The Work Bicycle Thieves By Vittorio De Sica - 2024 Words

The work Bicycle Thieves is chosen to be discussed in this essay. Bicycle Thieves is an Italian film published in 1948, directed by Vittorio De Sica. It gained both commercial and artistic success, and have won the Academy Award for Best Foreign Language Film in 1948. The film is famous for its neorealism that reflects the post-war Italian society. In the following essay, I’m going to discuss how did De Sica use the cinematography skills to strengthen his expressions in Bicycle Thieves, and the ways he conveys the meaning of the film. De Sica claimed a film is â€Å"reality transposed into the realm of poetry† (Turan 103). So, the principle of his directing is to be genuine and realistic. This shares some similarities with the ideas of Italian neorealism. According to ‘Ten points of neorealism’ published by the Paris Journal in 1952, a neorealist movie should have some of the following features: a message; topical scripts by concrete events; a sense of the masses; realism; the truth of actors (often non-professionals) and lighting; refusal of the studio (Lielm 131-132). Bicycle Thieves comprise with most of the characteristics mentioned above and made good use of them: First, the selection of the actors. De Sica denied David Selznick’s suggestion of Cary Grant for the lead and his financial support. He insists on selecting unprofessional actors to be the protagonists of the film. The factory worker Lamberto Maggiorani played the leading role Antonio Ricci, and anotherShow MoreRelatedItalian Neorealism ( 1945-1953 )1909 Words   |  8 PagesItalian 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 responseRead MoreTheme Of Neorealism In Ladri Di Biciclette1348 Words   |  6 Pagesscreenwriters who help star t the Neorealism movement in his home county’s cinema once said â€Å" The true purpose on cinema is not to tell fables...There must be no gap between life and what is on the screen.† His screenplay, Ladri Di Biciclette (known as Bicycle Thieves to American audiences) is an artful manifestation of the Italian Neorealism. 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This caused audiences all around the globe to be â€Å"suddenly introduced to Italian films† (Historical Origins of Italian Neo-realism, n.d.) through works by â€Å"Roberto Rossellini (1906–1977), Vittorio De Sica (1902–1974), and Luchino Visconti (1906–1976)† (Historical Origins of Italian Neo-realism, n.d.). With the oppressive shackles of fascist censorship now gone, Italian directors began to pursue a new style of cinematic realismRead MoreEssay on Pure Cinema1702 Words   |  7 Pages 1. Ladri de Biccilette [Bicycle Thieves] (Vittorio De Sica) Do you agree with Andre Bazin that Ladri de Biccilette is an example of ‘pure cinema’? (Bazin [1971] p.60). To what extent is such a pure cinema possible and, in your opinion, which Italian Neo-realist film screened on the unit comes closest to it? Explain your reasoning. This essay will address the characteristics of ‘pure cinema’ and the extent of its practical nature. It also seeks to analyse the film Ladri de Biccilette whilstRead More Vittorio de Sicas The Bicycle Thief Essay3286 Words   |  14 PagesVittorio de Sicas The Bicycle Thief Since the beginning of its existence as a country, Italy has faced enormous challenges in establishing itself as a unified political and social entity. The geographic, economic, and linguistic differences between its various regions and the artificial manner in which they were amalgamated created a legacy of internal divisions that continues to dominate the countrys political climate to this day. Italys numerous historical fiascoes, such as its disastrousRead MoreA Realist Look993 Words   |  4 Pagesformalistic films. In my opinion, and I think Bazin, would agree that editing a scene would rendered it ineffective. The editing becomes in itself unrealistic and causes its own ambiguous meaning. In Realism, if you look at directors like Vittorio De Sica â€Å"The Bicycle Thieves (1948)†, Federico Fellini â€Å"8  ½ (1963)†, Franà §ois Truffaut â€Å"The 400 Blows (1959), and Jean Renoir (The Lower Depths (1945)† they have a better look on reality. As for me, I own all these films and I love them all. I personal love Jean