3. On p. 50 of his article, Bazin plainly states that the plot of Bicycle Thieves wouldn’t even warrant mention in a newspaper for the obvious banality of the event. How

does the idea of “banality” fit in with Zavattini’s ideation of neorealism? Bazin ultimately brings the idea of shame into this seemingly superfluous story. How does that impact the definition of the film as neorealist or the audience reception of it as such?