Movie Analysis : ' Mise En Scene '

In Napoleon Dynamite (Jared Hess, 2004), the character known as Napoleon Dynamite (Jon Heder) is quite a unique fellow. His quirkiness and eccentricity are what make him as a character; they are the primary traits of his personality. Keep in mind, however, that he is not the only odd character in the film, but he has his own peerless way of defining himself separate from any other character(s). This effect is achieved through certain cinematic techniques that director Jared Hess utilizes in order to bring out Napoleon’s persona in ways other than simply “guessing” who he really is. Rather, these techniques “explicitly imply” certain character traits; they are like clues that allow one to see the

The aspect of the Citizen Kane’s mise-en-scene that stood out to me the most were the sets. The first scene showing the once amazing and repugnant Xanadu now in disrepair helps to portray the psychological disrepair Kane experiences over the film. The giant oversized office of Mr. Thatcher portrays the cold decrepit old men who are in it. The huge interiors of Xanadu show the isolationism of his relationship towards Susan and his own loneliness in the world. Each of the sets in the film help to show the progression of the character. The sets along with the other aspects of mise-en-scene create the effect of reality by its change. The mise-en-scene of the film is a reflection of the character progression throughout the movie. The scene where

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.

When desperate enough, a man will provide beyond his limits even if the man is not loved or respected by his family. Even if providing means becoming a criminal. Vittorio de Sica’s Bicycle Thieves is about an unemployed man which goes by the name of Antonio Ricci who is forced to become a thieve as he’s desperate to find his stolen bike but he’s unsuccessful leaving him with no choice but to become a bicycle thief himself to be the providing father for his kids and to be the providing husband for his wife. The central idea or theme of De Sica’s film is that when being the head of the family one must demonstrate leadership and be able to provide even to the extent of becoming a criminal even when you disguised a criminal who stole from you but

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 movie The Bicycle Thief is an Italian neorealism movement. It shows the struggle of everyday life, of poverty and unemployment in Italy after World Ware 11. The movie was shot on location and was low budgeted. The actors in the movie was untrained and had no experience. The main Character Antonio Ricci was a factory worker prior to the movie. You can tell by the costumes the actors wore reflects the financial hardships of the lower class of Rome. The films tells the tragic story of a man name Antonio Ricci going through difficult obstacles to provide for his family. When he finally gets a job, he has to sell his bed sheets to afford a bicycle for his new job. When things were finally looking good, a thief steals his bicycle shortly after.

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.

Bicycle Thieves by Vittorio De Sica, 1948, was an Italian Neorealism film. It not only changed cinema, but it used cinema to approach reality in Italy during that time period. There are many differences between Italian Neorealism films and Hollywood Cinema. In the first scene when Ricci gets a job, it begins with a bus passing by to see a group of unemployed, working class men, waiting for a job.

Mise en scene has three aspects, setting and staging, costumes and makeup, and lighting. In the movie “The Good, The Bad and the Ugly” there are great examples of each. In this scene (the final scene) of The Good, The Bad and The Ugly, a man named Tusco is digging up a grave under the watch of a man named Blondie when a third man named Angel Eyes comes into the frame and surprises both men. Blondie and Angel Eyes have a conversation in which we learn that Angel Eyes has come to collect the money that Tusco is apparently digging up. As Angel Eyes points his gun towards Blondie, Blondie tells him that if Angel Eyes shoots him he will never find the money because it is not actually in that particular grave.

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

Perhaps no other character in Bicycle Thieves (De Sica, 1948) transforms as subtly as Bruno (Enzo Staiola), the motormouth son of Antonio (Lamberto Maggiorani). Conveyed primarily through performance, Bruno’s converts from a hard-working fast-talker with an affinity for mozzarella sandwiches to a silent, weeping witness as his father is driven by despair to commit the same crime that threw their lives into chaos. Despite not appearing until the film’s fifteen minute mark, Bruno assumes the role of the primary supporting character and his reaction to the events of the film becomes a metric by which to weigh the ramifications of Antonio’s descent into despair. At the beginning of the film, it’s established that Bruno has a keen eye for observation;

The film, The Hunger Games, directed by Gary Ross is a book to movie adaptation based on the novel written by Suzanne Collins. The film is set in a dystopian future in which a totalitarian nation called Panem is divided into 12 districts and a capital which holds the power of the nation. Two young representatives are selected from a lottery to represent their district in the Hunger Games. The Hunger Games is a televised event in which “tributes” from each district fight to the death for the Capital’s entertainment. This annual event was implemented as a source of control for the capitol in order to stop uprising and rebellion in the surrounding districts. The director uses a variety of filmographic techniques to portray the idea of inequality

From the silent era until the neorealist period, the depiction of the working-class in Italian cinema has provided an unparalleled insight into the shifting socio-political landscape of pre and post-war Italy. From Pastrone’s depiction of Maciste, the immortal strongman, born to use his ‘working class brawn against evil’ (Flanagan 2001: 91) to De Sica’s portrayal of the Ricci family’s financial post-war despair in Ladri di Biciclette (1948), the representation of the working-class in Italian cinema changed considerably during the three decades since

The Bicycle Thief Post WWII, economy of Italy drastically collapses which brings the depression in the country with unemployment on the rise and the population struggling to live. Italians desperately needing jobs in order for them to support their family and themselves. Vittorio De Sica, the director of the film, The Bicycle Thief, captures the real life setting and happenings of Italy during that decade by naturally getting the actors who are living the rough time. He brings out an emotional and a realistic story that touches and aches our hearts.

Italian neorealism sought to portray the subject matter at hand truthfully and without adding any sort of artistic touch. A cinematic movement dedicated to portraying a post war Italy that was slumped into an economic and moral depression. This portrayal is meant to highlight the general Italian psyche at the time. And films of this movement typically reflect everyday life of the Italians including poverty, oppression, injustice and desperation. What we perceive as stories as an audience are everyday realities of the “actors”.