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)
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Chapter 2: Chronicles from Hollywood (1927-33)
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Chapter 3: Scenario: The Nervous Tic Clinic (1936)
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Chapter 4: Miss Great Celebrity Signatures: Letter to Giuseppe Amato, 1 July 1938
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Chapter 5: Scenario: Miss Great Celebrity Signatures (1938)
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Chapter 6: Scenario: Everyone Should Have a Rocking Horse (1938)
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Chapter 7: Scenario: Five Poor Men in a Motorcar (1939)
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Chapter 8: Scenario: Totò the Good (1940)
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Part II: Post-war
Chapter 9: Scenario: Italy 1944 (1944)
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Chapter 10: Scenario: Sciuscià (1945)
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Chapter 11: Sciuscià: Letter to Massimo Ferrara, 6 July 1981
Chapter 12: Scenario: Bicycle Thieves (1948)
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Chapter 13: ‘What We Want’ (1950)
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Chapter 14: Scenario: The Great Deception (1948)
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Chapter 15: The Great Deception: Letter to Géza von Radváni, 9 March 1950
Chapter 16: Scenario: First Communion (1949)
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Chapter 17: First Communion : Correspondence
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Chapter 18: Scenario: Bellissima (1950-1)
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Chapter 19: ‘The origins of Umberto D.’ (1951)
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Chapter 20: Umberto D. in Zavattini’s diary (1948-51)
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Chapter 21: Scenario: Umberto D. (1951)
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Chapter 22: Treatment: Umberto D. (1951)
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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)
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Chapter 26: Scenario: Italia mia (1951-2)
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Episodes which can be filmed without delay
Chapter 27: Un paese. Portrait of an Italian Village (1955)
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Chapter 28: The Story of Catherine: ansa Press Comuniqué (1952)
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Chapter 29: Scenario: The Story of Catherine (1952)
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Chapter 30: Love in the City: Voice-over and dialogue excerpt (1953)
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Dialogue from opening short sequences
Chapter 31: The Story of Catherine: Interview (1962)
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Chapter 32: Scenario: A Child’s Funeral (1954)
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Chapter 33: Scenario: The Roof (1955)
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Chapter 34: Scenario: México mío (1955-8)
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Chapter 35: Scenario: Short Love Story (1958)
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Chapter 36: Correspondence with Carlos Velo (1955-8)
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Chapter 37: Scenario: Diary of a Woman (1959)
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Chapter 38: Scenario: Revolución en Cuba (1960)
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Chapter 39: Scenario: Anti-racist Film (1960)
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Chapter 40: Fernando Birri, Letter to Zavattini, 9 March 1957
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Chapter 41: Scenario: The Little Dictator (1960)
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Chapter 42: Treatment: The Little Dictator (1960)
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Chapter 43: Scenario: Colour versus Colour (1960)
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The Film Colour versus Colour (Abstract Painter vs Figurative Painter). A drama on canvas
Chapter 44: Scenario: Censorship 1960
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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)
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Chapter 46: Scenario: The Guinea Pig (1962)
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Chapter 47: Scenario: The Mysteries of Rome (1962)
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Chapter 48: Scenario: Assault on Television (1962)
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Chapter 49: Scenario: Why? (1963)
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Chapter 50: Scenario: Free Newsreels (1967)
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Chapter 51: Scenario: The Seven Cervi Brothers (1968)
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The Cervi Brothers
Chapter 52: Scenario: Revolution (1969)
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Chapter 53: Adapting The Children of Sánchez (1971)
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Chapter 54: Scenario: Italia mia tv version (1974-6)
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Chapter 55: Scenario: Aldo Moro, Before, During, After (1978)
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Chapter 56: Scenario: The Truuuuth (1981)
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The Truuuuth, 1981
Chapter 57: Transmission test: Telesubito (1983)
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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)
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Chapter 2: ‘The Frustrations of a Young Scriptwriter’ (1936)
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Chapter 3: Letters to filmmakers, Il Settebello (1938–9)
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1. To Giuseppe Amato
2. To Mario Camerini
3. To the Scalera Brothers
Chapter 4: ‘The Best Dreams’ (1940)
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Chapter 5: ‘Notebook’ (1940–1)
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Chapter 6: Radio eiar Interview (1942)
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Chapter 7: ‘One Minute of Cinema’ (1942)
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Chapter 8: The Imola Conference (1942)
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Chapter 9: ‘The Importance of the Script’ (1942–3)
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Part II: Post-war
Chapter 10: Radio interview: Fascism and post-war Italy (1983)
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Chapter 11: ‘Poetry, Italian Cinema’s only Business’ (1945)
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Chapter 12: ‘Three Questions’ (1946)
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Chapter 13: ‘Italy Wants to Know’ (1947)
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Chapter 14: ‘I’m an Optimist’ (1949)
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Chapter 15: ‘Is Cinema going to Die?’ (1949)
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Chapter 16: Perugia Conference: ‘Cinema and Modern Man’ (1949)
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Chapter 17: Letter to Father Morlion (1949)
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Chapter 18: ‘Scrap Scripts’ (1950)
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Chapter 19: ‘Italian Cinema Tomorrow’ (1950)
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Chapter 20: ‘Taking Issue with the Present’ (1951)
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Chapter 21: Interview: ‘Cinema, Zavattini and Reality’ (1951)
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Chapter 22: ‘Some Ideas on the Cinema’ (1952)
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Chapter 23: ‘What Is a Flash Film’ (1952)
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Chapter 24: Flash Film: ‘A Development of Neo-realism’ (1952)
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Chapter 25: Enzo Muzii attacks Zavattini: ‘Adult Realism’ (1953)
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Chapter 26: ‘Theses on Neo-realism’ (1953)
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Chapter 27: The Story of Catherine in Zavattini’s diary (1952)
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Chapter 28: Voice-over: Love in the City and an excerpt of dialogue (1953)
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Chapter 29: Shadowing (1953)
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Chapter 30: Parma Conference: ‘Neo-realism as I see it’ (1953)
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Chapter 31: Zavattini’s first trip to Cuba in his diary (1953)
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Chapter 32: The Havana Conference (1953)
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Chapter 33: Milan Conference (1954)
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Chapter 34: Neo-realism as ethics (1954)
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Chapter 35: Transcendence in Zavattini’s diary (1954)
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Chapter 36: Neo-realism and Italia mia Correspondence (1952–8)
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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)
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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)
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Chapter 40: Alfredo Guevara, ‘Cuba’, Cinema Nuovo, no. 51, 1955
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Chapter 41: Guevara, letter to Zavattini, 2 April 1955
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Chapter 42: José Massip to Zavattini, 26 April 1955
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Chapter 43: Guevara, letter to Zavattini, 4 May 1955
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Chapter 44: Zavattini, letter to Guevara, 12 May 1955
Chapter 45: ‘Letter from Cuba’ (1955)
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Chapter 46: Paris Conference: ‘Useful Cinema’ (1956)
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Chapter 47: ‘The Economic Conference of Cinema’ (1956)
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Chapter 48: ‘The Loneliness of Zavattini’ (1958)
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Chapter 49: Zavattini, letter to Guevara, 2 January 1959
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Chapter 50: Fernando Bernal, letter to Zavattini, 29 May 1959
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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)
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Chapter 54: icaic Conference, 15 January 1960
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Chapter 55: Zavattini, letter to Gaetano Afeltra, 15 February 1960
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Chapter 56: Zavattini, letter to Valentino Bompiani, 7 March 1960
Chapter 57: Cuban filmmakers on Zavattini, Cine cubano (1960)
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Chapter 58: Héctor García Mesa and Eduardo Manet, Cine cubano (1960)
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Chapter 59: ‘Debating with the Opponents of Commitment’ (1960)
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Chapter 60: Zavattini, letter to Lino Miccichè, 2 November 1977
Chapter 61: Zavattini, letter to Benito Alazraki, 30 October 1954
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Chapter 62: Prologue and Epilogue: El Neorrealismo cinematografico italiano (1955)
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Chapter 63: Mexican Bellas Artes Conference, 24 August 1955
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Chapter 64: Interview: ‘Three films by Zavattini in Mexico’, 5 September 1955
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Chapter 65: Zavattini, letter to Alvaro Beltrani, 20 October 1955
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Chapter 66: Carlos Velo, letter to Zavattini, 7 November 1955
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Chapter 67: Zavattini, letter to Felipe Carrera, 29 January 1956
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Chapter 68: Zavattini, letter to Velo, 5 October 1958
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Chapter 69: Elio Petri, letter to Zavattini, 1 April 1962
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Chapter 70: ‘An Act of Courage’ (1960) and ‘On Censorship’ (1960)
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Chapter 71: Zavattini and television (1961)
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Chapter 72: The Newspaper for Peace (1961)
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Chapter 73: Interview: The confession film (1961)
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Chapter 74: The confession film: Correspondence (1962)
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Chapter 75: Interview: The Mysteries of Rome (1962–3)
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Chapter 76: ‘The Newsreel for Peace’ (1962)
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Chapter 77: The Why? project (1963)
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Chapter 78: Rinascita round table (1965)
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Chapter 79: ‘First Conversation’ (1966)
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Chapter 80: Interview: ‘Four Questions Addressed to Filmmakers’ (1967)
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Chapter 81: Zavattini, ‘Why I am not resigning from anac’ (1968)
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Chapter 82: ‘Free Newsreels’ (1968)
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Chapter 83: Zavattini, letter to Luigi Chiarini (1968)
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Chapter 84: anac Press Conference, Venice Film Festival (1968)
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Chapter 85: ‘The Cine-camera as a Weapon’ (1969)
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Chapter 86: ‘Pesaro Film Festival and Free Newsreels’ (1969)
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Chapter 87: Political film (1970)
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Chapter 88: ‘The Free Newsreel of the Proletariat’ (1971)
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Chapter 89: ‘Time and Cinema’ (1975)
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Chapter 90: Grassroots interventions (1976)
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Chapter 91: Screenwriting (1977)
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Chapter 92: The Truuuuth (La veritàaaa) (1978–81)
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Bibliography
Index