The Film Theory in Practice series fills a gaping hole in the world
of film theory. By marrying the explanation of a film theory with
the interpretation of a film, the volumes provide discrete examples
of how film theory can serve as the basis for textual analysis.
Realist Film Theory and Bicycle Thieves offers a concise
introduction to realist film theory in jargon-free language and
shows how this theory can be deployed to interpret Vittorio De
Sica’s 1948 Italian neo realist masterpiece Bicycle Thieves.
Hilary Neroni explores the original realist film theorists from the
1940s: André Bazin, Siegfried Kracauer, and Cesare Zavattini,
among others. But rather than seeing realist film theory as simply
a theory of the past to be moved beyond, the book argues that the
prevalence of realism in many different forms within practice and
theory suggests the importance of updating this original realist
film theory with an understanding of realism that would sustain its
viability. Throughout the book, Neroni analyzes neorealist film
movements—such as Italian Neorealism, Parallel Cinema of India,
and the Iranian New Wave—that challenge mainstream realism with a
more radical form that exposes the social order instead of hiding
it. Her in-depth investigation of Bicycle Thieves provides a
realist methodology that reveals the radicality of its combination
of realist techniques, a melodramatic story, and humanist values.
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