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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
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 ...
Some Ideas on the Cinema 223. When anyone (he could be the audience, the director, the critic, the State, or the Church) says, "STOP the poverty," i.e. stop the films about poverty, he is committing a moral sin. He is refusing to understand, to learn. And when he refuses to learn, consciously, or not, he is evading reality.
Neorealism. by Giorgio Bertellini and Courtney Ritter. as one of the key screenwriters and theorists of Italian neoreal-. ism.1 This is, however, a most reductive characterization. For. Outside ism.1 as more more one This than six than decades, of of Zavattini the Italy, occupied six is, Italian key however, public life decades, as Cesare ...
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.
How many Zavattinis are there? During a life spanning most of the twentieth century, the screenwriter who wrote Sciuscià, Bicycle Thieves, Miracle in Milan, and Umberto D. was also a pioneering magazine publisher in 1930s Milan, a public intellectual, a theorist, a tireless campaigner for change within the film industry, a man of letters, a painter and a poet.
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reels” by Cesare Zavattini, Cineaste, Vol. III, No. 2, Fall 1969). Perhaps Zavattini’s best known declaration of neorealism, “Some Ideas on the Cinema,” was pub-lished in the December 1952 issue of La Rivista del Cinema Italiano, and first appeared in an English translation in the October–December 1953 issue of Sight and
