Film Analysis Of 'Bicycle Thieves'

There Will Be Blood is a historical drama written and directed by P.T Anderson. The film explores themes of ambition, loneliness, lust for power, false personas, hatred, lack of faith, mistrust and loss of humanity. Anderson explores these themes through the characters of Daniel Plainview and Eli Sunday. In addition to character exploration, Anderson uses a variety of cinematic techniques in order to subtextually portray these themes. These techniques include, contrasting lighting, long shots, wide angles and mis en scene. The first themes to be explored in There Will Be Blood are ambition and loneliness. The film begins with a wide shot of a vast and open terrain. This signifies the emptiness of our setting. We meet the character of

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.

One thing the film did not do so well was an accurate representation of the Arabian people.

Walt was good at his job and doing well to perform his duties, but then few things happened around him, which changed his whole life. The first thing or event was corruption, which he was seeing around him in his company. The second thing was to see the superiors also doing corruption and looting money from the company accounts. And third thing was customers of the company. He saw that even customers don’t pay up their money to the company, but still company is bearing them, so he thought if customers are free to do so, then why he cannot do so. He saw that rules are being broken everywhere, so he thought to do so as well. These three events became the major factors for Walt to think about committing a crime

During the end of the 3rd Century, the Playwright Plautus wrote many of the first Roman comedies. A Funny Thing Happened on the Way to the Forum is a musical comedy film adaptation of Plautus's comedies.Set in ancient Rome, many aspects of Roman theatre, including stock characters, were included in the film’s production. While the film is based off of multiple comedies, Plautus's Pseudolus character Calidorus is nearly identical to the film’s Hero. During the time Pseudolus was written, the Crisis of the Third Century led to up to 25% of Roman population being comprised of slaves(Southern). Of the many stock characters Platus included in his comedies, Calidorus/Hero, the son of Pseudolus’s owner and the stock character adulescens, best

Bicycle Thieves gave viewers a clear view of crisis of masculinity within Antonio and this was further highlighted with the presence of a protagonist child in the film. In the film we see Antonio’s struggle to save his expected capability to provide for his family as a man (Ruberto & Wilson). However, the fact that Bruno was employed at the time Antonio got himself a job pointed out his incapability as a man and viewers starts to see Bruno as a small man rather than just a child because he was seemingly adequate

The documentary Street Fight directed by Marshall Curry covered a boisterous 2002 campaign in Newark, New Jersey, against a young city councilor Cory Booker verses the cities longest serving major running for a re-election James Sharpe. During the entire documentary there were multiple points regarding politics and political power. In the beginning of the movie it was noted that some citizens were afraid to support Booker because they feared being targeted and possibly losing their homes or businesses. Even though Booker attempted to beat the Sharpe, he was nowhere near as entrenched and politically connected Sharpe. With the stark difference in the demographics each runner was targeting it became apparent that Booker was viewed as an outsider to the suburban residents of Newark that believed Sharpe would be the best candidate to become mayor. With that in mind, it is clear that social class adds a dimension into consideration of civic engagement (Losco 12). In my opinion, due to Sharpe’s vast influence to achieve his desired goals would be considered a ruling elite. Paraphrasing from Losco page 5, Sharpe had access to government officials to become re-elected as a government official himself. In the AM GOV text it states, “Although citizens may not agree with specific government policies, they will support as legitimate, or lawful, policies founded upon accepted contracts and standards.” (Losco 5). This can be connected to the documentary by noting the

In Neighbourhood Watch, social concerns surrounding trust and the implications it can have on our society were presented using place, space and props. In this scene, dramatic techniques such as lighting, symbolism, blocking and delivery of script help portray Catherine’s trusting nature and lack of caution towards danger towards Artur, a serial killer. Coming face to face with a serial killer may not be an experience that it common to many people in Australian society, however domestic violence is an issue that effects many. 1 in 20 men are affected and 1 in 6 women are affected. 34.4% of female domestic violence victims in the past 12 months said that the perpetrator was a male family member or friend. In this scene, the character who wanted

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.

The film, the Untouchables, was directed by Brian De Palma. It was set in the prohibition era, which was right at the start of the 1920’s. Prohibition can be described as a law that made selling and manufacturing alcohol illegal. By putting this law into effect, it actually increased the amount of crime and violence throughout cities in the US. This was ultimately due to the rise in organized crime, also known as gangs. In the movie specifically, it was centered around the rise of the Mafia in Chicago. By looking at the production of the movie, we can see how during prohibition, the Mafia controls everything and the violence ultimately it leads to.

	Another fine example of neorealism is The Bicycle Thief (1948), written by Cesare Zavattini and directed by Vittorio De Sica. The narrative of this film unfolds in post-W.W.II times. The film is a portrait of the post-war Italian disadvantaged class (the majority) in their search for self-respect. It is a time of struggle for the Italian people, amplified by a shortage of employment and lack of social services. In the first scenes of the film, these conditions are evident as Antonio Ricci (Lamberto Maggiorami) meets his spouse Maria (Lianalla Carell) on his way back home. We see the "men" arguing at the employment "office" as the "women" argue about the shortage of water. Although the director's

Film noirs describe pessimistic films associated with black and white visual styles, crime fiction, and dark themes. Sunset Boulevard is a 1950 film noir directed by Billy Wilder. Sunset Boulevard presents many themes that are common with the genre film noir, but also introduces some differences from the typical movie in that genre.

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

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