In the scene from Vittorio De Sica's Umberto D. shown in lecture, there are many factors to support that it is in fact of the neorealist genre of film. This film is shot on location, not on a set and uses an unknown, nonprofessional actress. It also utilizes fast film stock while painting an accurate picture of post WWII poverty in Italy. The scene contains numerous factors that support the reasoning that this film is of the neorealist variety. This scene appears to be shot on location in an apartment somewhere in Italy. In the very beginning of the scene, we are essentially seeing through Maria's eyes. She wakes up and is looking up at the ceiling, which is a glass sort of window or skylight, which a cat walks across. A few moments later, she is in the kitchen looking out of a window down onto the roof below. Again we see from Maria's point of view, where we see another cat walking across the roof. As a conscious viewer we make the connection between the two cats. We realize that there is a clear distinction that these buildings are the same style. The cats help us to see that there is an actual building, which is being utilized in the scene, not just a fancy set. Another hint to say that this is not a set, is when the camera is positioned on the balcony and looks into the kitchen where is captures the whole room. There is clearly a wall to the right of the window when Maria is looking out of the window, in which a shelving unit is attached to. Later on in the scene after Maria gets out the coffee grinder, we are shown the wall with the sink on it thus completing the room. There is no question at this point that this is not a set but a legitimate apartment. Then when Maria first awakes out of bed, there is a long shot of her slowly walking down the hall putting on her shirt, this is important to show the depth of the area she is in, it is not simply a set or front, but an actual hallway that the kitchen is attached to.