Book contents
- Frontmatter
- Contents
- List of Figures
- Notes on Contributors
- Acknowledgements
- Introduction
- 1 Filmmaker and the Milanese Independent Cinema of the 1980s and 1990s
- 2 Light and Liminal: Marinella Pirelli’s Cinema
- 3 From Vertov to Cine-Journals: Cesare Zavattini’s Experimental Journey
- 4 Gianfranco Brebbia: The ‘Absurd’, Expanded Quality of Experimental Cinema (1962–73)
- 5 Italian Family Films: The Case of the Archivio Nazionale di Bologna
- 6 Independence as Opposition? Redefining Political Cinema Through the Case of Mirko Locatelli
- 7 Travelling the World: The Essay Films of Massimo Bacigalupo (1968–77)
- 8 Tales of Courage: Trade Stories of Italian Independent Cinema
- 9 Niccolò Bruna’s Ethical Process as Social Engagement: Upholding Human Stories against a Backdrop of Globalisation
- 10 The Paradox of ‘Independence’ in Cyberspace: The Case of Italian Experimental and Independent Cinema
- Index
3 - From Vertov to Cine-Journals: Cesare Zavattini’s Experimental Journey
Published online by Cambridge University Press: 20 October 2020
- Frontmatter
- Contents
- List of Figures
- Notes on Contributors
- Acknowledgements
- Introduction
- 1 Filmmaker and the Milanese Independent Cinema of the 1980s and 1990s
- 2 Light and Liminal: Marinella Pirelli’s Cinema
- 3 From Vertov to Cine-Journals: Cesare Zavattini’s Experimental Journey
- 4 Gianfranco Brebbia: The ‘Absurd’, Expanded Quality of Experimental Cinema (1962–73)
- 5 Italian Family Films: The Case of the Archivio Nazionale di Bologna
- 6 Independence as Opposition? Redefining Political Cinema Through the Case of Mirko Locatelli
- 7 Travelling the World: The Essay Films of Massimo Bacigalupo (1968–77)
- 8 Tales of Courage: Trade Stories of Italian Independent Cinema
- 9 Niccolò Bruna’s Ethical Process as Social Engagement: Upholding Human Stories against a Backdrop of Globalisation
- 10 The Paradox of ‘Independence’ in Cyberspace: The Case of Italian Experimental and Independent Cinema
- Index
Summary
Our eyes see very little and very badly – so people dreamed up the microscope to let them see invisible phenomena; they invented the telescope… now they have perfected the cinecamera to penetrate more deeply into the visible world, to explore and record visual phenomena so that what is happening now, which will have to be taken account of in the future, is not forgotten
Dziga VertovAs far as the history of cinema proper is concerned, Zavattini's immediacy places itself along an illustrious and heroic series, finding its origins in Vertov's Kino-Glaz, passing through Siegfried Kracauer's Theory of Film: The Redemption of Physical Reality, and continuing, beyond the important stage set by our author, into cinéma-verité, and the underground.
Renato BarilliIntroduction
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, Zavattini was certainly a key, if not unique, figure in such cinema.
His importance and his contribution are gathered not only from the 80-plus films of which he was the screenwriter– often breakthrough scripts when compared to contemporary ones – but also by dwelling with utmost attention on the profound coherence of his entire body of work. In fact, Zavattini cannot simply be considered a brilliant scriptwriter and the major and most lucid theoretician of Italian neorealism. His work, in addition to the aforementioned, includes short stories and novellas, articles, papers and even paintings, all of which constitute an inseparable wholeness, created with the greatest curiosity for the new, with the most profound and heartfelt humanism, with long-sightedness and enlightening anticipations of the future of media. Most probably because of the multitalented persona and wide-ranging scope, his works are not always immediately clear and perfectly structured, and yet are perhaps among the major contributions to the understanding of the culture of the twentieth century.
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- Experimental and Independent Italian CinemaLegacies and Transformations into the Twenty-First Century, pp. 84 - 102Publisher: Edinburgh University PressPrint publication year: 2020