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The story of “Bicycle Thief” is meant to be a compelling note on poverty as it occurred in Italy and a setting example of neorealism. Neorealism – unglamorous depiction of the working class – being an important and keystone part of the story itself, the movie’s premise of a man who’s bike is stolen fromContinue reading “Bicycle Thief”

Doubling, a principal technique in expressionism, is a principal element in “Metropolis”, directed by Fritz Lang. World on Film’s author Martha Nochimson poses a ponderous question at the beginning of her discussion on “Metropolis”, “Can science fiction be Expressionist?” The plot contorts and twists under this lense, with crucial points of the plot encircling expressionism:Continue reading “Metropolis”

    Perhaps what makes “400 Blows” so compelling of a story is its simplicity in plot concept as a bildungsroman. The director, François Truffaut, based a great deal of the movie off of his own living experiences as a young teen, which is where the movie begins and ends – with a young man pursuingContinue reading “400 Blows”

Needless to say, “Man With The Movie Camera” is an excellent showcase of cinematography, in its showcase of cinematography. The opening sequences grant this consideration of the movie, “an experiment in the cinematic communication of visible events, executed without the aid of intertitles, without the aid of a scenario, without the aid of a theater”,Continue reading “Man with The Movie Camera”