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Mafia Motifs in Andrea Camilleri's Detective
MAFIA MOTIFS IN ANDREA CAMILLERI’S DETECTIVE MONTALBANO NOVELS: FROM THE CULTURE AND BREAKDOWN OF OMERTÀ TO MAFIA AS A SCAPEGOAT FOR THE FAILURE OF STATE Adriana Nicole Cerami A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Languages and Literatures (Italian). Chapel Hill 2015 Approved by: Dino S. Cervigni Amy Chambless Roberto Dainotto Federico Luisetti Ennio I. Rao © 2015 Adriana Nicole Cerami ALL RIGHTS RESERVED ii ABSTRACT Adriana Nicole Cerami: Mafia Motifs in Andrea Camilleri’s Detective Montalbano Novels: From the Culture and Breakdown of Omertà to Mafia as a Scapegoat for the Failure of State (Under the direction of Ennio I. Rao) Twenty out of twenty-six of Andrea Camilleri’s detective Montalbano novels feature three motifs related to the mafia. First, although the mafia is not necessarily the main subject of the narratives, mafioso behavior and communication are present in all novels through both mafia and non-mafia-affiliated characters and dialogue. Second, within the narratives there is a distinction between the old and the new generations of the mafia, and a preference for the old mafia ways. Last, the mafia is illustrated as the usual suspect in everyday crime, consequentially diverting attention and accountability away from government authorities. Few critics have focused on Camilleri’s representations of the mafia and their literary significance in mafia and detective fiction. The purpose of the present study is to cast light on these three motifs through a close reading and analysis of the detective Montalbano novels, lending a new twist to the genre of detective fiction. -
The Gangster Hero in the Work of Puzo, Coppola, and Rimanelli
Rewriting the Mafioso: The Gangster Hero in the Work of Puzo, Coppola, and Rimanelli Author: Marissa Sangimino Persistent link: http://hdl.handle.net/2345/bc-ir:104214 This work is posted on eScholarship@BC, Boston College University Libraries. Boston College Electronic Thesis or Dissertation, 2015 Copyright is held by the author, with all rights reserved, unless otherwise noted. ! ! ! ! ! ! ! ! Rewriting the Mafioso: The Gangster Hero in the Work of Puzo, Coppola, and Rimanelli By Marissa M. Sangimino Advisor: Prof. Carlo Rotella English Department Honors Thesis Submitted: April 9, 2015 Boston College 2015 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ACKNOWLEDGMENTS!! ! ! I!would!like!to!thank!my!advisor,!Dr.!Carlo!Rotella!for!the!many!hours!(and!many!emails)!that!it! took!to!complete!this!thesis,!as!well!as!his!kind!support!and!brilliant!advice.! ! I!would!also!like!to!thank!the!many!professors!in!the!English!Department!who!have!also! inspired!me!over!the!years!to!continue!reading,!writing,!and!thinking,!especially!Professor!Bonnie! Rudner!and!Dr.!James!Smith.! ! Finally,!as!always,!I!must!thank!my!family!of!Mafiosi:!! Non!siamo!ricchi!di!denaro,!ma!siamo!ricchi!di!sangue.! TABLE OF CONTENTS Introduction.........................................................................................................................................1-3 CHAPTER ONE: The Hyphenate Individual ..............................................................................................................4-17 The -
Entrevista Gerardo López Vicedecano
año/urtea:18 2017/70 maiatza/mayo REVISTA DEL ILUSTRE COLEGIO DE ABOGADOS DE GIPUZKOA GIPUZKOAKO ABOKATUEN ELKARGO ABOKATUOK PRESTUAREN ALDIZKARIA Entrevista Gerardo López Vicedecano pg 16. Exposición “Refugiados 11 Entrega premios concurso infantil Partidos Judiciales: Bergara vidas en 11 maletas” Navidad 2016 Alicia Oteiza pg 8. pg 14. pg 20. ¿Qué jubilación quieres? De tí depende. 28/024149 - Domicilio Social: Serrano, 9 28001 Madrid Aseguradoras, Sec. Previsión Social con el nº 2131 - C.I.F.: V- Reg. de Entidades a. Inscrita en el COMPRUEBA LO QUE SE PUEDE INCREMENTAR TU JUBILACIÓN AUMENTANDO... 100 €1 150 €1 200 €1 EDAD CAPITAL ADICIONAL2 A SUMAR A TU JUBILACIÓN: e Previsión Social a Prima Fij 30 + 150.444 € + 225.666 € + 300.889 € 40 + 74.410 € + 111.615 € + 148.820 € 50 + 30.741 € + 46.111 € + 61.482 € Aumenta tus aportaciones periódicas. Cuanto antes mejor. www.mutualidadabogacia.com Para más información llama al 914 35 24 86 o envía un correo a [email protected] 1. Cuota mensual creciente un 3 % anual. 2. Capital adicional proyectado en base a una tasa de rentabilidad del 5 % y con fecha de jubilación a los 65 años. Anu-Apt-02/17 • MUTUALIDAD GENERAL DE LA ABOGACÍA, Mutualidad d Rentabilidad media del Plan Universal desde su creación en 2005, 5,45 %. Rentabilidades pasadas no presuponen rentabilidades futuras. año/urtea: 18 2017/70 maiatza/mayo ABOKATUOKREVISTA DEL ILUSTRE COLEGIO DE ABOGADOS DEcomisiones GIPUZKOA GIPUZKOAKObatzordeak entrevista/elkarrizketa ABOKATUEN ELKARGO ABOKATUOK PRESTUAREN ALDIZKARIA sumario Carta de la Decana. 04 Celebrada la Junta General de Icagi. 06 aurkibidea El Colegio despedirá Junio con varias 07 actividades. -
Cases and Materials on the Outfit
Rosen: Cases and Materials on The Outfit David Rosen Don Corleone to Sonny, in The Godfather The Don sighed. "Well, then I can't talk to you about how you should behave. Don't you want to finish school, don't you want to be a lawyer? Lawyers can steal more money with a briefcase than a thousand men with guns and masks. " Robert Warshow, in "The Gangster as Tragic Hero" Thus, the importance of the gangster film, and the nature and intensity of its emotional and esthetic impact, cannot be measured in terms of the place of the gangster himself or the importance of the problem of crime in American life. Those European movie-goers who think there is a gangster on every comer in New York are certainly deceived, but defenders of the "positive" side of American culture are equally deceived if they think it relevant to point out that most Cases and Materials Americans have never seen a gangster. What matters is that the experience of the gangster as an experience of on art is universal to Americans. There is almost nothing we understand better or react to more readily or with The Outfit quicker intelligence. This night, though, Pam had a different tale to tell. She announced that she and her friend Annie, the daughter of a prize-winning biologist, had gone to see "The Godfather," that they had been so deeply moved that, instead of going home, she'd gone tripping around town in search of the Mafia. I remember one night Pam showed up at the House at "The Mafia!" three in the morning. -
The Godfather Part II Lay in Coppola ' S Eye for Detail and His Need for a Verisimilitude Transcending the Limits of Perfunctory Storytelling
A N I L L U M I N E D I L L U S I O N S E S S A Y B Y I A N C . B L O O M TT HH EE GG OO DD FF AA TT HH EE RR PP AA RR TT II II Directed by Francis Ford Coppola Produced by Francis Ford Coppola Distributed by Paramount Pictures Released in 1974 mboldened by press accounts documenting the Apocalypse Now shoot as a self - destructive E odyssey, some c ritics confronting the film for the first time in 1979 tried to undermine Francis Ford Coppola ' s monumental achievement. Though its filming was as arduous as the war itself, they faulted him, a man who had never served in uniform, for promoting Apocalypse Now as the definitive statement on Viet Nam. To this day the film retains its primal angst and resolute daring, while film critics everywhere jealously disparage the pioneering work of yet another generation. Coppola is a keen observer, a progressive th inker who learns as much from talking to others as he does consulting his cherished collection of books. His early films find their genesis in childhood experiences — his mother ' s strange departure and subsequent return to the pressures of family became The Rain People (1969); a love of musicals nourished by his father led to Finian ' s Rainbow (1968); and his Manhattan misadventures as an AWOL military school cadet fostered You ' re A Big Boy Now (1967). Similarly, the ultimate triumph of The Godfather Part II lay in Coppola ' s eye for detail and his need for a verisimilitude transcending the limits of perfunctory storytelling. -
The Godfather
THE GODFATHER Part Two Screenplay by Mario Puzo and Francis Ford Coppola SECOND DRAFT September 24, 1973 Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library FADE IN: The Paramount Pictures logo is presented over a simple black background, as a single trumpet plays the familiar theme of a waltz. White lettering fades in: Mario Puzo's THE GODFATHER There is a pause, as the trumpet concludes, and there is the additional title: - Part Two - INT. DON CORLEONE'S OLD OFFICE - CLOSE VIEW ON MICHAEL CORLEONE - DAY standing impassively, like a young Prince, recently crowned King. CLOSE VIEW ON Michael's hand. ROCCO LAMPONE kisses his hand. Then it is taken away. We can SEE only the empty desk and chair of Michael's father, Vito Corleone. We HEAR, over this, very faintly a funeral dirge played in the distance, as THE VIEW MOVES SLOWLY CLOSER to the empty desk and chair. DISSOLVE TO: EXT. A SICILIAN LANDSCAPE - FULL VIEW - DAY We can barely make out the funeral procession passing over the burnt-brown of a dry river bed. The figures move slowly, seemingly from out of hundreds of years of the past. The MUSICIANS walking unsteadily on the rocky bed, their instruments harsh and blaring. They are followed by six young peasant men, carrying the crude wooden coffin on their shoulders. Then the widow, a strong large woman, dressed in black, and not accepting the arms of those walking with her. Behind her, not more than twenty relatives, few children and paisani continue alone behind the coffin. -
The Transom Review April, 2005 Vol
the transom review April, 2005 Vol. 5/Issue 1 Walter Murch About Walter Murch Walter Murch has been honored by both British and American Motion Picture Academies for his picture editing and sound mixing. In 1997, Murch received an unprecedented double Oscar for both film editing and sound mixing on The English Patient (Anthony Minghella), as well as that year's British Academy Award for best editing. Seventeen years earlier, he had received an Oscar for best sound for Apocalypse Now ( F. Coppola), as well as British and American Academy nominations for his picture editing. He also won a double British Academy Award in 1975 for his film editing and sound mixing on The Conversation (F. Coppola), was nominated by both academies in 1978 for best film editing for Julia ( F. Zinnemann), and in 1991 received two nominations for best film editing from the American Academy for the films Ghost (J. Zucker) and The Godfather Part III (F. Coppola). Among Murch’s other credits are: picture editing for The Unbearable Lightness of Being (P. Kaufman), Romeo is Bleeding (P. Medak), First Knight (J. Zucker), The Talented Mr. Ripley (A. Minghella), and K-19: The Widowmaker (K. Bigelow). His most recent credit is for Cold Mountain (Anthony Minghella) for which he received an Academy Nomination for Editing, and British Academy Nominations for Editing and Sound Mixing. He is currently working on Jarhead for director Sam Mendes. The film, from the novel by Anthony Swofford, will be released in November 2005. He has also been involved in film restoration, notably Orson Welles’s Touch of Evil (1998), Francis Coppola’s Apocalypse Now Redux (2001), and Thomas Edison's Dickson Experimental Sound Film (1894). -
2. the Godfather Returns.Pdf
The Godfather Returns Mark Winegardner alla mia famiglia "Whoever forsakes the old way for the new knows what he is losing, but not what he will find. " Sicilian proverb "They were killing my friends." AUDIE MURPHY, most decorated U.S. soldier of World War II, when asked how he had found the courage to fight an entire German infantry company *The Godfather II also covers the early life of Vito Corleone (1910-1939) in flashback scenes. **The second half of The Godfather Returns also covers the early life of Michael Corleone (1920-1945) in flashback scenes. THE CORLEONE FAMILY Vito Corleone, the first godfather of New York's most powerful crime family Carmela Corleone, Vito Corleone's wife and mother of their four children Sonny Corleone, Vito and Carmela Corleone's oldest son Sandra Corleone, Sonny's wife, now living in Florida Francesca, Kathy, Frankie, and Chip Corleone, Sonny and Sandra Corleone's children Tom Hagen, consigliere and unofficially adopted son Theresa Hagen, Tom's wife and mother of their three children Andrew, Frank, and Gianna Frederico "Fredo" Corleone, Vito and Carmela's second-born son (underboss 1955-1959) Deanna Dunn, Oscar-winning actress and Fredo's wife Michael Corleone, Vito's youngest son and the reigning Don of the Corleone Family Kay Adams Corleone, Michael's second wife Anthony and Mary Corleone, children of Michael and Kay Corleone Connie Corleone, Vito and Carmela's daughter Carlo Rizzi, Connie Corleone's deceased husband Ed Federici, Connie Corleone's second husband THE CORLEONE FAMILY ORGANIZATION Cosimo "Momo the Roach" Barone, soldato under Geraci and nephew of Sally Tessio Pete Clemenza, caporegime Fausto Dominick "Nick" Geraci, Jr. -
Diplomarbeit
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OTHES DIPLOMARBEIT Titel der Diplomarbeit „The Italianness of The Godfather – Die Darstellung von italienischer Ethnizität und Kultur in The Godfather und The Godfather – Part II“ Verfasserin: Barbara Wallner angestrebter akademischer Grad Magistra der Philosophie (Mag. Phil) Wien, 2010 Studienkennzahl lt. Studienblatt: A 317 Studienrichtung lt. Studienblatt: Diplomstudium Theater-, Film- und Medienwissenschaft UniStG Betreuer: Mag. Dr. Claus Tieber Danksagung Ich möchte meinem Betreuer Mag. Dr. Claus Tieber für sein fachliches und persönliches Interesse an dieser Arbeit herzlich danken. Mein Dank gilt außerdem Dr. Ulrike Kerschbaum, die diese Arbeit sicher durch den Dschungel der neuen Rechtschreibung geführt hat. Danke schließlich auch meinen Eltern, insbesondere meiner Mutter, sowie allen anderen, die mich in den letzten Monaten ertragen mussten und immer noch mit mir sprechen. Inhaltsverzeichnis 0. Einleitung ..................................................................................................................... 1 1. Eine kleine Geschichte des Gangsterfilms ................................................................... 4 1.1. THE GODFATHER – der Gangsterfilm schlechthin ..................................................................... 11 2. „A Natural Inclination Towards Criminality“ – Die Stereotypisierung der Italo-Amerikaner ............................................................... 18 2.1. Ein Volk von Al Capones? -
Img2.Timeinc.Net/Ew/Img/Review/000707/Mario L.Jpg
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI FAMILY LOYALTY OF THE CORLEONE FAMILY IN MARIO PUZO’S THE GODFATHER A Thesis Presented as Partial Fulfilment of the Requirements to Obtain the Sarjana Pendidikan Degree in English Language Education By Priska Fitri Yuaningtyas Student Number: 031214121 ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTEMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHER TRAINING AND EDUCATION SANATA DHARMA UNIVERSITY YOGYAKARTA 2008 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI 2 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI 3 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI iv 4 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI DEDICATION PAGE “Setiap kamu punya mimpi atau keinginan atau cita-cita, kamu taruh di sini, di depan kening kamu...jangan menempel. Biarkan dia menggantung, mengambang 5 sentimeter di depan kening kamu…Jadi dia ga akan pernah lepas dari mata kamu. Dan kamu bawa mimpi dan keyakinan kamu itu setiap hari, kamu lihat setiap hari, dan percaya bahwa kamu bisa. Apapun hambatannya, bilang sama diri kamu sendiri, klo kamu percaya sama keinginan itu, dan kamu nggak bisa menyerah. Bahwa kamu akan berdiri lagi setiap kamu jatuh, bahwa kamu akan mengejarnya sampai dapat, apapun itu, segala keinginan, mimpi, cita-cita, keyakinan diri… Biarkan keyakinan kamu, 5 sentimeter menggantung, mengambang di depan kening kamu. Dan, sehabis itu yang kamu perlu cuma… Cuma kaki yang akan berjalan lebih jauh dari biasanya, tangan yang akan berbuat lebih banyak dari biasanya, mata yang akan menatap lebih lama dari biasanya, leher yang akan lebih sering melihat ke atas, lapisan tekad yang seribu kali lebih keras dari baja, dan hati yang akan bekerja lebih keras dari biasanya, serta mulut yang akan selalu berdoa… Dan kamu akan selalu dikenang sebagai orang yang masih punya mimpi dan keyakinan, bukan cuma seonggok daging yang hanya punya nama… Percaya pada 5 sentimeter di depan kamu…” By: Dhonny Dirgantara The author of “5 cm” Kita lahir dengan dua mata di depan wajah kita, karena kita tidak boleh selalu melihat ke belakang. -
The Godfather Study Guide
OSCAR WINNER 1972: Best Picture Best Actor Best Adapted Screenplay TEACHERS’ NOTES This study guide is aimed at students of GCSE Media Studies, A’Level Film Studies and GNVO Media: Communication and Production (Intermediate and Advanced). Specific areas of study covered by the guide are those of genre, representation and the issue of violence in film. The Godfather: Certificate 18. Running Time 175 minutes. MAJOR CREDITS FOR THE GODFATHER The Godfather 1972 (Paramount) Producer: Albert S. Ruddy Director: Francis Coppola Screenplay: Mario Puzo, Francis Coppola Director of Photography: Gordon Willis Editors: William Reynolds, Peter Zinner Music: Nino Rota Art Director: Dean Tavoularis Cast: Marion Brando Al Pacino James Caan Richard Conte Robert Duvall Sterling Hayden Oscars 1972: Best Picture Best Actor (Marion Brando) Best Adapted Screenplay Oscar Nominations 1972: Best Director Best Supporting Actor (James Caan, Robert Duvall, Al Pacino) Best Music [later declared incligiblel Best Costume Design Best Editing Best Sound © Film Education 1 THE GODFATHER Coppola’s The Godfather was the direct descendant of dozens of gangster movies made with stars like Cagney and Edward C. Robinson. But there was a vital difference. Its examination of the Corleone family had a consistently human dimension that made the evil of the Mafia, who loved it for the wrong reasons, all the more horrendous. As a study of evil, it was all the better for assuming that such darkness emanated not from dyed-in-thewool villains but out of some of the family values we now most cherish. Added to that, of course, was the brilliance of its making, with Gordon Willis’ photography and Nino Rota’s score adding to Coppola’s fine orchestration of a terrific cast. -
Revisiting Violence in the Godfather: the Ambiguous Space of the Victimage Model
Journal of Religion & Film Volume 9 Issue 2 October 2005 Article 2 October 2005 Revisiting Violence in The Godfather: The Ambiguous Space of the Victimage Model Paul Graham [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Graham, Paul (2005) "Revisiting Violence in The Godfather: The Ambiguous Space of the Victimage Model," Journal of Religion & Film: Vol. 9 : Iss. 2 , Article 2. Available at: https://digitalcommons.unomaha.edu/jrf/vol9/iss2/2 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Revisiting Violence in The Godfather: The Ambiguous Space of the Victimage Model Abstract This article closely revisits and praises the long, contemplative scenes and the fast contrapuntal cutting of the violence displayed in The Godfather to show how the movie's superior editing and filming style help to overturn its own violent message. Thus, the film, however cynically, completes Girard's the victimage model without actually immolating its would-be scapegoat. By inhabiting the deconstructive "space” of the scapegoating motif, the film's bloody scenes undercut themselves and help to enact a message against the violence within the ideologies of the American Dream, capitalist competition, or any other factor that may serve to mitigate Michael Corleone's actions. This article is available in Journal of Religion & Film: https://digitalcommons.unomaha.edu/jrf/vol9/iss2/2 Graham: Revisiting Violence in The Godfather The easiest way to sum up René Girard's writings is to say that a series of imitative behaviors will build up over time until they reach a crisis, which a community will vanquish by eliminating an innocent scapegoat or surrogate victim.