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Born in Luzzara near Reggio Emilia in northern Italy, on 20 September 1902, Zavattini studied law at the University of Parma, but devoted himself to writing. He started his career in Gazzetta di Parma. [1] In 1930 he relocated to Milan, and worked for the book and magazine publisher Angelo Rizzoli. After Rizzoli began producing films in 1934 ...
Apr 25, 2024 · Zavattini, the pre-eminent theorist of neorealism, was often called upon to justify his and De Sica’s apparent non-spectacle, the mundanity of their films. Their loose, episodic approach to narrative seemed to be the antithesis of tightly constructed, neatly resolved Hollywood narratives – but real life, they claimed, was not like that.
Cesare Zavattini Selected Writ-ings, a two-volume collection of texts representative of Zavattini’s volcanic output, translated and curated by David Brancaleone; and Cesare Zavattini’s Neo-realism and the Afterlife of an Idea: An Intellec-tual Biography, a companion volume by the same author. These volumes help flesh out
earn IN TRANSLATION Zavattini, above and beyond Neorealism by Giorgio Bertellini and Courtney Ritter a> £ </) (0 X ¡2 o >. a> > 'c Z> <D-C >«.a m o CN Outside ism.1 as more one This than of of the Italy, six is, key however, decades, Cesare screenwriters Zavattini Zavattini a most and reductive (1902-1989) occupied theorists characterization.
(Cesare Zavattini, Umberto Barbaro, Alberto Lattuada) reiterated the necessity to adhere strictly to the painful reality of the insigni-ficant, minimal event, eliminating entirely any intromission of fan-tasy. According to the four point program outlined in Barbaro's well-known 1943 essay in Cinema , neorealist films were to: 1) get rid
Abstract. This chapter examines the Italian cinema contexts for Cesare Zavattini’s radical reconception of the notion of the nonprofessional actor—that everyone acts his or her life on camera—during the waning of neorealism.
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Oct 20, 2020 · Introduction. Cesare Zavattini crossed the entire history of Italian sound cinema, from the 1930s until his death in 1989. If one can conceive of an Italian ‘independent-auteur cinema’, that is, a cinema capable of relating to experimentalism, attempting to free itself from traditional production modes and, at the same time, renewing the authors’ intellectual rapport with their audience ...
