Vittorio De Sica Bicycle Thieves

Italy was considered the birthplace of both the Renaissance, specifically the Artistic Renaissance. The Renaissance was a period of rebirth (14th to the 17th century) of learning classical knowledge, which then went more specifically into the formation of ideals and thoughts such as the focus on man and their achievements, man being fundamentally “good”, the use of measurements and science in art and the overall shift into what is more appearance oriented as well as somewhat of a realistic art style. These ideals of the Renaissance were presented through the work that artists of this period were producing.

This film was created after the fall of Benito Mussolini’s government, Rossellini wanted to create the film to show the realism and the after effect of the war, the films were created majority on the streets of Rome all the buildings and the infrastructures were damaged the film was well thought out Neorealism was a sign of cultural change and social progress that Italy was going through.

i think that when the actors were stealing the bike the people walking by were being sexist, stero typing, and racist. When the white guy actor was trying to steal the bike nobody stopped him. They asked if it was his and he said no, but they still didn't stop him. When the black guy actor was trying to steal the bike somebody stopped him in the first minute. When the first person yelled at him to stop a lot of other people rushed over. When the young white girl actor was stealing the bike nobody stopped her in fact mostly all of them (guys) helped her steal the bike. I think this was sexist because when the girl was stealing the bike people helped her steal it, but when the white, or black guy were stealing it they both got stopped and

In “Chapter Five: Chasing My Stolen Bicycle” by Justin Jouvenal law enforcement and prosecutors treat petty crime such as a stolen bike as if it’s nothing. They don’t care too much about it. Law enforcement agencies tend to prioritize on violent crimes since they are more harmful and make people more fearful. For instance, in “Chapter Seven: Duke Lacrosse Players Relieved Case has ‘Closure’” by The Associated Press, law enforcement, and prosecutors responded instantly to the serious allegations. This is because this case involved allegations of rape, kidnapping, and sexual assaults. On top of that, the district attorney had corrupt actions. This is a serious crime as opposed to a stolen bike that causes no physical harm to a person. This

In the article, “Bus Rider who jumped armed robber”, says he would not have confronted the armed thief if he were to be in that situation again. Casey Borgen states he is “mild mannered.” The issue in this article being raised is a man who was minding his own business on his ride to work was faced with a moral dilemma. He did not have time to go into ontological shock and trying to be objective with rationalizing a situation with a gun pointed at him.

	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

The first one was the teen audience segment, which proved to have higher spending powers because of their disposable income that they used mainly on entertainment. Hollywood therefore produced films that fall under this segment such as The Blackboard Jungle (1955) and as Rebel without a Cause (1955). The second segment was immigrant and working- class audiences that had enough money to buy tickets for the theaters. The third segment was the films targeting anti-communist groups, whereby Hollywood produced more than 50 movies that were against the communist societies. The films intoxicated people that hate the communist societies, saying that these people were murderers, didn’t have children and also caused problems when arrested. Films such as, In Vittorio de Sica’s featuring the Bicycle Thief, was produced in 1950s.

Sometimes people forget that food is an art and that it has the power to move us emotionally just as music, literature and paintings can. Picture Paris and Bicycle Thieves are two films that both employ the usage of narrative devices hand in hand with food to develop the characters and their family bonds. Although each narrative revolves around the central themes of food, family and dignity the two are developed in radically different ways. The Bicycle Thieves uses the concept of neorealism to employ the theme of hunger by focusing on the day to day struggles the Italians faced after World War II to develop a family bond whereas in Picture Paris the theme of food is used to draw a parallel connection between her obsession with Paris and the

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

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.

Camerawork was the second of many techniques that Federico Fellini used for the production of 8 ½. The way Fellini used the camera to show close ups, long shots, images, frame within a frame, and montage were very eye catching to the audience. One example would be, the scene where Guido remembers when he was younger and how he was wrapped with sheets. Then suddenly he starts to fantasize that all the women who live in the house with him, where carrying him. Fellini focused on that specific scene where Guido´s face is far beyond noticeable on the camera and the viewer can clearly see his face expressions. The audience can almost feel as if they where there with Guido in that same house. Another good example of Fellini’s great camerawork would be the scene where Guido is in some sort of sauna with many men and women, and the audience can clearly see Guido’s facial expressions when he sees the woman in some sort of bath robe walking to her side of the women´s sauna. Guido rapidly, gets distracted

The Roman roads were notable for their straightness, solid foundations, cambered surfaces facilitating drainage, and use of concrete made from pozzolana (volcanic ash) and lime. Though adapting their technique to materials locally available, the Roman engineers followed basically the same principles in building abroad as they had in Italy. In 145 bce they began the Via Egnatia, an extension of the Via Appia beyond the Adriatic into Greece and Asia Minor, where it joined the ancient Persian Royal

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

Mario Puzo’s "The Godfather" was the first and most influential gangster movie that paved the way for gangster movies of the future. The movie was directed by Frances Ford Copolla, who made many different ingenious ways to portray this gangster classic. The movie was a very subversive movie, and one of the first of all time.The Godfather has a many different uses of light settings through the whole movie, in which the movie can be interpreted on.