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The problem, he says, "lies in being able to observe reality, not to extract fictions from it. A woman buying a pair of shoes can become a drama if we dig deep enough into her life and the lives of those around her.
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.
In the manner of the postwar Marxists, he belabors bourgeois attitudes declares himself against the "exceptional" man or hero; calls for a sense of solidarity, equality, and identification with the common man in the crowd.
He wants the viewer to contribute an intensity of vision that will "give human life its historical importance at every minute.
Until we are able to overcome some moral and intellectual laziness, in fact, this reality will continue to appear uninteresting. One shouldn't be astonished that the cinema has always felt the natural, unavoidable necessity to insert a "story" in the reality to make it exciting and "spectacular.
The most important characteristic, and the most important innovation, of what is called neorealism, it seems to me, is to have realised that the necessity of the "story" was only an unconscious way of disguising a human defeat, and that the kind of imagination it involved was simply a technique of superimposing dead formulas over living social facts.
Now it has been perceived that reality is hugely rich, that to be able to look directly at it is enough; and that the artist's task is not to make people moved or indignant at metaphorical situations, but to make them reflect and, if you like, to be moved and indignant too on what they and others are doing, in the real things, exactly as they are.
For me this has been a great victory. I would like to have achieved it many years earlier. But I made the discovery only at the end of the war.
It was a moral discovery, an appeal to order. I saw at last what lay in front of me, and I understood that to have evaded reality had been to betray it. Before this, if one was thinking over the idea of a film on, say, a strike, one was immediately forced to invent a plot. And the strike itself became only the background to the film.
Today, our attitude would be one of "revelation": We have passed from an unconsciously rooted mistrust of reality, an illusory and equivocal evasion, to an unlimited trust in things, facts and people. Such a position requires us, in effect, to excavate reality, to give it a power, a communication, a series of reflexes, which until recently we had never thought it had.
It requires, too, a true and real interest in what is happening, a search for the most deeply hidden human values; which is why we feel that the cinema must recruit not only intelligent people, but, above all, "living" souls, the morally richest people. And, incidentally, it is what distinguishes "neorealism' from the American cinema.
In fact, the American position is the antithesis of our own: In America, lack of subjects for films causes a crisis, but with us such a crisis is impossible. One cannot be short of themes while there is still plenty of reality.
Any hour of the day, any place, any person, is a subject for narrative in the narrator is capable of observing and illuminating all these collective elements by exploring their interior value. So there is no question of a crisis of subjects, only of their interpretation. This substantial difference was nicely emphasised by a well-known American producer when he told me.CESARE ZAVATTINI b.
Luzzara, Italy, 29 September , d. 13 October Italian journalist and writer of screenplays for Italian neorealist cinema, Cesare Zavattini is known especially for his collaborations with director Vittorio De Sica. Another fine example of neorealism is The Bicycle Thief (), written by Cesare Zavattini and directed by Vittorio De Sica.
The narrative of this film unfolds in initiativeblog.com times. The film is a portrait of the post-war Italian disadvantaged class (the majority) in their search for self-respect. Career an movie analysis and review of he got game Survey This article was appeared an analysis of the neorealism in the bicycle thief by cesare zavattini in the book The Films of Joseph H.
The Tyranny of Optimism - Optimism is a state of mind in which an individual will tend to “expect the best possible outcome or dwell on the most hopeful aspects of a situation” (initiativeblog.com).
Cesare Zavattini Italian screenwriter (The Bicycle Thief) and one of the first theorists and proponents of the Neorealist movement in Italian cinema () Ferdinand Zecca. Another fine example of neorealism is The Bicycle Thief (), written by Cesare Zavattini and directed by Vittorio De Sica. The narrative of this film unfolds in initiativeblog.com times.
The film is a portrait of the post-war Italian disadvantaged class (the majority) in their search for self-r.