Cesare Zavattini


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Zavattini, Cesare

 

Born Sept. 20, 1902, in Ludsara. Italian writer, scenario writer, and film theoretician.

Zavattini graduated in 1923 from the department of law at the University of Padua. The author of novellas and collections of short stories, he began his literary activity in 1928. Since 1935 he has been working in film. Films that prepared the way for neorealism in the Italian cinema, including Walk in the Clouds (1942) and The Children Are Looking at Us (1943), were based on his plots and scenarios. Italian cinema profited greatly from Zavattini’s long-standing artistic collaboration with the director V. De Sica, which resulted in the films Shoeshine (1946), The Bicycle Thief (194S), Miracle in Milan (1950), Umberto D. (1951), The Roof (1956), Two Women (1960), The Condemned of Altona (1961), Boom (1963), Marriage Italian Style (1964), and Sunflower (1970, together with A. Guerra and M. D. Mdivani). In Some Thoughts on Film and in his articles and appearances, Zavattini, in his characteristic polemical manner, developed theoretical views that to a large extent served as the theoretical basis for neorealism. He has participated in the production of over 40 films, including Rome, 11 O’Clock; A Husband for Anna (Soviet title, Lost Reveries)’, and The Most Beautiful. Zavattini is the head of a nationwide association of film clubs. In 1955 he received the International Peace Prize for his social activity.

WORKS

“Ot siuzheta k fil’mu: Nekotorye mysli o kino.” In Umberto D. Moscow, 1960. (Translated from Italian.)
“Pokhititeli velosipedov.” In the collection Stsenarii ital’ianskogo kino. Moscow, 1958.

REFERENCES

Solov’eva, I. Kino Italii (1945-1960): Ocherki. Moscow, 1962.
Bogemskii, G. D. V. De Sika. Moscow, 1963.

G. D. BOGEMSKII

References in periodicals archive ?
Screenplay by Michelangelo Antonioni, Umberto Barbara, Giuseppe De Santis, Carlo Lizzani, and Cesare Zavattini, from a story by Giuseppe De Santis, Carlo Lizzani, and Lamberto Rem-Picci.
En ese entonces viajo como corresponsal a Roma y enfrento el cine desde una nueva perspectiva: la academica en el Centro Sperimentale di Cinematografia, si bien de rigidez metodologica, pero lo llevo a descubrir a Cesare Zavattini y conocer a algunos grandes directores latinoamericanos de la segunda mitad del siglo XX: Fernando Birri, Garcia Espinosa y Tomas Gutierrez Alea.
Produced by Cesare Zavattini, widely recognized as the godfather of Italian neorealism, this portmanteau work assembles six shorts by filmmakers who went on to embody the neorealist movement -- Michelangelo Antonioni, Federico Fellini, Dino Risi, Carlo Lizzani and Alberto Lattuada.
Por lo mismo, no va a llamar la atencion su viaje a Roma, justamente para aprender el oficio de guionista, siendo ayudante de direccion nada menos que de Vittorio de Sica y Cesare Zavattini.
En su paso por el Centro Sperimentale, tendra el gusto de estudiar guion con su admirado Cesare Zavattini y Franco Solinas, guionista de La Batalla de Argel (1956), film dirigido por Gillo Pontecorvo.
No es casual, por tanto, que la gestacion del primer numero de Revista Espanola coincidiese con la II Semana de Cine Italiano (1953), organizada por el Instituto Italiano de Cultura de Madrid, que conto con la presencia de Cesare Zavattini y Vittorio De Sica; ademas, se estrenaban las peliculas Segundo Lopez, aventurero urbano, de Ana Mariscal y Bienvenido Mr.
Come esempi, Pepi trascrive alcune lettere indirizzate a Bruno Blasi, nipote di Cardarelli, o a Mucci inviate dal pittore Quinto Martini, da Cesare Zavattini, da Libero de Liberi, da Enrico Pea, da Enrico Falqui, da Calvino, da Palazzeschi, da Alessandro Parronchi, da Niccolo Gallo, da Giuseppe Villaroel, da Giancarlo Pajetta, da Fortini.
La pelicula del gran Vittorio De Sica, con guion de Cesare Zavattini, era revolucionaria, cosa nunca vista.
Written by Cesare Zavattini, Bellissima (U) made in 1951, stars Italy's most famous actress, Oscar-winning Anna Magnani in a bravura performance.
Italian cinema gained international fame at the end of the Second World War when a group of innovative directors and screenwriters, including Roberto Rossellini, Cesare Zavattini, and Vittorio De Sica invented the Neorealist style of filmmaking, which employed a gritty, documentary style to tell heartrending stories about ordinary Italians in post-war Italy.
Cesare Zavattini and Guido Aristarco may be regarded as the two chief Italian expositors of neorealism.