Similarities Between Bicycle Thief And Pather Panchali

This story was written, charmingly, in an unorthodox, yet loving manner. Rich with reality, the novel, led me into the atrocious, but true, glimpse into the world at the time. The phrases and paragraphs, struck me, illustrating the spliced lives of the protagonists, through complex, evocative, at times ethereal, imagery. The plot, progressive, and compelling, is profoundly sad, touching and uplifting. Flowing at a fast-pace, the plot, is a genuine page-turner, of which brought sadness in me when a disaster stroke, or warmth, when the characters embraced their connections to each other. The story covering the effects of hunger, war, prejudice, love, hatred, friendship, deception and growth, through its character development, cleverly stayed faithful to the plot, throughout. The characters, executed flawlessly on the author’s part, though not superficial, were tragic, and believable. The interwoven lives of these characters are complex, inspiring and perturbing. Being memorable, the characters had great prose, and development in the story. In the Book Thief, the use of Death as the narrator, persistent use of unintentional humour, was quite unique. Personally, I enjoyed Death’s utilization of dark, unintentional humour, as it ironically, lightened the saddest of

The Book Thief, written by Australian novelist Markus Zusak, follows a young girl living in Nazi Germany, and employs innovative techniques to convey the central idea of the extremes of human behavior. This central idea was explored through stylistic techniques and conventions such as Death as the narrator, juxtaposition, irony, lack of chronological order, narrative voices, and themes, namely the power of words.

Both The Book Thief and Night revolve around the idea of the Holocaust. With this, the reader is able to see the contrast between two different people at the time. Night by Elie Wiesel provides the perspective from the inside of concentration camps, while The Book Thief by Markus Zusak provides the perspective from those living in Nazi Germany. By reading both perspectives, the reader is given the thoughts and feelings of both people connecting all people of the time period, coming to the conclusion that all people were suffering loss of faith in God and

The Book Thief is set in the time of World War 2 where the Holocaust is present and disaster is everywhere. Throughout the story, Liesel, the main character, learns that words are extremely powerful and hold the ability for people to use them for good or for evil. Among the disaster and altercations, Liesel uses her literature to comfort her and make herself more powerful due to her knowledge, which demonstrates the theme of the story, the comfort and power of literature and words softens the pain of loss.

The Book Thief is about a young German girl named Liesel Meminger as she goes through life while living in Germany in 1939. Liesel and her foster parents live a normal life on 33 Himmel Street. There is only one difference between their family and the others, they are hiding Max Vandenburg (a Jewish man) in their basement during the time of the Holocaust. This story, narrated by Death follows the life of Liesel from her first step into 33 Himmel Street, until the day she died in Sydney, Australia.

The book thief takes place in Germany from 1939 to 1942. During that time period jews were being taken from their homes and thrown into concentration camps where many of them would end up dead and striped of their humanity. The jews in germany and all over europe were in hiding or behind fences. But not all of them were left out in the open to

The stories bear minor similarities and differences that the setting influences the plot development by era and place, main characters backgrounds, and environment /time frame of stories.

The setting is very important in both stories in that it defines not only the plot, but the characters themselves.

Many are familiar with Anne Frank's diary and have even sat down and watched the movie The Diary of Anne Frank. With her diary we learn a lot about Anne and her family, as well as the tragic story of their life, and the lives of many other Jews. However, this is not the only movie that gives us an insight in the life of a young girl during World War II. The Book Thief is in many ways similar to The Diary of Anne Frank in which the viewer is provided the experiences of the war between two very different young girls that have to adapt to a new home and possess an increasing hunger for knowledge.

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

For my opening body paragraph, one important literary device that both authors used is symbolism. In The Book Thief, Markus Zusak starts of the symbol around the end of the book. Even though The Book Thief is a morbid and a demonic book which has a lot of war and death in it, the dominoes represents how they, “were falling like dead bodies in the living room.” (410). Well, in The Things They Carried, it also has the same symbol which relates back to dominoes and how Tim protested against the war, but not enough to be considered a pacifist. Also, how he thought about, “Ho Chi Minh a Communist stooge, or a nationalist savoir, or both, or neither?... What about SEATO and the Cold War? What about dominoes?” (38). That showed how the

	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

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

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

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