The action in Bicycle Thieves is set in postwar Rome, but the fact that people are generally experiencing difficulties in earning enough money to provide for their families makes it easier for viewers to relate to the economic situation present in prewar Italy. One can also consider that the overall soviet montage film theory school emerged as a result of the Bolshevik revolution whereas Italian realism was generated by the Great Depression.
The Soviet Montage film theory school at times is inclined to put across subjectivity, given that it emerged in a period when communism thrived and virtually everything related to the old tsarist regime was criticized. Eisenstein himself was obviously interested in reproducing the terror installed by Russia's imperial administration through having his viewers compare the masses with the factory workers in Strike while the royal family is likened to the shareholders in charge of handling the rebellion.
Even with the fact that Italy had was subjected to serving a Fascist regime during the golden years of Italian neorealist filmmaking, film directors were not actually influenced by what happened around them and were in point of fact capable of producing works that were impartial in character.
Strike appears to focus on collectivism, judging from the way that workers behave and from the concept that the directors seems to promote the belief that it is more important for people to be treated as a whole, with priorities being set in accordance to the majority's well-being.
Bicycle Thieves deals with a western approach of relating to people, stressing the importance of the individual through the fact that the storyline has a protagonist who is shown in a series of circumstances, each of them demonstrating that he is the fundamental element in the motion picture, even with the larger-than-life straightforwardness in it. The moment when Bruno acknowledges that his father is not the superhuman that he considered him to be is essential in adding to the Italian neorealist touch of the
From this came our insistence on the drama of the doorstep" (cited by Hardy 14-15). Grierson also notes that the early documentary filmmakers were concerned about the way the world was going and wanted to use all the tools at hand to push the public towards greater civic participation. With the success of Drifters, Grierson was able to further his ideas, but rather than directing other films, he devoted his time
Taking this into consideration, formalist films always try to come up with the idea that are merely personal imaginations, and events in the film are practically impossible in real life situations. Due to this, the style used in formalist films is usually very high. Its editing is sharp for the purpose of reminding the audience that it is merely a work of an artist. Formalist films always have a
Our semester plans gives you unlimited, unrestricted access to our entire library of resources —writing tools, guides, example essays, tutorials, class notes, and more.
Get Started Now