Cesare Zavattini Selected Writings Volume 2

Description

Volume two brings to the fore Zavattini's ever evolving internal dialogue between diary writer, screenwriter, narrative writer, and political activist since 1944. Bringing together both letters previously published in Italian and hitherto uncollected ones, this volume reveals Zavattini's relationship to producers (Guarini and Ponti), filmmakers (Rossellini, De Santis, Antonioni, De Sica, Pasolini, Blasetti, Grifi, and Paul Strand) to writers (including Vittorini, Attilio Bertolucci, Umberto Saba, Salvatore Quasimodo), film critics, and international filmmakers. Also documented is Bazin’s relationship with Zavattini, with the inclusion of an exchange of sixteen letters between the two. The critical and contextual study which introduces this volume explicates underlying logic of Zavattini’s many interventions in disparate fields, documented by the translation of primary sources Volume 1 Cover_Volume 1 Half Title Title Page Copyright Page Contents Acknowledgements Introduction to Volume 1 Part I: Pre-war Chapter 1: Stories from the Comic Trilogy (1931-41) Context Text 1 2 3 4 5 6 7 Chapter 2: Chronicles from Hollywood (1927-33) Context Text 1 2 3 4 5 6 7 Chapter 3: Scenario: The Nervous Tic Clinic (1936) Context Text Chapter 4: Miss Great Celebrity Signatures: Letter to Giuseppe Amato, 1 July 1938 Context Text Chapter 5: Scenario: Miss Great Celebrity Signatures (1938) Context Text Chapter 6: Scenario: Everyone Should Have a Rocking Horse (1938) Context Text Chapter 7: Scenario: Five Poor Men in a Motorcar (1939) Context Text Chapter 8: Scenario: Totò the Good (1940) Context Text Part II: Post-war Chapter 9: Scenario: Italy 1944 (1944) Context Text Chapter 10: Scenario: Sciuscià (1945) Context Text Chapter 11: Sciuscià: Letter to Massimo Ferrara, 6 July 1981 Chapter 12: Scenario: Bicycle Thieves (1948) Context Text Chapter 13: ‘What We Want’ (1950) Context Text Chapter 14: Scenario: The Great Deception (1948) Context Text Chapter 15: The Great Deception: Letter to Géza von Radváni, 9 March 1950 Chapter 16: Scenario: First Communion (1949) Context Text Chapter 17: First Communion : Correspondence Context Text 1 2 Chapter 18: Scenario: Bellissima (1950-1) Context Text 1 2 Chapter 19: ‘The origins of Umberto D.’ (1951) Context Text Chapter 20: Umberto D. in Zavattini’s diary (1948-51) Context Text Chapter 21: Scenario: Umberto D. (1951) Context Text Chapter 22: Treatment: Umberto D. (1951) Context Text Chapter 23: Screenplay (extract): Umberto D. Umberto’s Lodgings. The Kitchen. Dawn (1951) Chapter 24: Zavattini, Miracle in Milan, La Voce Repubblicana, 7 July 1951 Chapter 25: Scenario: Miracle in Milan (1950) Context Text Chapter 26: Scenario: Italia mia (1951-2) Context Text 1 2 3 4 5 6 Episodes which can be filmed without delay Chapter 27: Un paese. Portrait of an Italian Village (1955) Context Text 1 Chapter 28: The Story of Catherine: ansa Press Comuniqué (1952) Context Text Chapter 29: Scenario: The Story of Catherine (1952) Context Text Chapter 30: Love in the City: Voice-over and dialogue excerpt (1953) Context Text 1 2 Dialogue from opening short sequences Chapter 31: The Story of Catherine: Interview (1962) Context Text Chapter 32: Scenario: A Child’s Funeral (1954) Context Text Chapter 33: Scenario: The Roof (1955) Context Text Chapter 34: Scenario: México mío (1955-8) Context Text 1 2 3 4 5 Chapter 35: Scenario: Short Love Story (1958) Context Text Chapter 36: Correspondence with Carlos Velo (1955-8) Context Text 1 2 3 Chapter 37: Scenario: Diary of a Woman (1959) Context Text Chapter 38: Scenario: Revolución en Cuba (1960) Context Text Chapter 39: Scenario: Anti-racist Film (1960) Context Text Chapter 40: Fernando Birri, Letter to Zavattini, 9 March 1957 Context Text Chapter 41: Scenario: The Little Dictator (1960)  Context Text Chapter 42: Treatment: The Little Dictator (1960)  Context Text 1 2 3 4 5 6 7 8 9 10 11 Chapter 43: Scenario: Colour versus Colour (1960) Context Text The Film Colour versus Colour (Abstract Painter vs Figurative Painter). A drama on canvas Chapter 44: Scenario: Censorship 1960 Context Text Part one (Introduction) Part two (main body) Themes for the main body Part Three (conclusion and perspective) Chapter 45: Scenario: The Newsreel for Peace (1962) Context Text 1 Chapter 46: Scenario: The Guinea Pig (1962) Context Text 1 2 3 Chapter 47: Scenario: The Mysteries of Rome (1962) Context Text Chapter 48: Scenario: Assault on Television (1962) Context Text Chapter 49: Scenario: Why? (1963) Context Text Chapter 50: Scenario: Free Newsreels (1967) Context Text Chapter 51: Scenario: The Seven Cervi Brothers (1968) Context Text 1 2 The Cervi Brothers Chapter 52: Scenario: Revolution (1969) Context Text Chapter 53: Adapting The Children of Sánchez (1971) Context Text Chapter 54: Scenario: Italia mia tv version (1974-6) Context Text Chapter 55: Scenario: Aldo Moro, Before, During, After (1978) Context Text 1 2 Chapter 56: Scenario: The Truuuuth (1981) Context Text The Truuuuth, 1981 Chapter 57: Transmission test: Telesubito (1983) Context Text 1 2 3 4 5 6 7 Volume 2 Cover_Volume 2 Half Title Title Page Copyright Page Contents Introduction to Volume 2 Part I: Pre-war Chapter 1: ‘The Directors’ Gift’, from The Hollywood Chronicles (1933) Context Text Chapter 2: ‘The Frustrations of a Young Scriptwriter’ (1936) Context Text Chapter 3: Letters to filmmakers, Il Settebello (1938–9) Context Text 1. To Giuseppe Amato 2. To Mario Camerini 3. To the Scalera Brothers Chapter 4: ‘The Best Dreams’ (1940) Context Text Chapter 5: ‘Notebook’ (1940–1) Context Text 2 Chapter 6: Radio eiar Interview (1942) Context Text Chapter 7: ‘One Minute of Cinema’ (1942) Context Text Chapter 8: The Imola Conference (1942) Context Text Chapter 9: ‘The Importance of the Script’ (1942–3) Context Text Part II: Post-war Chapter 10: Radio interview: Fascism and post-war Italy (1983) Context Text Chapter 11: ‘Poetry, Italian Cinema’s only Business’ (1945) Context Text Chapter 12: ‘Three Questions’ (1946) Context Text Chapter 13: ‘Italy Wants to Know’ (1947) Context Text Chapter 14: ‘I’m an Optimist’ (1949) Context Text Chapter 15: ‘Is Cinema going to Die?’ (1949) Context Text Chapter 16: Perugia Conference: ‘Cinema and Modern Man’ (1949) Context Text Chapter 17: Letter to Father Morlion (1949) Context Text Chapter 18: ‘Scrap Scripts’ (1950) Context Text Chapter 19: ‘Italian Cinema Tomorrow’ (1950) Context Text Chapter 20: ‘Taking Issue with the Present’ (1951) Context Text Chapter 21: Interview: ‘Cinema, Zavattini and Reality’ (1951) Context Text Chapter 22: ‘Some Ideas on the Cinema’ (1952) Context Text Chapter 23: ‘What Is a Flash Film’ (1952) Context Text Chapter 24: Flash Film: ‘A Development of Neo-realism’ (1952) Context Text Chapter 25: Enzo Muzii attacks Zavattini: ‘Adult Realism’ (1953) Context Text 1 2 Chapter 26: ‘Theses on Neo-realism’ (1953) Context Text Chapter 27: The Story of Catherine in Zavattini’s diary (1952) Context Text Chapter 28: Voice-over: Love in the City and an excerpt of dialogue (1953) Context Text Chapter 29: Shadowing (1953) Context Text Chapter 30: Parma Conference: ‘Neo-realism as I see it’ (1953) Text Chapter 31: Zavattini’s first trip to Cuba in his diary (1953) Context Text Chapter 32: The Havana Conference (1953) Context Text Chapter 33: Milan Conference (1954) Context Text Chapter 34: Neo-realism as ethics (1954) Context Text Chapter 35: Transcendence in Zavattini’s diary (1954) Context Text Chapter 36: Neo-realism and Italia mia Correspondence (1952–8) Context Text Italia mia: Letter to Giulio Einaudi, 28 February 1952 Italia mia: Giulio Einaudi to Zavattini, 28 June 1952 Italia mia: Zavattini to Arturo Lanocita, 20 December 1952 Italia mia: Zavattini to Giulio Einaudi, 27 February 1953 Italia mia: Zavattini, ‘To Potential Contributors’ (1953) Italia mia: Zavattini to Giorgio Fenin, 26 March 1958 Chapter 37: Un paese. Portrait of an Italian Village. Correspondence (1952–3) Context Un paese: Zavattini to Bruno Fortichiari, 27 November 1952 Un paese: Zavattini to Paul Strand, 13 January 1953 Un paese: Paul Strand to Zavattini, 23 January 1953 Un paese: Zavattini to Einaudi, 30 October 1953 Chapter 38: Zavattini, ‘Strand the Photographer, 13 April 1953’ Chapter 39: Zavattini, Introduction to Cinema Nuovo photographic stories (1955) Context Text Chapter 40: Alfredo Guevara, ‘Cuba’, Cinema Nuovo, no. 51, 1955 Context Text Chapter 41: Guevara, letter to Zavattini, 2 April 1955 Context Text Chapter 42: José Massip to Zavattini, 26 April 1955 Context Text Chapter 43: Guevara, letter to Zavattini, 4 May 1955 Context Text Chapter 44: Zavattini, letter to Guevara, 12 May 1955 Chapter 45: ‘Letter from Cuba’ (1955) Context Text Chapter 46: Paris Conference: ‘Useful Cinema’ (1956) Context Text Chapter 47: ‘The Economic Conference of Cinema’ (1956) Context Text 1 2 3 Chapter 48: ‘The Loneliness of Zavattini’ (1958) Context Text 1 2 3 Chapter 49: Zavattini, letter to Guevara, 2 January 1959 Context Text Chapter 50: Fernando Bernal, letter to Zavattini, 29 May 1959 Context Text Chapter 51: Guevara, letter to Zavattini, 29 September 1959 Chapter 52: Zavattini, letter to Tomás Gutiérrez Alea, 1 November 1959 Chapter 53: ‘How to Write a Screenplay’ (1959) Context Text Chapter 54: icaic Conference, 15 January 1960 Context Text Chapter 55: Zavattini, letter to Gaetano Afeltra, 15 February 1960 Context Text Chapter 56: Zavattini, letter to Valentino Bompiani, 7 March 1960 Chapter 57: Cuban filmmakers on Zavattini, Cine cubano (1960) Context Text Chapter 58: Héctor García Mesa and Eduardo Manet, Cine cubano (1960) Context Text Chapter 59: ‘Debating with the Opponents of Commitment’ (1960) Context Text Chapter 60: Zavattini, letter to Lino Miccichè, 2 November 1977 Chapter 61: Zavattini, letter to Benito Alazraki, 30 October 1954 Context Text Chapter 62: Prologue and Epilogue: El Neorrealismo cinematografico italiano (1955) Context Text 1 2 Chapter 63: Mexican Bellas Artes Conference, 24 August 1955 Context Text Chapter 64: Interview: ‘Three films by Zavattini in Mexico’, 5 September 1955 Context Text Chapter 65: Zavattini, letter to Alvaro Beltrani, 20 October 1955 Context Text Chapter 66: Carlos Velo, letter to Zavattini, 7 November 1955 Context Text Chapter 67: Zavattini, letter to Felipe Carrera, 29 January 1956 Context Text Chapter 68: Zavattini, letter to Velo, 5 October 1958 Context Text Chapter 69: Elio Petri, letter to Zavattini, 1 April 1962 Context Text Chapter 70: ‘An Act of Courage’ (1960) and ‘On Censorship’ (1960) Context Text 1 2 Chapter 71: Zavattini and television (1961) Context Text Chapter 72: The Newspaper for Peace (1961) Context Text Chapter 73: Interview: The confession film (1961) Context Text Chapter 74: The confession film: Correspondence (1962) Context Text 1 2 Chapter 75: Interview: The Mysteries of Rome (1962–3) Context Text Chapter 76: ‘The Newsreel for Peace’ (1962) Context Text Chapter 77: The Why? project (1963) Context Text 1 2 Chapter 78: Rinascita round table (1965) Context Text Chapter 79: ‘First Conversation’ (1966) Context Text Chapter 80: Interview: ‘Four Questions Addressed to Filmmakers’ (1967) Context Text Chapter 81: Zavattini, ‘Why I am not resigning from anac’ (1968) Context Text Chapter 82: ‘Free Newsreels’ (1968) Context Text Chapter 83: Zavattini, letter to Luigi Chiarini (1968) Context Text Chapter 84: anac Press Conference, Venice Film Festival (1968) Context Text Chapter 85: ‘The Cine-camera as a Weapon’ (1969) Context Text Chapter 86: ‘Pesaro Film Festival and Free Newsreels’ (1969) Context Text Chapter 87: Political film (1970) Context Text 1 2 3 Chapter 88: ‘The Free Newsreel of the Proletariat’ (1971) Context Text 1 2 3 4 5 6 Chapter 89: ‘Time and Cinema’ (1975) Context Text Chapter 90: Grassroots interventions (1976) Context Text Chapter 91: Screenwriting (1977) Context Text Chapter 92: The Truuuuth (La veritàaaa) (1978–81) Context Text 1 2 3 4 5 Bibliography Index