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Topic: Cesare Zavattini

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	Zavattini
		The meeting with Vittorio De Sica will condition the whole following cinema activity of Zavattini that, from 1945, will impose himself as the supporter and the theorist of an antinovel, chronicles daily cinema, all intent to gather man in the most intimate and revealing moments of his existence.
		In this direction they are exemplary, Shoe shine (1946), The bicycle thief (1948) and, above all, Umberto D (1952), all directed by Vittorio De Sica, more and more purified of any falsely dramatic element to reach the critical contemplation of a determined human condition.
		De Sica), that can be considered the film that begins the regressive period of the Zavattini’s poetic and the crisis of the Neorealism.
	library.thinkquest.org /28490/data/inglese/registi/zavattini.htm (330 words)

	Zavattini
		Cesare Zavattini was born in Luzzara in 1902 and died in Rome in 1989.
		The phonosymbolic peculiarities of the borderline Luzzara dialect, with its Lombard-sounding diphthongs, sharpens Zavattini's natural inclination for a corporal language tending, and lends his naturally spontaneous and subversive energy a confident cognitive quality, by virtue also of the broken and fragmentary metrics.
		His most successful poems are inspired by an authentic choralism, between card games, sex, food, the struggle for life, in a context in which "vulgarity" reveals not only a taste for provocation, but is seen as an inherent property of language and of the author's innate disposition toward the whole of life.
	home.att.net /~l.bonaffini/zavattini.htm (640 words)

	ZAVATTINI, Cesare geb Luzzara Emilia — A t/m Z (Site not responding. Last check: 2007-10-24)
		ZAVATTINI, Cesare geb Luzzara Emilia — A t/m Z
		Zavattini and De Sica went on to collaborate on such classic films as Shoeshine (1946), The Bicycle Thief (1949), Miracle in Milan (1951), Umberto D. (1952), The Roof (1956) and Two Women (1961).
		Zavattini also wrote several books (some of which were turned into films) as well as screenplays for other directors, among them Allesandro Blasetti (Four Steps in the Clouds, 1942), René Clément (The Walls of Malapaga, 1949) and Luchino Visconti (Bellissima, 1951).
	www.personenencyclopedie.info /Z/Za/ZAVATTINICesare/view (418 words)

	VH1.com : Person : Cesare Zavattini : Biography
		His sensibilities toughened by the war, Zavattini began formulating the theories which helped launch the Italian neorealist movement of the postwar era.
		Zavattini's script for The Children Are Watching Us (1943) was the first of 23 collaborations with director Vittorio De Sica, the most internationally famous of which included Shoeshine (1943), The Bicycle Thief (1948), and Umberto D (1952).
		Cesare Zavattini's final contribution to cinema was an acting assignment in 1989's Strand -- Under the Dark Cloth.
	www.vh1.com /movies/person/104409/bio.jhtml (206 words)

	Cesare Zavattini - Wikipedia, the free encyclopedia
		Cesare Zavattini (September 20, 1902-October 13, 1989) was an Italian screenwriter noted for neo-realist films.
		Born at Luzzara, near Reggio Emilia in northern Italy, on September 20, 1902, Zavattini studied law at the University of Parma, but devoted himself to writing.
		Cesare Zavattini at IMDb, retrieved October 15, 2006
	en.wikipedia.org /wiki/Cesare_Zavattini (247 words)

	Cesare Zavattini Biography :: Hollywood.com (Site not responding. Last check: 2007-10-24)
		After an uneventful screenwriting debut with "Daro un Milione" (1935), Zavattini, a committed Marxist, began to formulate his vision of a cinema of truth, free of artificiality and pretense, which would concern itself with the problems of everyday people.
		Zavattini and De Sica went on collaborate on such classic films as "Shoeshine" (1946), "Bicycle Thieves" (1948), "Miracle in Milan" (1950) "Umberto D" (1952), "The Roof" (1956) and "Two Women" (1960).
		Zavattini also wrote several books (some of which were turned into films) as well as screenplays for other directors, among them Alessandro Blasetti ("Four Steps in the Clouds" 1942), Rene Clement ("The Walls of Malpaga" 1949) and Luchino Visconti ("Bellissima" 1951).
	www.hollywood.com /celebs/fulldetail/id/196827 (445 words)

	:: about / Umberto D ::
		The longtime dream of scenarist Cesare Zavattini (De Sica's collaborator on The Bicycle Thief, Shoeshine, Miracle in Milan, and many others) was simply to present 90 minutes of a man's life.
		In both films De Sica and Zavattini examined the chaotic urban conditions in the aftermath of the war with incisive simplicity and disarming sincerity.
		De Sica's next film in collaboration with Zavattini was the satirical fantasy Miracle in Milan (1950), which wavered between optimism and despair in its allegorical treatment of the plight of the poor in an industrial society.
	www.rialtopictures.com /umberto/umb4.htm (4308 words)

	Cesare Zavattini - Biografia
		CESARE ZAVATTINI, SOGGETTISTA, SCENEGGIATORE, SCRITTORE, PITTORE, DIRETTORE EDITORIALE: UN INTELLETTUALE A 360 GRADI
		Cesare Zavattini nasce a Luzzara (Reggio Emilia) nel 1902, dove vive fino all’età di sei anni.
		Zavattini si dissocia dalle polemiche astratte e decide di operare concretamente mettendo l’uomo al centro della sua riflessione.
	www.italialibri.net /autori/zavattinic.html (1075 words)

	Zavattini
		Cesare Zavattini is a new name in Italian letters.
		‘Cesare, Cesare’ She has tears in her eyes, perhaps the children too will begin to cry.
		Zavattini is a true poet; he sees the poetry of the hundred thousand poor who ‘never meet a king on the street, the king will never write to them asking how they are’.
	www.hull.ac.uk /italian/Zavattini.htm (1155 words)

	Hitchcock's Italian Connection
		Although Zavattini was in the middle of scripting Un Monde Nouveau (A New World) for Vittorio DeSica, Ascarelli reported that the writer was very eager to work with Hitchcock.
		Zavattini and has come to the conclusion that he should postpone the thought of Mr.
		Unfortunately the collaboration with Cesare Zavattini did not happen and Torn Curtain never lived up to the promise of “something along the lines of Notorious.” As for R.R.R.R., it is a shame that Hitchcock didn’t pursue the idea further as it would have been an interesting change of pace.
	stevenderosa.com /writingwithhitchcock/italianconnection.html (849 words)

	Riviste - Massimo Ammaniti, Renata Tambelli, Giulio Cesare Zavattini, Laura Vismara, Barbara Volpi, Attaccamento e ...
		Riviste - Massimo Ammaniti, Renata Tambelli, Giulio Cesare Zavattini, Laura Vismara, Barbara Volpi, Attaccamento e Funzione Riflessiva in adolescenza
		Massimo Ammaniti, Renata Tambelli, Giulio Cesare Zavattini, Laura Vismara, Barbara Volpi
		Three are the main aims of the present paper: a) to study the Reflective Function, as defined by Fonagy and coll.
	www.mulino.it /rivisteweb/scheda_articolo.php?id_articolo=551 (191 words)

	Protaganists of Neorealism
		Along with Zavattini, Sergio Amidei was a bellwether of neorealism, having worked on the screenplay of three classics of the period: Roma, città aperta (Open City) 1945, Sciuscià (Shoeshine) 1946, and Paisà (Paisan) 1947.
		Collaborating with Vittorio De Sica throughout the neorealist period, writer and scenarist Zavattini emphasizes the medium's social responsibility.
		The dream of Zavattini is just to make a ninety-minute film of the life of a man to whom nothing ever happens.
	www.inblackandwhite.com /ItalianNeorealismv2.0/neo-proto.html (473 words)

	ITALIAN FILMS BY Vittorio de Sica on video from THE NEW YORK FILM ANNEX
		This film marked De Sica’s first collaboration with Cesare Zavattini who contributed to practically all of De Sica’s later works.
		Script; Cesare Zavattini, Vittorio De Sica, Cesare Giulio Viola, Adolfo Franci, Margherita Maglione, Gherardo Gheardi.
		Screenplay by Vittorio De Sica, Cesare Zavattini, Sergio Amidei, Adolfo Franci, Cesare Giulio Viola.
	www.nyfavideo.com /content/cat-DESICA.htm (968 words)

	zav
		The problem, he says, "lies in being able to observe reality, not to extract fictions from it." Zavattini wants to "make things as they are, almost by themselves create their own special significance," and to analyze fact so deeply that we see "things we have never noticed before.
		Zavattini denies that we need to be bored by facts, or that we may get tired of poverty as a theme, or that there is anything beneath the notice of a film audience.
		But Italian film-makers, I think, if they are to sustain and deepen their cause and their style, after having courageously half-opened their doors to reality, must (in the sense I have mentioned) open them wide.
	www.uga.edu /~italian/cinema/zav.htm (4053 words)

	The Bicycle Thief
		To understand it involves a minute, unrelenting, and patient search.—Cesare Zavattini, quoted in Jack C. Ellis, A History of Film (1979) [Cesare Zavattini (1902-1989) was an Italian scriptwriter and film theorist who collaborated with De Sica on The Bicycle Thief and other films.]
		The Film's Popularity: In an international critics' poll organized by Sight and Sound [an important British Film magazine, still in monthly publication] in 1952, Bicycle Thieves was voted as the best film ever made; in a similar poll held ten years later, it had dropped to sixth place.
		According to John Stubbs, all De Sica and Zavattini took from the novel were an idea and the title (Robert Carringer et al, Eds.
	www.geocities.com /tlverburg/bicycle.html (1283 words)

	village voice > film > by J. Hoberman
		But it was The Bicycle Thief (1948), directed by the Fascist-era matinee idol Vittorio De Sica from a script by veteran screenwriter Cesare Zavattini, that parlayed that paradigm into what was surely the most universally praised movie produced anywhere on planet earth during the first decade after World War II.
		The Bicycle Thief, which opens Friday at Film Forum in a rich, if somewhat dark, new 35mm print, was the latest manifestation of a recurring impulse—the desire to wrest a narrative movie from the flux of daily life.
		Zavattini had expressed the desire to make a film that would do no more than follow a man through the city for 90 minutes, and, in some ways, The Bicycle Thief is that film.
	www.villagevoice.com /film/9840,hoberman,644,20.html (1468 words)

	January 2001 (Site not responding. Last check: 2007-10-24)
		However, in the United States, where it was sold to the distributor Ilya Lopert for 4,000 lire, made one million dollars and was awarded an Oscar as best foreign film.
		A stark evaluation of the social and economical conditions of post-war Italy, it follows the progress of the protagonist (Maggiorani) from victim to reluctant perpetrator of a theft, whose failure will turn him into another victim, although a much more significant one.
		The film –; for which De Sica won a second Academy Award (after Shoeshine) – marks the highest point of his collaboration with screenwriter Cesare Zavattini, and remains one of the most accomplished products of Neorealism.
	www.iicch.org /january2001.htm (926 words)

	Cesare Zavattini \| Awards \| MTV Movies
		Italian screenwriter and film theorist Cesare Zavattini started as a writer of traditionalist, commonplace short stories and novels.
		His first screenplay, Daro un Milione (1935), fell so comfortably into formula that it was easily adapted into the Hollywood film I'll Give a Million (1938).
		His sensibilities toughened by the war, Zavattini began formulating the theories which helped launch the Italian neorealist movement of the postwar era.
	www.mtv.com /movies/person/104409/awards.jhtml (100 words)

	Polemica Col Mio Tempo by Cesare Zavattini, Mino Argentieri
		Polemica Col Mio Tempo by Cesare Zavattini, Mino Argentieri
		Book Details Summary: The title of this book is Polemica Col Mio Tempo and it was written by Cesare Zavattini, Mino Argentieri.
		This edition of Polemica Col Mio Tempo is in a Book format.
	www.allbookstores.com /book/8845230996/Cesare_Zavattini/Polemica_Col_Mio_Tempo.html (123 words)

	Cesare Zavattini - Diario del Novecento - Microsoft Reader eBook (Site not responding. Last check: 2007-10-24)
		Cesare Zavattini - Diario del Novecento - Microsoft Reader eBook
		Cesare Zavattini - Diario del Novecento by a cura di Luciano Simonelli
		This page has been moved or the product is no longer available.
	www.ebookmall.com /ebook/77133-ebook.htm (65 words)

	Unfinished
		Written By: Adolfo Franci, Cesare Giulio Viola (Novel), Cesare Zavattini, Gherardo Gherardi, Margherita Maglione, Vittorio De Sica
		The Children Are Watching Us is meaningful because it was the first collaboration between De Sica and screenwriting partner Cesare Zavattini, who would work with him on his more famous works as well.
		The Children Are Watching Us isn't a film I would reach for on a regular basis, but it is a good introduction to De Sica's bleak world and lays the foundation for his future success.
	www.liepaper.com /children.htm (382 words)

	Movie Info for Shoeshine on MSN Movies (Site not responding. Last check: 2007-10-24)
		Vittorio DeSica's Shoeshine (Sciuscia) is a must-see example of Italian neorealist cinema, ranking with such other neorealist classics as DeSica's Bicycle Thieves (1948) and Umberto D. (1952) and Roberto Rossellini's Rome, Open City (1945).
		Using nonprofessional actors, DeSica and co-screenwriter Cesare Zavattini, also one of neorealism's leading figures, paint an uncompromising picture of the lives of Italian street children abandoned by their parents at the end of World War II.
		The film concentrates on two such children, Giuseppe (Rinaldo Smerdoni) and Pasquale (Franco Interlenghi).
	tv.msn.com /movies/movie.aspx?m=40930 (231 words)

	Umberto D \| TIME Magazine - ALL-TIME 100 movies
		Screenplay: Vittorio De Sica (screenplay uncredited); Cesare Zavattini (screenplay); Cesare Zavattini (story)
		His only relationship is with his beloved dog, and when it runs away the effect on him—on us watching—is devastating.
		Cesare Zavattini, the writer who defined Neorealism as much as its directors did, never wrote more simply and directly and De Sica realizes his work with perfect clarity.—R.S. Not a subscriber?
	www.time.com /time/2005/100movies/0,23220,umberto_d,00.html (235 words)

	Museo Nazionale Arti Naïves "Cesare Zavattini" (Site not responding. Last check: 2007-10-24)
		"Premio Cesare Zavattini" : storia, informazioni e mostra della rassegna corrente.
		"Cesare Zavattini" : la storia del Museo e di Cesare Zavattini.
		> PAUL STRAND - CESARE ZAVATTINI "LETTERE E IMMAGINI"
	www.naives.it (122 words)

	Image Entertainment / Criterion / Children Are Watching Us, The (Site not responding. Last check: 2007-10-24)
		New Video Interviews with Luciano de Ambrosis and Cesare Zavattini
		Booklet Featuring Robert Cardullo and Stuart Klawans on Cesare Zavattini
		"Must be seen...De Sica's first collaboration with screenwriter Cesare Zavattini."
	www.image-entertainment.com /detail.cfm?productID=43704 (105 words)

	english 1810 : introduction to film
		Unlike the myths proliferated by Hollywood, no individual can change the world.
		Italian Neorealism, “white telephone” films, Cinecittà, Cesare Zavattini, Rome, Open City, Roberto Rossellini, Luchino Visconti, cinéma vérité, location shooting, post-synchronized sound, Marxism
		Consider Zavattini’s remark that “the ideal film would be ninety minutes of the life of a man to whom nothing happens.” How does his remark emblematize or embody the goals of Italian neorealism?
	www.missouri.edu /~engwest/courses/film1/handouts/11.27-bicycle.html (1001 words)

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