Neorealism
Neorealism and Beyond-Bicycle Thieves and La StradaWebster's Dictionary - neorealism: a movement especially in Italian filmmaking characterized by the simple direct depiction of lower-class lifeNeorealism was a style that overtly rejected the illusionism of Italian fascist and Hollywood film, rejecting certain dramatic and cinematic conventions in order to challenge the audience. Neorealist films often used location shooting, non professional actors, deep focus with long takes and/or camera movement, and approximate "real time."The use of long takes and deep focus are used as a way to respect the spatial and temporal relations of the situation being filmed. Likewise, the films emphasizes relationship between characters and their economic, political, and physical environment and the personal impact of social conditions.Some critical work on Italian neorealism has pointed out its relationship to the neorealist literary movement from the same period, in which social reality is dealt with in an overtly symbolic or mythical sense. These books also tend to use unreliable narrators in way that distinguish these stories from traditional realist novels of the 19th century, and they used language and form in ways that we
Zampanò, catching onto the tender relationship between the two, goes out of his mind with jealousy. One of Zavattini's main contributions to their work was his commitment to the notion of approximating real time rather than traditional cinematic pacing. In a rage he attacks the Fool, killing him, and throws his body in front of a train. Thematically, Vittoria de Sica's THE BICYCLE THIEF details an everyman story of loss of innocence in the face of a destitute society, while the film's poignant acting and directing creates an individual and heart-wrenching tale of one man's struggle to feed his family. For one thing, the central years of neorealist filmmaking from 1945 to 1953 also encompassed a wide range of styles and philosophies, although they were united by a certain drive toward a more honest and confrontational use of film to represent social relations in postwar Italy. Day after day, the girl's condition worsens and the killer, guilt-ridden and terrified of being found out, abandons her along the road. Vittorio De SicaLike De Sica's Bicycle Thief (correctly translated as Bicycle Thieves) combined realism and conventional drama. But when the bike is stolen on his first day of work, he must comb the streets of Rome in search of the bike: his family's only means to survival. Looked at this way, the movement does not have to be set apart form the diversity of Italian filmmaking in the 50s and 60s, as it often is. Everlasting "life after death" the Ten Commandments and heaven and hell are conspicuously ignoredWhen Il Matto (the Fool) dies he is dragged by Zampanò and his arms extend similar to the dead Christ on the crossThe naive protagonist Gelsomina loses "her purpose" for living, sanity and her chance at love"You follow your bridegroom, I follow mine," observes one of the nuns, whose selflessness is even stronger than Gelsomina'sGelsomina always performing for children mocks hearing sounds (from the "dead dog souls") emanating from a wooden telephone pole near where a dog died then later again performing dances for children during a wedding party (similar to Christ's first miracle) Gelsomina is introduced by the children to "Oswald" a cousin mirror image of her inner self who turns out to be a bedridden retard not a happy clownAfter she befriends Il Matto (the Fool), Gelsomina tells him "serving Zampanò may be my only purpose in life"Zampanò loses loveZampanò finally begins to let his conscience appear, so that when he cries out when he realizes life's perfidy in being responsible for Il Matto (the Fool), Gelsmina and her sister Rosa's deaths and looking forward to old age and his own mortality at the film's conclusion, we are finally able to see him as a universal sympathetic figure unable as we all are to prevent or control our "destiny" of nevermore and at that point the perennial unemotional animal-strongman Zampanò cries . De Sica used a non-professional actor for the protagonist, but had his voice dubbed by a professional (post-war Italian films were almost always post-dubbed for sound and this practice has continued). Hopeless, Antonio and Bruno wander aimlessly through Rome, landing outside of a soccer stadium where hundreds of bicycles are parked.
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Acceptance Essays
