Papers on "'Bicycle Thief' and 'Un Chien Andalou'" and similar term paper topics

Paper #094251 :: 'Bicycle Thief' and 'Un Chien Andalou'
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A review of Vittorio De Sica's 'The Bicycle Thief' and Luis Bunuel and Salvador Dali's 'Un Chien Andalou' as two examples of avant-garde cinema.

Written in 2006; 1,798 words; 4 sources; MLA; $ 57.95

Paper Summary:

This paper reviews two examples of avant-garde cinema, Italian neorealist filmmaker Vittorio De Sica's 'Bicycle Thief' and Spanish filmmakers Luis Bunuel and Salvador Dali's 'Un Chien Andalou'. According to the paper, avant-garde pushes the boundaries of what is accepted as the norm within definitions of art, culture and reality.

From the Paper:

" For example, Lamberto Maggiorani, the actor who played Antonio, was in real life a factory worker in Rome ("Bicycle Thieves"). (In the aftermath of World War II, it is also likely, however, that this casting of "real people", instead of professional actors, was done to save money by not having to pay professional actors). The documentary-style camera work of De Sica's The Bicycle Thief, moreover, further increases for the audience the sense that the film is about true-to-life people and real situations, a characteristic also typical of post-World War II Italian neo-realist cinema. This is, also, an avant-garde filmmaking technique that resists, explicitly and implicitly, the commercialism of Hollywood, while offering, instead, a "purer", more "realistic" (and lower-cost) alternative to film audiences."

Tags: cinematic techniques story commercial marginal

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