1. For the following summary of the history and style of Italian neorealism I have drawn upon a number of sources, including Peter Bondanella, Italian Cinema: From Neorealism to the Present (New York: Ungar, 1983), Bert Cardullo, What is Neorealism? A Critical English Language Bibliography of Italian Cinematic Neorealism (Lanham, Md.: University Press of America, 1991), David A. Cook, A History of Narrative Film (New York: W. W. Norton, 1996), Pam Cook, ed., The Cinema Book: A Complete Guide to Understanding the Movies (New York: Pantheon, 1985), and Pierre Leprohon, The Italian Cinema, trans. Robert Greaves and Oliver Stalleybrass (New York: Praeger, 1972).
2. Pierre Leprohon, The Italian Cinema, 98.
3. Quoted in Maya Deren, An Anagram of Ideas on Art, Form and Film (New York: Alicat Book Shop Press, 1946), no p. n. Reprinted in VeVe A. Clark, et al., eds., The Legend of Maya Deren: A Documentary Biography and Collected Works, vol. 1, part 2 (New York: Anthology Film Archives, 1988), 585.
4. The Italian name of the film is Ladri di Biciclette, which translates as "Bicycle Thieves," but in English the title is always The Bicycle Thief.
5. André Bazin, "Bicycle Thief," in What Is Cinema? vol. 2, ed. and trans. Hugh Gray (Berkeley: University of California Press, 1971), 49.
6. As occurred often in films which used nonprofessional actors, Ricci's voice had to be dubbed in by a professional actor because the dialect of the man who portrays him would not have been understood by most of the people of Italy.
9. The term "MacGuffin" derives from a tale about a nonexistent device for trapping lions in the Scottish Highlands, where there are no lions. Hitchcock adopted the term for the unimportant plot objectives in his films. See Donald Spoto, The Dark Side of Genius: The Life of Alfred Hitchcock (New York: Da Capo Press, 1993), 145.
11. Pam Cook makes this point in her section on Italian neorealism in The Cinema Book, 37.
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