Bicycle Thieves

Outlaw Motorcycle Gangs (OMCGs) is a contemporary issue that engulfs Australian society. What makes prosecution of such gangs so complex is the strong foothold that gangs have in organised crime and the façade that is worn in order to evade the eyes of the law. Various responses have been implemented in order to cease all violence and more importantly disenfranchise organised crime and prosecute those within the illegal syndicates. Legal responses put into act are: task forces and intelligence and lastly, targeting the organisation and membership. The non-legal responses on the other hand are, the media and the formation of political parties.

Isolation- all the characters carry an element of loneliness. Catherine is isolated through the memory of Martin (previous boyfriend). Ken is isolated, in his own ‘World of Warcraft’. Ana’s angry temper leads her to live in isolation, stating ‘Ana no trust anyvon’

One day, Bruno is looking out the window and asks his mother if he could “play with the children on the farm.” This is where the audience learns Bruno’s Harmartia, or tragic flaw, of his age. Children at Bruno’s age are innocent, kind, curious, and are often hidden from the evils of the world. Unknowingly, he moves close to a concentration camp, but due to his innocence, he believes the prison is a farm. He describes the “farmers” as looking “strange”

In the film The Bicycle Thief the audience is able to witness all the elements of neorealism. The use of non professional actors, to low class working characters, the flattening of scenes, and the location where it was shot at; are just a few of the essential elements that can be found in this film along with copious neorealist films. It is clear that the director used a variety of shots, angles, and set-ups in order to create certain emotions at very specific scenes in the film. From the start we are able to obtain a feel about the film’s tone as a result of the lack of color. The use of black and white truly helped the audience experience what Italy was like during the post World War 2. As a result of the depressing post war we are able to detect how the act of trying to improve oneself can sometimes lead to desperation.

Have you ever received a credit card bill at the end of the month with a ridiculous amount of money needed to be paid that you never spent? This is because of identity theft. The FTC estimates that each year, over 9 million people are affected by identity theft. According to Sally Driscoll, this is because almost anyone with a computer and a slight bit of computer knowledge can pull off identity theft. Experts also claim that identity theft is the fastest-growing crime in the world. Identity theft is a global problem that cannot be stopped without effective measures. The problem is, effective measures are very hard to come by when dealing with identity theft because almost any security protocol can be by-passed.

Most time people don’t think about what crimes they are committing like motor vehicle theft, larceny and theft and robbery. Each of the crimes is serious, but some people don’t understand the consequence of what they could be up against. Automobile theft is a felony which you could face up to one or more years in prison. Robbery is a crime that happens every day and usually deals with someone intentionally taking something from a store or a person.

During chapter two, Boyne characterises Bruno's fear through the use of dialogue where Bruno "froze, unable to move for a moment" (p.17). By implementing this somewhat clichéd metaphor, Boyne paints a vivid picture of the fear Bruno feels after betraying social etiquette. Bruno knows what he did was wrong, and later awaits to be called into Father's office to be punished. Boyne introduces the setting of Father's office as being "Out of Bounds At All Times And No Exceptions" (p.44). From Boyne's introduction of the office with capitalisation, Boyne emphasises to the audience that Bruno views the office as 'Out of Bounds', suggesting deep-set fear towards Father as Bruno has a negative connotation towards Father's office. This relationship built on the basis of fear is similar in substance to the relationship between Father and the Fury. Boyne briefly explores this relationship during a literary flashback. The dialogue where Father states how he has "no choice" demonstrates to the reader how, like Bruno, Father was afraid of the repercussions which would occur by going against the 'rules' set in place by the Fury. This is the basis of the tactic used by hijackers asking for ransom money, they instil fear in their victims to ensure that they will obey as Father obeys the Fury by moving to Out-With. Consequently, from his character development, Boyne

For the many Arizona State University student and staff members who own a bicycle, there is no greater concern than having it stolen from them. Thousands of Sun Devils on the Tempe, Arizona campus possess a bike for the sole purpose of conveniently going to and from classes, not to mention their jobs as well. Bikes are expensive, and when one is stolen from a student it not only breaks their bank, it can also cause them to miss a class or be late to work. Combatting this crime has been historically difficult for ASU’s police department, who owns the problem of bike theft on the Tempe, Downtown Phoenix, West, and Polytechnic campuses. In the history of Arizona State

Scott Decker and Richard Wright studied and wrote a book on criminals who make their livings burglarizing people’s homes. They named the book Burglars on the Job. Their study found that most of the criminals that were career burglars stole to further their drug habits. Many of these career criminals were only making a living by stealing from others.

Italian Neorealism was a movement of art, which strived to illustrate the normal lives of the ordinary, working class people in post war Rome, usually with the use of non-professional actors. As one of the best Italian Neorealist film, Bicycle Thieves showed an absolute depiction of the war’s impact on daily life and exposed a world in which sufferings, unkindness and corruption jeopardized the rationality of human beings and action of men (Schoonover). By utilizing a depressing and gloomy cinematography, De Sica implies the somber lives of the poor and their crisis in losing their self-identity and moral conscience as a result of parochial society that make a fetish of personal belongings as a mode of social acceptance. By examining the cinematography, ‘mise-en-scene’ and events in the film, the daily struggles of the working class in post war Rome can be seen through the crisis of masculinity, class struggle, ethical dilemma and a profoundly patriarchal society.

The characters in this movie were great actors. They acted so realistic that it looked as if it was occurring live from the scene of the action. All of the characters were excellent , especially the women when they got their hair cut off in the concentration camp.

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.

Throughout the novel, Bruno misinterprets what is going on in the world and this family. One of the

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

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