vii CONTENTS Translator’s Introduction 1 An Aesthetic of Reality: Cinematic Realism and the Italian School of the Liberation 1 6 La Terra Trema 41 Bicycle Thief. 4/6 am. “Bicycle Thieves” and “Killer of Sheep” are both neorealist films that portray real life at a certain place in time. Neither film is. Bicycle Thieves is often considered one of the masterpieces of Italian neorealism, and Bazin refers to De Sica often when defining cinematic.
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The masterly essay on Verdoux is developed from an article that appeared originally in Les Temps Modernes, December, Are there any distinctive strategies of framing or composition?
The police do not take them seriously, the fortune teller is useless and the church is essentially nonexistent.
For Bazin, La Strada was of Fran- ciscan inspiration. Certainly art is a pathway to transcendence [sic] but it owes it to itself to lead the way there rather than just to reproduce it and to lead the way via immanence and liberty.
Classical editing, deriv- ing nazin Griffith, separated reality into successive shots which were just a series of either logical or subjective points of view of an event. The personal adventures of the two individuals blend into the mass of other ad- ventures, just as one attempts to elbow one’s way into a crowd to recover thirf one has lost.
The views of at least two unabashed lovers of this great human, artistic and political document may be recalled. Basically, the workman might have found his bicycle in the middle vicycle the film; only then there would have been no film. Again, if they had, they surely would have shown a fuller understanding of his position in the argument over montage and depth of focus.
The great spectacles like Scipio Afrkanus were, of course, the primary export. The workman came from the Breda fac- tory, the child was found hanging around in the street, the wife was a journalist.
It is clear that they do not appear to recall in any sense the neorealism of Quattro passi jra le mvole, Vivere in Biicycle, or Sciuscia.
Is making a film anything like solving a crime? I spoke earlier of love as the key to an understanding of Bazin’s writings.
In short, although they use independent techniques, without the least possibility of a direct influence one on the other, and possessed of tempera- ments that could hardly be less compatible, Rossellini and Welles have, to all intents and purposes, the same basic aesthetic objective, the same aes- thetic concept of realism.
Or of Parmenides who saw this whole as a con- tinuum? When, on bemg sent for by his friend Pere Leger, I arrived at his home in Nogent, he looked up at me but could no longer speak and was in acute pain.
Does the film seem to fit comfortably within the aesthetic and narrative framework we associate with film noir? For six decades, The Bicycle Thieves has had the kind of international influence that any filmmaker of class would give his life for. Which seemed to detract from that appearance of reality? Undoubtedly an improved technique, skillfully applied, may narrow the holes of the net, but one is compelled to choose between one kind of reality and another.
There was no such element of relief, if that is the right word to use, in the saga of the old man who, swallowing his pride and dignity, is compelled to fall back on varied tricks to save himself from going under. How do we hhief those shots in terms of gender? Montage would have shown all this in a series of cuts. We were maintaining a moral position more than a style,” This was Bazin’s bicucle.
Maintaining the same proportions between water and sky in every shot brings out one of the basic characteristics of this landscape. My Saved Articles Sign in Sign up.
Does not this argue some modification ten years later of his earlier views on the essence of the theater? There are not close-ups that tell you what to look at and not tbief thought it is put into lighting and camera angles.
How the does the metaphor of the border relate to other dimensions of the film, including the narrative and blcycle construction of character?
Think about the visual style of the film. If Carol is finally safe in her world, what are the benefits and costs of that safety?
I have arrived at the point of characterizing as similar the styles of Rossellini in Paisa and of Orson Welles in Citizen Kane. But their social, historical, and human foundation gives them a unity enough to constitute a collection perfectly homogeneous in its diver- sity.
Does the film have anything interesting or profound to say about that particular geopolitical border or the process of drawing boundary lines more generally?
But it involves him in a fairly risky bet, which he may not necessarily be able to cover, at least in terms of film.
The Italian camera retains something of the human quality of the Bell and Howell newsreel camera, a projection of hand and eye, almost a living part of the operator, instantly ui tune with his awareness.
It is not the absence of professional actors that is, historically, the hallmark of social realism nor of the Italian film. I said also that his friends saw in Mm a Hkeness to Francis of Assisi. The closed-in countryside has replaced the open city. By that I mean that such concrete social realities as poverty. What are people guilty of, and how are they punished?
As regards La Derniere Chance, the Allied soldiers were actually airmen shot down over Switzerland, but the Jewish woman was a stage actress. Is a certain kind of director like a certain kind of detective?