How realistic is the Neorealism of De Sica's Bicycle Thieves?

Docs en anglais | 8 pages | 07-03-2008 | Format : | Note : Non noté

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Résumé

Essay on Vittorio De Sica's neorealistic film: Bicycle Thieves (Ladri di biciclette). The guide question of this essay is how realistic is the Neorealism of Bicycle Thieves. A study of the film and the Neorealist period.

Extract:

Bicycle Thieves realised in 1948 is the film considered as the reference of neo-realistic work in Italy; Vittorio De Sica is the director of the film and is associated with Cesare Zavattini, the scriptwriter. Victtorio De Sica's film career began as an actor in the 1920's then in the 1940's he began directing films, he evoluted away from the conventions of romantic comedy to gradually be placed at the front of the neo-realistic movement (1996:44). His neo-realists films, as Shoeshine or Bicycle Thieves, were scripted by Cesare Zavattini; indeed, De Sica and Zavattini were an important director-writer team and became the names associated to neo-realism.

To understand Vittorio De Sica's Bicycle Thieves we have to speak about neo-realism. It is the name given to the cinematographic movement in Italy and emerged immediately after the liberation of Italy in 1943 (1996:87). Neo-realism can be defined by the wish to be close to the everyday reality with subjects which deal with the life of the popular classes in the aftermath of war. Their ideology is first the expression of a hope of political renewal after the years of Fascist dictatorship and Nazi occupation, and then the expression of a certain disillusionment when many aspects of the renewal failed to materialise (1996:87). Neo-realist directors, as Vittorio De Sica, used non-professional actors filmed in real locations and not in studios. They wanted to be closest to reality as possible to give audience the atmosphere of Italy after the war, where poverty was suffocating and unemployment rife. (...)

Table of contents:

Introduction

I) Why Bicycle Thieves fit with the realism of Neorealism?

A. Ideological point of view
B. Stylistic point of view

II) Limits of the realism in Bicycle Thieves

A. Hollywood influence
B. Non realistic elements

Conclusion

Bibliography

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