The role of the frame in cinematic creations is to draw the audience’s attention to a specific aspect of a scene. Neorealistic moviemakers used a wide array of framings and composition to highlight certain aspects of their films. Since the settings of the neorealism movies are natural, it is important for producers to make the films captivating to the audience. According to Kasbekar (1996), the work of the neorealism artist entails allowing the audience to reflect and demonstrate indignation when they come into contact with reality. To achieve their neorealistic objectives, artists use enhanced framings and compositions.
Another key feature in neorealistic creations is the nature of deep space composition. Deep space composition entails the manner in which the photographers composes and frames images in various scenes. For example, filmmakers can utilize the deep space technique whenever they position important elements in the frame relative of each other. It is important to note that the central objects in deep space composition need not be in focus. In most neorealism films, the directors ensure that key objects appear in the frame, regardless of their location. For example, in Vittorio De Sica’s 1948 neorealism film, The Bicycle Thief, viewers can identify the main focus of the camera crew, despite them not being the focus. Similarly, Ray ensures that the main elements of a scene remain within the camera frame. For example, in the scene with the train, the main focus was the amazed gaze of Apu. Even after the train comes into view, the viewers can sense that Ray is trying to portray the extent of amazement by Apu and Durga. The main objective of this technique is to allow the viewers an opportunity to discover for themselves the overriding feature of a scene. The filmmakers would arguably ruin this benefit if they were to focus on one particular object because it would imply that the camera crew is deliberately trying to influence the perception of the viewers.