It

City Of Thieves Character Analysis
City of Genderization How do the traditional gender roles we put on people in the 20th century
affect how women and men see themselves now and during the 1940's through the 1950's. During
World War Two tend to think of only men serving when that was actually not the case in World War
Two " some 350,00 women served in the armed forces." In City of Thieves by David Benioff
Vika,Kolya, and Lev all serve in non traditional roles. In City of Thieves the theme of masculinity
and femininity plays a prevalent role in Levs feelings towards being a 'real man', Vika's non
traditional female role and Koylas masculinity throughout the novel. Koyla is introduced as an over
sexual disturbing man that some readers don't find appealing. Kolya lives his life to the fullest even
if he seems arrogant and reckless different then other character. Lev says, " Koyla considered
himself a bit of a bohemian, a free thinker, but in his own way he was much a true believer as any
young pioneer. The worst part about it was that I didn't think he was wrong." (Benioff 161) It shows
that even though they are different they still are very much alike. As for being arrogant he shows us
as the readers that he is no different and he though overly sexually stills sees women as equal to him
and doesn't feel right when they ware with the prostitutes in the novel. " Every women has a dream
lover and nightmare lover, he just lies on top of her, crushing her with his belling jabbing his little
tool in and out till he's finished. He got his eyes clenched shut, he doesn't have to say a word;
essentially he's just jerking off in the poor girls pussy." (Benioff 79) The readers and Lev see Koyla
as so much more by the end of the novel he is strong and kind as well as selfless and shows us you
can be strong and kind but still be looked at as a real man. Vika is strong, kind of scary to reader,
mysterious and a sniper in the Soviet resistance. Vika is devoted to her soviet state and would
sacrifice anything for her country thanks to her background " I have never been much of a patriot,
my father would not allow such ahting while he lived, and his death insured that his wish was
carried out. Piter commanded far more affection and loyalty from me

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

Bicycle Thieves
André Bazin stated when referring to the renowned classic Bicycle Thieves, "the 'truth' suggested by
the film was that, in a situation of social breakdown, the poor had to steal from the poor in order to
survive" (51). Bicycle Thieves in its neorealist approach reflects this statement from Bazin in many
aspects. We play witness to the cycle of victims turning into thieves described by Bazin from the
beginning to the end of this film. In the article assigned with the film, it described the
foreshadowing of these desperate times through the dent on the bike, which Antonio would allow
even more damage to happen to it through it theft. The idea of theft is trivialized within the film,
playing off the framework that at the time the poor truly had

The Bicycle Thief By Antonio Ricci
The bicycle thief is a 1948 Italian drama film that follows the life of a man named Antonio Ricci
during the Italian post–war. Antonio has been jobless for past two years when an opportunity finally
presents itself. He is offered a job as a poster on the condition he has his own bike that he can use.
At the time, Antonio had put his bicycle for sale at the pawn shop because of his low income due to
the lack of employment following the Italian war. However, Antonio's wife agreed that Antonio
really needed this job so she decided that they instead just sell six sheets to the pawnshop. Antonio
arrived at his job for his first day of work, only to discover his bicycle is stolen. His friend offers to
help with the search the following morning at

Theme Of Vittorio De Sica
Vittorio De Sica is considered one of the most important directors during the time of the Italian
Neorealism movement which occurred after the fall of fascism in Italy. Neorealism revolves around
realistic filmmaking. Rather than produce glossy films to heal the heartbreak in this post war
country, De Sica and several other directors focused on the working class and how fatal the blow of
fascism was. It was an artistic response to an abundance of commercial entertainment films spewing
from Hollywood. Although it was beautiful it was much more than a piece of art, it was
revolutionary. These films offered not the escape that many Italians desired at the time but instead
held a mirror up to the general public. It showed that if the public cares about one family's story on
screen every family's story matters, a crucial point to make after years of a dictatorship that told
them the opposite. The most predominant themes that are portrayed in De Sica's work are poverty,
economic turndown and choices. He displays these uniquely through mise–en–scene, dialogue,
cinematography and attitude. The ... Show more content on Helpwriting.net ...
He must have a bike, unfortunately we learn that previously he was forced to pawn his bike off for
food. Antonio's wife Maria acts quickly and sells their bed linens. This is crucial as it shows the
viewer that the most valuable belonging they own is sheets. Many Italian citizens would have
related to this greatly. De Sica also shows others standing in the que to sell items in return for
money, their faces grave with desperation the cinematography in this scene reminds the viewer that
it is not just the protagonist going through this tough time, its everybody. This highlights the
neorealism style by not singling out one character and focusing on the working class. In many
scenes in the film there are a mass amount of people either walking by or noticeable in the
background and foreground of the

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

Vittorio De Sica Bicycle Thieves
Vittorio De Sica started making films in the late 1940s, with The Bicycle Thief being one of his first
films. De Sica was able to capture the struggles of a particular life, but also made it general enough
for a multitude of people to be able to relate to the problems the characters face. De Sica is an
example of a Neorealist filmmaker with his usage of nonprofessional actors as most of his character,
as he felt they provided a certain authenticity to the films. He filmed on location, using natural light
as their only source, in an attempt to make the film seem as legitimate as possible. All of his films
covered topics of hardship of those living in poverty during the postwar Italy. One of his films that
strays from his typical Neorealism style

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

Ricci Bicycle Thieves
Victoria Lambert
LANG2540
Intro to World Cinema
October 28th 2017
Bicycle Thieves
Most of the film is shot outside where natural lighting and real buildings add authenticity to the film.
The camera gives the filmer hundreds of different ways to tell a story. To begin, the camera draws
the viewers into Ricci's hopeful yet worrysome facial expressions. This adds a mysterious aspect as
we try to figure out what is on his mind. In the shop where his significant other pawns their sheets,
the camera drives our eyes up a pinnacle of cloths, a visual of anticipated dreams. Now and again,
the objects in scenes are fundamentally hindered (by a window, say) or misled (Ricci rushes on,
looking forward, while Bruno falls twice in the road behind). This style of filming is how Vottorio's
... Show more content on Helpwriting.net ...
Each character in the film is a casualty of their environment; even the two criminals who stole
Ricci's bike. When Ricci catches the actual thief, the kid not just lives in an exceptionally poor
neighborhood with his mom yet additionally endures medical problems, as we see in the seizure
scene. These characters might not all be awful individuals, however are just attempting to survive
like Ricci is. They all have differnt methods of surviving and making ends meet. They were made to
be lawbreakers on account of destitution and survival, and society is largely responsible for that. In a
specific shot, the camera fixates on a man sitting by the man next to the thief and then pans over him
and Antonio. While at first glance this may not appear like much, if you watch a few times, you will
find that this scene tells a small story about a background character. We see an elderly man sincerely
reading the program given to him by the church. Through mise–en–scene, we can see the way he is
dressed and the way his face looks worn, suggesting he has a dismal financial circumstance.
Through his earnest expression, we can see that he is there for spiritual

The Palace Thieves Summary
In the article "The Palace Thief" by Ethan Canin, Mr.Hundert became more of a teacher that likes a
particular student which was Mr. Bells. Through out the story Hundert over looked, emotion
towards, and over estimate Sedgewick Bells. When Bells do well in the class Hundert overlooked on
Bells which gave him a spot in the Julius Ceaser competition. Hundert express feelings toward Bells
after Hundert met with his father because after the meeting Bell's father is a jerk, Bells started doing
well, overlooked on Bells. For example, The meeting between Hundert and Bell went well but
Hundert express feelings toward Bells. Since his father was a jerk, Bell learns things from him. In
addition, after the meeting Bell started doing well. By doing well

Analysis Of The Bicycle Thieves
Two scenes from the Bicycle Thieves that although they have nothing to do with the plot they are
essential for the film are: the scene where many bicycles and parts of them are being sold in a
piazza, this is an important scene because it adds to the film a feeling of optimism that ends up
turning into hopelessness. The other scene is the one where the thief has an epileptic fit adding to the
film a feeling of despair. These two scenes also contributes to the overall meaning of the plot by
showing us that the harder you try to accomplish what you want in life the more obstacles you will
have and the more hopelessness you will fell.
The first scene where bicycles are being sold at the piazza is very important. Ricci is hopeful at first,
and so are the watchers, that he will be able to find his bike at that place and all his problems will be
solved. He looks everywhere for it, at first it seems like his bike might be there because there is an
overwhelmingly amount of bicycles and pieces of them and the people around him helping him are
very optimistic, but as he keeps looking and looking things start getting more complicated because
every bike, tire, bell, and frame he sees could belong to his bike giving him hope that he has found it
but the moment he realizes is not his, the hopes he had to find it sinks deeper. We can observe this
when he's looking at the bikes lined up in minute 34:08, when he's looking around an expression of
anxiety and disappointment forms in his face

Bicycle Thieves Neorealism
The Bicycle Thief is a deeply moving neo–realist films of the 1940's focused on the state of Italy in
the aftermath of WWII, which depicts one man's loss of faith and his struggle to maintain personal
dignity in poverty and bureaucratic indifference. The director use neorealism in this film to show the
working class life, set in the culture of poverty, and with the implicit message that in a better society
wealth would be more evenly distributed. The majority of the movie is focused around the bicycle.
The main character Antonio Ricci is having a hard time finding a job but all of that changes after he
own a bicycle, which was later stolen. Joined by his son Bruno, Antonio struggles to find his bicycle
and tries to still one, eventually resorting

Analysis Of Bicycle Thieves
Bicycle Thieves is an Italian film, released in 1948, directed by Vittorio De Sica.
Listed as one of the top fifteen most influential films according to Turner Classic Movies (TCM),
ranked number four in "The 100 Best Films Of World Cinema" by Empire magazines in 2010, also
nominated for the Oscar as the Best Writing, Screen play. And awarded with the New York Film
Critics Circle Awards (NYFFC) and a Golden Globe as Best Foreign Film in the 50's. Bicycle
thieves is considered one of the most influential dramatic films of all time, Since Bicycle thieves is
one of the most representative films of neorealism by using natural scenes that show the reality of
Italy after World War II.
A film with an enigmatic message that portrays poor ... Show more content on Helpwriting.net ...
After that, I understood that the true message of the film was to show the reality after the World War
II and that perhaps, the historical event of Bicycle thieves is one of the characteristics that makes it
unique, since it transmits lots of different feelings to its audience, even when it was shot in black
and white. It keeps watching the film since the beginning to the end; it makes people reflect about
everything in their life since the perspective of what life truly is about makes the film an enjoyable

Italian Neorealism ( 1945-1953 )
Italian neorealism (1945–1953), through directors like Roberto Rossellini and Vittorio De Sica,
made its trademark on cinematic history not only in Italy, but also throughout the world. It was films
such as Rome Open City (Roma città aperta, 1945), The Bicycle Thief (Ladri di biciclette, 1948),
and Umberto D., (1952) whose style of depicting the harsh economic and social realities of the poor
and working class of Italy took off as a new cinematic style after World War II. Neorealism is a
response to desperate economic situations and often illustrates suffering, poverty, injustice, and/or
discrimination. Many argue that neorealism is a way of seeing reality without prejudice due to the
documentary–like technique of the film and its ability ... Show more content on Helpwriting.net ...
In truth, it is a metaphor for a better tomorrow with the lingering theme of the hope and promise of
children. This theme further emphasized in the final scene of Rome Open City with the children
walking out of frame. With the city of Rome as the backdrop for this final scene, it offered a sense
of renewed hope for the future. Rossellini balances this theme of renewed hope with trauma and
tragedy, in particular the death of the main female character, Pina. The audience is first introduced to
Pina as both a bride–to–be and mother–to–be. The "to–be" attached to mother and bride suggests
that there is a future. However, Rossellini brings this "future" to a tragic end in the closing scenes of
the film. As Pina pushes her way through the apartment complex courtyard, through a barricade of
Nazi soldiers to run after her fiance Francesco who has been captured. As she is running through the
streets, she is tragically shot down and dies in the middle of the street. Francesco manages to escape
Nazi custody, making it a senseless and pointless death. Not only is this the tragic death of an Italian
woman, but also a pregnant one. It has been said that Rossellini's style is a way of seeing. There is
no other visual quite like the one Rossellini leaves the viewer with in the final scenes of this film. It
is in this way that Rossellini is once again able to highlight characteristics of neorealism in his films.
With Pina's death, the characteristic of revealing the

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

Bicycle Thieves Analysis

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Bicycle Thieves Analysis