The Bicycle Thif

After exploring the two different characteristics between Italian neorealism and post war Japanese cinema, I can compare that both types of cinema relate to the lives of the country. By that I mean, their work was influenced on the struggles and culture of the two countries. After screening Rashomon and The Bicycle Thief, I found distinctive yet similar styles between cinematography and narrative. Comparing both the films, The Book Thief and Rashomon exposes arguments of the early-twentieth century through its association of poverty and nature. Both the films take place during a struggling time of poverty and “year after year of disasters”. It seems that both films had taken place during hard times to show what can come out of it. Comparing Rashomon to The Bicycle Thief, it appears that the film, Rashomon, was always trying to lead up to good that comes out of a “strange” and horrible story. Throughout the film, the director tries to focus on the perspective of each person. The story is told in the narrative of the priest, who has witnessed the stories at the courthouse. The difficulty comes in when four different stories are told without the nature of know what’s the truth or not. For an interesting
The story simply conveys the concerns of a working man on a hunt through a city for his stolen bicycle, which seems appropriate to use an approach that emphasizes the boring nature and underlying meanings of the deprivation in during post-war Italy. The trouble of Antonio’s search is connected to the audience through the issue of the broken society that he’s around. Compared to The Bicycle Thief, Roshomon had used innovative techniques of camerawork and editing that has raised questions about trust and honesty in humans. The subtle message in the film is that we cannot trust people or the camera to reveal the