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1. 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
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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
città 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
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3. 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
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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
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5. 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
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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
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7. 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
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9. 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
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
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11. 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
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13. 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
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15. 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
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17. 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
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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
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19. 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
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21. 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
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23. 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 ... Show more content on
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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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25. 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
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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
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27. 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
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
... Get more on HelpWriting.net ...