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This is a 5 page paper discussing realism as found in De Sica’s “Bicycle Thieves” and Eisenstein’s “The Battleship Potemkin”. Vittorio de Sica’s film “Bicycle Thieves” (1948) and Sergei Eisenstein’s “The Battleship Potemkin” (1925) both use various elements of realism in order to portray stories which relate to the realistic lives lived by ordinary citizens during times of turmoil. De Sica’s film takes a personal story of one man in his attempt to live in a time of crime and poverty in Fascist Italy. De Sica’s elements of realism include not only the story of an ordinary man but also the director uses real locations and ordinary people for the roles as opposed to sets and actors, quite a departure from the fantasy films common to the time. Eisenstein in “The Battleship Potemkin” also used many ordinary people and sailors in his film but was careful not to focus on any one individual as he told of the horrid living conditions on the ship and the resulting revolution of the masses of people against the evil force of the government. In addition to using non-actors in much of the film, Eisenstein also uses quite vivid and graphic images in an intellectual montage in order to shock his viewers into the horrors and reality depicted in the film.
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5 pages (~225 words per page)
File: D0_TJbicyc1.rtf
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Unformatted sample text from the term paper:
stories which relate to the realistic lives lived by ordinary citizens during times of turmoil. De Sicas film takes a personal story of one man in his attempt to live
in a time of crime and poverty in Fascist Italy. De Sicas elements of realism include not only the story of an ordinary man but also the director uses real
locations and ordinary people for the roles as opposed to sets and actors, quite a departure from the fantasy films common to the time. Eisenstein in "The Battleship Potemkin" also
used many ordinary people and sailors in his film but was careful not to focus on any one individual as he told of the horrid living conditions on the ship
and the resulting revolution of the masses of people against the evil force of the government. In addition to using non-actors in much of the film, Eisenstein also uses quite
vivid and graphic images in an intellectual montage in order to shock his viewers into the horrors and reality depicted in the film.
Vittorio de Sicas 1948 film "Bicycle Thieves" is considered one of the neo-realist movement films which prevailed in Italy after World War II and which "sought to deal
realistically with the rise of Fascism in Italy, as well as with the war itself and with the social problems that it left behind". (Channel 4, 2003). Several directors including
De Sica, Federico Fellini and Luchino Visconti adopted the style which quite contrasted the fantasy portrayed in earlier Italian films and most of the neo-realist cinema was considered almost "documentary"
in style. "Bicycle Thieves" as well as the other neo-realist films more often used real setting as opposed to sets and stages in addition to the directors choosing real people
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