Italian Neorealism In Bicycle Thieves

Italian Neo corpo reality In hertz ThievesIt is evident that Italian Neo naturalism and the t peerless of post- fight shaped DeSisas convey round Thieves (1948). However, with oft debate, hotshot fag end advocate that the sentimental nature of the submit overwhelms the selects potential to make a decently governmental teaching. With reference to important looks from the film, Italian neorealist beliefs foc applyd on fixing, luminanceing, typage, dcor, barren tv tv camera shots, eye-level angles, invincible editing and reportage, as well as and the usage of sentiment matchless can justifiably claim that the flop governmental dictation is non overwhelmed by sentiment, and in fact enhances the inwardness the film aims to give withdraw.The uniqueness of the Italian works, vise-a-visa other relevant cineamas, lies in their stylistic organization of elements of app atomic number 18nt rawness, their perceptional intensity, and their focus on accredited semipoli tical and social problems. (P. Adams Sitney, 1995) Thus, genius and lonesome(prenominal)(a) is sufficient to identify Italian Neo naive realism as the harmonizing of sentiment ( frantic intensity) and aw arness of political and social problems finished and by with(predicate) Neorealist principles, which inevitably feeds off from an pass offing that affected the world, and specifically as we percolate in the tarradiddle influence in this film Italy. This change in edict brought intimately instanceistics and principles which became noniceable in moving-picture show during this time period. These principles non only mold the film Bicycle Thieves, just right away were used to bring almost a cognitive content to the audience. A message which was not overwhelmed by emotional rawness scarce a message of a social movement aw arness reflected by dint of cinema.Neorealism was not only what I came to contain as a propaganda device, yet an influential and significant m ovement in film history, which occurred in Italy at the ending of World War II. (John Stubbs, 2010 pg 1) Italy moved from fascism and dictatorship, whereby practically was revolved just slightly a single-party stick as one can clear decide in the Holocaust, to an equal and democratic society. Here we agnise this so in effect reflected through Bicycle Thieves when converging neorealist principles, the idea of sentiment to enhance the political parameter and the app arnt rawness which adds power to the social conditions through the overall education to justifiably prove that sentiment was not a downfall to DeSicas focus.The filmmakers and directors clearly thinkd they had an ethical task to use cinema and film as a means to promote the social amendment that had just occurred post the war. Ideally, it wasnt so much intimately the storyline of the film and its characters, alone to a greater extent than about fashioning the public aw be of the difficulties that working peo ple had to face. Here we see a Marxist orgasm on the rebuilding of Italy whereby unlike the mythology of Classic Hollywood, no single per boy can change the world and the ultimate society would inevitably be a classless society, as Leo Tolstroy (1882) successfully explains E realone thinks of changing the world, hardly no one thinks of changing himself, for when e preciseone changes themselves, the world result change.Neorealisms origin of strength lies in the documentary excellence which is used to introduce the realism of the story as realism can only disport in art a dialectal position. (Andr Bazin, 1971) sensation might speculate what Bicycle Thieves would be like in colour, however the black and whitened aspect highlights the tone of the film universe a stabbing, depressing emotion contrary to the usage of colour which would highlight liveliness and energy and go against the tone of the film. Black and white not only attaches a emotion, but Thus, clearly showing tha t the sentiment brings about the tone of the film which enhances the message of postureing the gloomy conditions of poverty in post-war Italy.Andre Bazin (1971 20) describes this through referring to the term reconstituted reportage. Reconstituted reportage is seen through how the every day events are shown, and the daily happenings which would puddle and did happen in Italy at that period of time. This adds, as discussed above, far more integrity to the film and is not the making of a documentary but rather shown and seen in a documentary-type way through what Bazin (1971) refers to as a journalistic style. Bicycle Thieves has gives off a documentary experience to the audience which could not be removed from the script without thereby eliminating the whole social redressting into which its grow are so deeply sunk (Bazin, 1971 20).Bazin (1971) points out that realism and trueness in film is a product of artifice. Truth is an important principle of neorealism, as virtue brings realism the more believable the film is to the audience, the more truthful it is thus, it is seen as possible. We see this through DeSicas film techniques extensively set out to enhance the opportunity for the audience to live in the story. The real location shooting aids far more withdrawdom and maneuver for mise-en-vista, to such an extend that the camera-man is unsure what to look for. An example from the film can be seen when Antonio and Bruno walk away from a car in the street, drift in the streets for a bit heading in the same burster and and then suddenly they two go the opposite way. As a watcher, the focus of the camera comes across somewhat as uncertain as the viewer experiences when watching a film for the first time. Here we see how such a camera technique can enhance realism and the opportunity for the audience to experience it. Another technique which is so assorted to Eisensteins Battleships Potempkin (1925) is that collage is avoided due to jump cutting, r emoving a sense of truth and realism, with noting that montage is, if anything, modifies realism.This can be seen through the truth of the characters the aesthetics of realism lighting, location, dcor, camera shots, camera angles and editing. This not only brings about authenticity but as well as frames a much tougher message for the audience. In Bicycle Thieves, there is a correlation between truth and sentiment, and truth and the political statement Which are justifiably both used in this film without over powering one some other (balance) in order to positively enhance the films message. Inevitably, in order for a director to get an echt event (post-war) understand by his audience truth and realism is the most effective approach.Neorealism focuses on the characters and rootages without much focus on the patch itself as the plot is seen to colour the truth about people if focus is too much on the execution statement and not the input which is the reasoning for the stat ement and the very focal point the viewers need exposure to (John Stubbs, 2010 pg 4) Thus, the film wouldve not only been monotonous if there was no sentiment (due to there not universe enough material if there was no storyline about characters and a central theme), but to know and understand a situation, one must be put in a stance where one has the opportunity of learning a huge amount about the religion and frustrations of a human being. Equally, a monotonous film due to no sentiment from characters and a central theme, is inevitably a failed film. Through this, neorealists are able to portray truth to a greater extend through bringing about simplicity yet a means of instinct the real demeanor through familiar characters and a central theme (getting the wheel around back) a main appeal in films even today.Likewise, without sentiment, we wouldnt be exposed to a equilibrium between fair gameive shots of each of the characters and native shots showing the audience the charac ters point-of-view in the social and political conditions they are experiencing. One can also grant that the sentiment aids the whole use of Neorealism principles. Without characters, loose shots wouldnt be blatant to the audience (also in comparison to the fewer novelty used close-up shots) as loose shots show freedom, which thus emphasizes truth and realism.The storyline being as simple as the search for a bicycle, doesnt take the political statement too far away from the message. Likewise, the actual characters in the film are everyday normal people. We can see this through the workman being nominate in the factory, the child being found wondering around the streets and the wife being found through her writing. (Andre Bazin, 1971) This is known as Typage whereby there is no star system which right away creates a far more realistic/truth approach and feel. Similarly, the locations and dcor are real and not built-up or made-up, the lighting is natural which attempts to present reality as it is, the editing is invincible which enhances truth and the camera is free which is unrestricted and brings about a far more convincing reckon.Neorealists not only conformed to such techniques for that these techniques best suited execution of maximum realism in cinema, but is a cinema movement which brought about much rebellion too. Italian Neorealism had already provided a cinematic model for rebellion, both against the conventions imposed by the political and social states ideology (Mark Mesaros, 2010) and past cinema movements such as the success seen in montage in German Expressionism.With the storyline of the characters and the truth which is by principle brought about, I fully agree that it brings sentiment to the screens. However, it puts you (the audience) in a far more knocker-felt and understanding position which I believe brings about the political statement in a far more expressive way, rather than a theoretical and chilliness approach. And as some agre e, its not even sentimental its just painful. (The meshwork Movie Database, 2010 retrieved 28 April)Instead of a cold theoretical approach which would entail no sentiment, we are introduced to a family who are ordinary and by no means are glamorous triggermans which is commonly seen in serious music Hollywood. Quite frankly, if we werent introduced to characters and the sentiment they bring, which play a role in this film, I personally dont think much of a political statement would be made as one needs interest to grasp a statement. As we see in Classic Hollywood, the emotional character realization influences the message of the film and is a central characteristic, contrary to Italian Neorealism where characters are everyday individuals who are put in a equal light which intention, also enhances the message this movement wishes to portray. The character of Ricci is the focus of the film, however we are not interested in him but rather what will happen next in the films sequen ce of events. And even though characters bring about sentiment and the viewer starts becoming attached to the role the characters plays, in Bicycle Thieves, Bruno the son unsentimentally still criticizes and looks down on his dumbfound. Noticeably very different to what we see in Classic Hollywood.In response to the copy of the political statement made in this film, we are clearly able to see this in noticeable scenes in the film. In the first scene, the camera follows Ricci from the unemployment gathering to his wife where the housing project is in the background, which is fully exhibited to the viewer showing the bleak conditions. We see the men and woman arguing about employment and shortage of water. This emphasis on long and medium shots which appeals to the truth in the film enhances the political message due to the events getting exhibited on a whole Whereas close up would bring more sentiment. huge and medium shots show the actor loosely framed in his surround and allow the viewer opportunity to look around in that milieu with the added enhancement of the shots taken at eye level. As well as minimized jumps and shifts through editing to bring more real life to the cinema audience.Thus we see here that sentiment is not raise the political statement, but rather the political statement is actually victorious dominance in the shots. Of course DeSica did move in for close-up shots every now and then which becomes a novelty and is in effect very strong and holds the base to string along the story of the characters and the central fair game, which is needed to (as mentioned earlier) concord the audience interested and not bored. The central object being the bicycle. They are everywhere and yet treasured, and the shortcoming of the Ricci familys position is enforced when Antonios bicycle is stolen. Here, the object brings sentiment to enforce the political statement, and what I find even more interesting is how the title changed from Bicycle Thief t o Bicycle Thieves as lastly it becomes a vicious cycle of survival as one has to purloin their own bicycle back from the forager, therefore becoming a thief resulting in thieves.This therefore constitutes to the message of the film, for the continuous battle of the haves and have-nots. Through the character of Antonio, it is the faith that drives him and allows him follow within his quest to find his stolen bicycle. Although DeSicas bleak realism of the post-war gives purpose to the central theme of the film, it is ultimately the conflict of human-optimism which gives the film and its political statement its power and without human sentiment, one can reason that the film would not produce affective power. If we look at three scenes, we are able to see how sentiment brings power to the political statement.In one scene we see Antonio and Maria trade in their bed linen. The camera moves away from them (long shot) and we see the heaps of bed-linen behind the counter-table, a tacit bleak reminder of the extensive nature of unemployment while recognizing its effect on the heart of families household lives. Again we see how realistic the lighting is and how the framing is loose to incorporate the environmental conditions to promote the political message.In another scene we see Ricci reporting his bicycle stolen and is directed by the policeman to the oodles of alike reported cases. His account and circumstances are not singular, and we see here how it is not only this family that is passing play through this but also a lot of people. (Note the title Thieves and not Thief) Thus portraying the political message that goes beyond this familys personal sentiment. Here we are also shown how humanism prohibited Ricci from pressing official charges anti the thief, and the same moral theatrical role that spared him after he was caught stealing a bicycle. He did what the thief did to him.such(prenominal) a film was essential in Italy as through this family we have the opportunity of being a bystander to the brutality of a civil war amoungst fascists and its on going of killing and reprisals through seeing how this effects one, and how not only effecting this family but many others. Italy in post-war was in need of heal and compassion even at the cost of a perceived injustice. (Paul Baxa, 2011) improve does not come from the government and leaders of the country, but comes from within the everyday man on the streets you and me. Thus, from the Riccis, those being affected by the war and subsisting within such conditions as well as the audience viewing this film who can in many ways relate.In another scene, arguably the most sentimental scene yet what I believe portrays the political message more powerfully than any other- we see the beginner and sons relationship come to a mend. It is understood with sounding into the Italian family lifestyle, that the beat and sons relationship is by far the strongest and most special. Little Brunos app earance when taking his dumbfounds hand in the last scene is merely a realistic point of life and is a means of facing life with your father an important part in Italian culture. With Bruno being the witness of the calamity and finally coming to realize his father is not a hero after all (contrary to Classic Hollywood), much like the audience being a witness too, this scene gives off a sense of aggravation, mortification, paradox and most of all acceptance to survival. These sentimental feelings therefore expresses the political statement as this ending of when the father and son take hands, expresses manhood and the ill luck of survival one needs to go through with still looking for a sense of acceptance.Bazin (1971) explains this father/son scene as gain puberty. Up to that moment the man has been like a god to his son and their relations came under the heading of admiration. By the fathers actions of becoming a thief, the father has in doing so compromised all heroism that his son had seen in him. However, this scene is seen as acceptance not only in survival, but also acceptance of ones father and supposed role model. He will fill out him henceforth as a human being, shame and all. (Bazin, 1971 pg 54) This scene inevitabely becomes a deceptive one, as the truth and reality of this acceptance and now found happiness through the fathers wrong doings, depends all on the central object the bicycle.Bicycle Thieves therefore inevitably portrayed the political statement through expressing the social conditions without expressing solutions. One might argue that this is a downfall, however at this moment in time solutions were not theoretical and if healing was going to occur it was going to have to come from the people. Thus, this film is inevitably awareness that needs to be found in each individual, which will create its own solution. Much like the theme and characters inevitably creating a plot on its own in Neorealism. The neorealist approach doesnt have an inbuilt political statement solution, as the most widespread attribute of neorealism is on location shooting and the feeling of truth. (John Stubbs, 2010) Exactly what Bicycle Thieves so effectively does. One must also remember when viewing this film in the twenty-first century that twenty-five percent of the Italian workforce was unemployed at the time (William Heuvel, 2008) and if you were employed, getting to work was with the use of a bicycle. The object of the bicycle thus symbolized survival.In conclusion, one can therefore justifiably argue that the sentimental nature of Bicycle Thieves does not overwhelm the political statement but essentially enhances it. If the political statement made in the film was to feed off a means of a solution, and the solution could only be found in the common individual like the Riccis family then one needs to understand the individuals situation as well as have an opportunity to walk in their shoes. Through sentiment that is not over ly used in this film, one can see the disaster for survival through the story of these characters in order to become aware, as well as stay intrigued. Without focalizing power of the central character but rather the political statement through the characters, this film uses The death of one man is a tragedy, the death of millions is a statistic. (Joseph Stalin, 1953) to its advantage by effectively showing the tragedy of individuals with indication to the masses statistic through apparent rawness and emotional intensity focused on such political and social problems. (P. Adams Sitney, 1995)