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The film begins with a crowd of men all eagerly seeking work so that they may feed their families. Already the film displays the terrible economic conditions that Italy is in at this point in history.
Antonio is lucky enough to get a job, but with a catch: However, during his very first day of work, his bike is stolen, and the film follows Antonio and his son on their search for the bike. While this film has many different many different stylistic techniques within it to portray various ideas and themes, I will focus on only two: De Sica arranges every shot in such a way to where although the viewer may be consciously following Antonio, the working conditions of Italy are not forgotten.
Usually this is done through the massive amounts of people arranged in each shot. However, it is not just the mass amounts of people, but where they are within the context of the story, and within in each frame.
In a particular shot, the camera centers on a man sitting next to the accomplice to the thief, and then pans over to him and Antonio.
While on the surface this may not seem like much, this actually conveys a lot. We see an elderly man earnestly reading along the church service program.
Through mise-en-scene, we can see the way he is dressed and the way his face looks worn, implying he has a dismal financial situation. Through his earnest expression we can see that he is in need of some spiritual guidance and peace.
Also, we can still see a large number of people attending the service behind him. The cinematography is involved because it focuses on this man before the main characters. Through this shot we remember that in the middle of this service, every single person has their own story during this crisis in their country.
While Antonio has fallen upon hard times, so has every single person in that room. This also plays off of the placement of large crowds of people within the frame.
In the scene where Antonio and his son look at the second bike market and it begins to rain, we see Antonio and his son in the mid-ground of the frame. In the foreground and background, all around him we see carts and carts of various bicycle parts, and hundreds of other people running around.
Antonio and his son are placed in the middle of the frame, almost seeming lost in the crowd, much like them losing the bike thief to the crowd.
Their placement in the frame hints at how many people there are and how impossible it would be to look for the bike. In the next consecutive shots, we see Antonio and his son in shots that are very flat, and are nearly absent of people, yet Antonio is still looking for the man.
As viewers, in the shots we can see that the accomplice is already gone, yet Antonio does not give up, even through the inevitable circumstances. The final theme I will discuss is the changing relationship between Antonio and his son. During the beginning of the film, the shots are usually not close-ups on the characters.
We are not necessarily emotionally connected with Antonio yet, we are more of observers as we watch his tragic circumstances unfold before him.
However, when he and his son get into a fight, the camera involves the viewer much more in the story of each individual character, and the physical distance between them.
Immediately after Antonio has a fight with his son and slaps him, the shots of each character are very close up, and we see much more emotion between the characters.
Then in the shots that follow, they are placed very far apart from each other. Thus, the camera moves close on each character individually to empathize with their emotions, and then when it focuses on both of them, it presents a very physical distance between to display their emotional divide as well.
Even through simple distances between characters in shots, and through the distance between a character and a camera, various themes can be display throughout this film.
If you liked this and are interested in film-making, check out my latest posts! You may have just found this article because you are doing homework, but you may want some film-making inspiration as well! So head to the home page!Analysis of Bicycle Thief() Bicycle Thief Paper The Bicycle Thief is a deeply moving neo-realist study of post-War in Italy which depicts a man's loss of his faith and his struggle to maintain his personal dignity in poverty and bureaucratic indifference.
The Bicycle Thief "The Bicycle Thief" is a deeply moving neo-realist study of post-War Italy which depicts one man's loss of faith and his struggle to maintain personal dignity in poverty and bureaucratic indifference.
- The Bicycle Thief "The Bicycle Thief" is a deeply moving neo-realist study of post-War Italy which depicts one man's loss of faith and his struggle to maintain personal dignity . Archives | THE SCREEN; Vittorio De Sica's 'The Bicycle Thief,' a Drama of Post on him; the loss is an overwhelming blow.
raise the emotional potential—the plaintive theme . As he reflects upon his horrendous first night in the concentration camp and its lasting effect on his life, Wiesel introduces the theme of Eliezer’s spiritual crisis and his loss of faith in God.
In its form, this passage resembles two significant pieces of literature: Psalm , from the Bible, and French author Emile Zola’s essay.
Much like the theme and characters inevitably creating a plot on its own in Neorealism. “The neorealist approach doesn’t have an inbuilt political meaning solution, as the most widespread attribute of neorealism is; on location shooting and the feeling of truth.” (REFERENCE) – Exactly what Bicycle Thieves so effectively does.