Ponrepo 09–10 / 19

Total Page:16

File Type:pdf, Size:1020Kb

Ponrepo 09–10 / 19 Kino Národního filmového archivu Ponrepo 09–10 / 19 www.nfa.cz Program 09–10 / 19 1 Kino, kde se promítají filmy 2 Ponrepo Program 09–10 / 19 1 L’avant-garde Chaplin 8 Parasit’s Choice 16 Byli jsme to my? 20 Itálie Pietra Germiho 24 Film před sto lety 28 Obsah Cannes 2019 / Semaine de la critique 32 Rusko neznámé / Seminář ruských filmů 36 Ponrepo dětem 44 Filmy 48 2 Ponrepo Program 09–10 / 19 3 PONDĚLÍ 02/09 SOBOTA 14/09 18.00 Juraj Herz / Spalovač mrtvol / s. 49 18.00 Martin Frič / Advokátka Věra / s. 51 20.30 Alfred Hitchcock / Ptáci / s. 52 ÚTERÝ 03/09 18.00 Anna Kryvenko / Můj neznámý NEDĚLE 15/09 vojín / s. 49 15.00 Ponrepo dětem / s. 45 20.30 Miloš Forman / Lásky jedné 20.30 Kim Kil-in / Mstitel s píšťalou / s. 52 plavovlásky / s. 49 PONDĚLÍ 16/09 STŘEDA 04/09 18.00 Antonín Kopřiva / 20.30 Sven Gade – Heinz Schall / Křížová vazba /s. 22 Hamlet / s. 49 20.30 Charles Chaplin / Poutník + Cirkus / s. 11 ČTVRTEK 05/09 18.00 Yannick Bellonová / Janova žena /s. 49 ÚTERÝ 17/09 20.30 Jan Švankmajer / Hmyz / s. 49 18.00 Jiří Holba / Feral / s. 52 20.30 Jean Cocteau /Orfeus / s. 52 PÁTEK 06/09 18.00 Paul Haesaerts / Bruegel / s. 50 STŘEDA 18/09 18.00 Film před sto lety / Láska je SOBOTA 07/09 utrpením a další české filmy 20.00 Alfred E. Green / Come on Over / s. 50 z počátků samostatného státu /s. 29 20.30 Jan Švankmajer / Spiklenci slasti / PONDĚLÍ 09/09 s. 52 18.00 Pavel Marek / Mrtvý les a jiný bulšit / s. 21 ČTVRTEK 19/09 Charles Chaplin / Program 20.30 Zlaté opojení 18.00 Radovan Urban / Horká kaše / s. 22 + Chaplin vesnickým hrdinou / s. 11 20.30 Meda – ambasadorka umění / s. 53 ÚTERÝ 10/09 PÁTEK 20/09 16.00 Šivendra Singh Dungarpur / 10.00 Kolem. Autem. Busem. Poklusem. CzechMate – Hledání Jiřího Městem! / s. 53 Menzela / s. 50 STŘEDA 11/09 SOBOTA 21/09 18.00 Miloš Zábranský / Dům pro dva /s. 21 19.00 Cannes 2019 / Semaine de la critique / s. 33 20.30 Jan Švankmajer / Přežít svůj život / s. 51 NEDĚLE 22/09 ČTVRTEK 12/09 15.00 Josh Cooley / Toy Story 4: Příběh 18.00 Vlado Balco / Let asfaltového hraček / s. 45 holuba / s. 22 18.00 Antonín Máša / Skřivánčí ticho /s. 22 20.00 Kent Jones / Hitchcock – Truffaut Alfred Hitchcock / Příšerný host / PONDĚLÍ 23/09 s. 51 18.00 Kiril Cenevski / Utrpení / s. 54 20.30 Karrabing Film Collective / s. 54 PÁTEK 13/09 19.00 Steven C. Zahler / Na špatné ÚTERÝ 24/09 straně / s. 51 18.00 Irena Pavlásková / Corpus delicti /s. 22 21.45 Richard Donner / Smrtonosná zbraň 2 / 20.30 Charles Chaplin / Světla velkoměsta / s. 51 s. 11 Program 09–10 / 19 5 STŘEDA 25/09 20.30 Moritz Liewerscheidt / Zvrat století 16.45 Abram Room / Zloděj lásky / s. 42 SOBOTA 26/10 18.00 Allen Holubar / Vykoupení Alžběta Bačíková / Lékaři 18.30 Alexandr Mindadze / Milý Hansi, 19.00 Alexander Volkov / Kean / s. 61 Marshall Neilan / Táta Dlouhán / s. 29 Hito Steyerlová / Žurnál č. 1: Pocit Drahý Petře / s. 43 20.30 Jean Cocteau / Krev básníka výtvarného umělce / s. 57 21.00 Valerij Ogorodnikov / Přišvinovy NEDĚLE 27/10 + Orfeova závěť / s. 54 papírové oči / s. 43 15.00 Jacob Schuh – Jan Lachauer / NEDĚLE 06/10 Pohádky naruby / s. 46 ČTVRTEK 26/09 15.00 Rozálie Kohoutová – Tomáš Bojar / PONDĚLÍ 14/10 18.00 Pietro Germi / Svedená a opuštěná / Letní hokej / s. 45 20.30 Martin Scorsese / Zuřící býk / s. 18 ÚTERÝ 29/10 s. 25 18.00 Ján Kadár / Katka / s. 58 18.00 Československo – ostrov 20.30 Elia Kazan / V přístavu / s. 55 ÚTERÝ 15/10 demokracie / s. 61 PONDĚLÍ 07/10 20.30 Jean-Claude Brisseau / Sňatek bez 20.30 Elia Kazan / Tvář v davu / s. 62 PÁTEK 27/09 18.00 Paralelní kino / s. 58 domova / s. 59 18.00 Yannick Bellonová / Nahá láska / s. 55 20.30 Bong Joon-ho / Parazit / s. 17 STŘEDA 30/10 20.30 Arteacta / s. 55 STŘEDA 16/10 18.00 Věra Chytilová / Dědictví aneb ÚTERÝ 08/10 18.00 Henri-Georges Clouzot / Mzda Kurvahošigutntág / s. 23 NEDĚLE 29/09 18.00 Alexander Korda / Rembrandt / s. 58 strachu / s. 19 20.30 Claude Chabrol / Bestie musí 15.00 Ponrepo dětem / s. 45 20.30 Alfred Hitchcock / Psycho / s. 17 20.30 Hostem u Švankmajerů / s. 59 zemřít / s. 19 18.00 Helena Všetečková / Všichni mají pravdu / s. 55 STŘEDA 09/10 ČTVRTEK 17/10 ČTVRTEK 31/10 20.30 Jan Foukal / Poslední přednáška 20.30 Charles Chaplin / Monsieur 20.30 Pietro Germi / Alfréde, Alfréde! / s. 26 18.00 Film před sto lety / Francie Egona Bondyho / s. 55 Verdoux / s. 15 pacifistická a orientalistická / s. 30 21.30 Jean-Luc Godard / Pravda / s. 55 PÁTEK 18/10 20.30 Bong Joon-ho / Parazit / s. 17 ČTVRTEK 10/10 20.30 Otakar Votoček / Křídla slávy / s. 59 PONDĚLÍ 30/09 18.00 Pietro Germi / Rozvod po italsku / s. 25 18.00 Jean Cocteau / Kráska a zvíře / s. 56 20.30 Henri-Georges Clouzot / SOBOTA 19/10 20.30 Charles Chaplin / Zahaleči Havran / s. 18 14.00 Home Movie Day / s. 59 + Moderní doba / s. 14 PÁTEK 11/10 NEDĚLE 20/10 ÚTERÝ 01/10 15.00 Andrej Smirnov – Larisa Šepiťková / 15.00 Ponrepo dětem / s. 45 18.00 Antonín Máša / Byli jsme to my? / Začátek neznámé éry / s. 40 s. 23 17.00 Michail Kalatozov / Neodeslaný PONDĚLÍ 21/10 20.30 Pietro Germi / Tatínek / s. 25 dopis / s. 40 18.00 Paralelní kino / s. 60 19.30 Jurij Bykov / Hlupák / s. 40 20.30 Alexander Hick / Myslet jako hora / STŘEDA 02/10 22.00 Alexej Balabanov / O zrůdách s. 60 18.00 Film před sto lety / a lidech / s. 41 Prévost a Tolstoj / s. 29 ÚTERÝ 22/10 20.30 Jan Švankmajer / SOBOTA 12/10 18.00 Charles Chaplin / Světla ramp / s. 15 Lekce Faust / s. 56 13.00 Mark Donskoj / Draze zaplaceno / 20.30 Elia Kazan / Ameriko, Ameriko… / s. 60 s. 41 ČTVRTEK 03/10 15.00 Mark Osepjan / Tři dny Viktora STŘEDA 23/10 18.00 Charles Chaplin / Diktátor / s. 14 Černyšova / s. 41 18.00 Zdeněk Troška / Zkouškové 20.30 Billy Wilder / Ráz, dva, tři / s. 57 19.00 Vitalij Melnikov / Ahoj a sbohem / s. 42 období / s. 23 21.00 Kira Muratovová / Druhořadí lidé / 20.30 Claude Chabrol / Rudé zásnuby / s. 19 PÁTEK 04/10 s. 42 18.00 František Fenič / Zvláštní bytosti / ČTVRTEK 24/10 s. 23 NEDĚLE 13/10 18.00 Pietro Germi / Cesta naděje / s. 26 13.00 Alexandr Zarchi – Iosif Chejfic / 20.30 Jan Švankmajer / Něco z Alenky / s. 60 SOBOTA 05/10 Moje vlast / s. 42 18.00 Harun Farocki / Obrazy světa, zápis 15.00 Boris Bunějev / Nic a kocour PÁTEK 25/10 války / s. 57 Herkules / s. 45 18.00 Ruy Guerra / Pušky / s. 61 Program 09–10 / 19 7 …nahé tanečnice tančí v předměstském k lidem všech věků, všech národů. V tomhle varieté smíchovém esperantu najde každý pro své a vůně jejich krajek ti rozum láskou plete, veselí jiné důvody. S jeho pomocí by se neboť Paříž je svůdná a člověk neodolá. Babylónská věž bezpochyby dostavět dala. Zatímco čekáš na požitky /kinematografie Z tamějších básníků vážím si velmi Ivana budoucnosti/, ber s povděkem, co se ti Golla, nabízí, a hledej, co je v tom nejlepší. Nemůže neboť on právě jako já chodí rád do kina, být sporu o tom, že to nejlepší je Chaplin.“ a za nejsmutnějšího člověka pokládá Charlie Chaplina… Élie Faure „Chaplin je nejvěrohodnější génius Jaroslavu Seifertovi je něco přes dvacet, školy cinéplastique, v našich očích když ve své básni s názvem Paříž, v níž chce nejrozvinutější. Lidé debatují o tom, zdali vykreslit všechny odstíny svého toužení po autor kinematografického - já bych raději hlavním městě světové avantgardy nedlouho říkal kineplastického - scénáře má být po skončení světové války, provede brutální spisovatel či malíř a zda tu má vystupovat střih (zdaleka ne jediný v oné básni), herec či mim. Řešení všech těchto otázek jímž nás vytrhne z eroticky roztouženého se jmenuje Chaplin; nové umění si žádá prohlížení vonících krajek varietních nového umělce,“ napsal v roce 1920 tanečnic, aby nás seznámil s jakýmsi renomovaný kunsthistorik Élie Faure, autor spisovatelem, sdílejícím s ním jinou vášeň, pětisvazkových Dějin umění či monografie cinefilní; to jako důvod stačí. o Vélazquezovi. Se jménem Ivana Golla je spojena O art plastique mluví v souvislosti Chapliniáda, první z Chaplinovi věnovaných s Chaplinem také Juan Arroy, filmový L’avant-garde básnických poct přeložená do němčiny, žurnalista z okruhu Abela Ganceho; ve svém v roce 1920, pouhý rok po vydání textu Fotogenní tanec (1925) vyzdvihuje na francouzského originálu s kubistickými Chaplinových krátkých filmech z let 1915 až ilustracemi Fernanda Légera. Bilingvní Ivan 1917 jejich charakter baletu. Goll tu zafungoval jako prostředník mezi už Chaplin velmi pokročilou chaplinofilií francouzskou Louis Aragon, a chaplinofilií v německém kulturním vlivný surrealistický básník, tvrdí v roce prostoru, kde se sotva rodila, neboť nejen 1918: „Dokonce ani v těch nejlepších během války, ale z různých důvodů ani amerických filmech, dovolujících na plátně v prvních letech po jejím skončení se ještě z veteše divadelních adaptací vyextrahovat Chaplinovy filmy v Německu a v Rakousku poezii, nedokáže současná kinematografie nemohly objevit. Existovalo tu tedy určité rozvinout moc, kterou by mohla mít. Je tomu zpoždění, které bylo třeba dohnat, vždyť tak proto, že těch pár režisérů, jenž má pro nikomu z čtenářů, kteří z „provincie“ její krásu vyvinutý smysl, o filozofických dychtivě sledovali kulturní dění v „centru“, předpokladech filmu nic neví.
Recommended publications
  • Feature Films
    NOMINATIONS AND AWARDS IN OTHER CATEGORIES FOR FOREIGN LANGUAGE (NON-ENGLISH) FEATURE FILMS [Updated thru 88th Awards (2/16)] [* indicates win] [FLF = Foreign Language Film category] NOTE: This document compiles statistics for foreign language (non-English) feature films (including documentaries) with nominations and awards in categories other than Foreign Language Film. A film's eligibility for and/or nomination in the Foreign Language Film category is not required for inclusion here. Award Category Noms Awards Actor – Leading Role ......................... 9 ........................... 1 Actress – Leading Role .................... 17 ........................... 2 Actress – Supporting Role .................. 1 ........................... 0 Animated Feature Film ....................... 8 ........................... 0 Art Direction .................................... 19 ........................... 3 Cinematography ............................... 19 ........................... 4 Costume Design ............................... 28 ........................... 6 Directing ........................................... 28 ........................... 0 Documentary (Feature) ..................... 30 ........................... 2 Film Editing ........................................ 7 ........................... 1 Makeup ............................................... 9 ........................... 3 Music – Scoring ............................... 16 ........................... 4 Music – Song ...................................... 6 ..........................
    [Show full text]
  • Option Et Spécialité Cinéma-Audiovisuel : Liste Non Exhaustive Des Films À Voir (Ou À Revoir) Pendant Les Vacances Scolaire
    Option et spécialité Cinéma-audiovisuel : Liste non exhaustive des films à voir (ou à revoir) pendant les vacances scolaires Quelques chefs-d’œuvre du cinéma muet Naissance d’une Nation de D W Griffith (1915) Les Lumières de la Ville de Charles Chaplin (1931) Le Mécano de la Générale de Buster Keaton (1926) Le Cabinet du Docteur Caligari de Robert Wiene (1920) Metropolis de Fritz Lang (1927) Nosferatu le Vampire de F W Murnau (1922) La Roue de Abel Gance (1923) L’Aurore de F W Murnau (1927) Le Cuirassé Potemkine de Sergei Eisenstein (1925) La Mère de Vsevolod Poudovkine (1926) Un Chien Andalous de Luis Buñuel (1929) Le cinéma français d’entre-deux-guerres Marius de Alexandre Korda (1931) L’Atalante de Jean Vigo (1934) Quai des Brumes de Marcel Carné (1938) Le Jour se Lève de Marcel Carné (1939) La Belle Equipe de Julien Duvivier (1936) Pépé le Moko de Julien Duvivier (1937) La Grande Illusion de Jean Renoir (1937) La Règle du Jeu de Jean Renoir (1939) L’âge d’or des studios hollywoodiens Certains l’aiment chaud de Billy Wilder (1959) Chantons Sous la Pluie de Gene Kelly et Stanley Donen (1952) Gilda de Charles Vidor (1946) Citizen Kane d’Orson Welles (1941) La Dame de Shanghai d’Orson Welles (1947) La Nuit du Chasseur de Charles Laughton (1955) Vertigo d’Alfred Hitchcock (1958) Laura d’Otto Preminger (1944) Mirage de la Vie de Douglas Sirk (1959) La Vie est belle de Franck Capra (1946) L’âge d’or du cinéma japonais Rashomon d’Akira Kurosawa (1950) Les Sept Samouraïs d’Akira Kurosawa (1957) Voyage à Tokyo de Yasujiro Ozu (1953) Le Goût
    [Show full text]
  • LAH 350 Sicily: Myth, Reality and the Mafia
    LAH 350 Sicily: Myth, Reality and the Mafia Instructor: Daniela Bini Class time and place: TTH: 11:00-12:15; HRH 2.112 Office Hours: HRH 3.112C: Th 3:30-6:00 and by appointment e-mail: daniela.bini45@gmail.com; phone: 512-471-5995 At the cross of the Mediterranean, placed at the most strategic location, Sicily has been the coveted island of Greeks, Romans, Arabs, Normans, Spaniards. These diverse civilizations contributed to the creation of a Sicilian culture that is unique in its richness and complexity. The course will briefly survey the artistic traces left by those civilizations placing them in dialogue with the present Sicilian reality they contributed to create. From the Greek temples of Agrigento and Segesta through the Byzantine mosaics of Palermo and Cefalù, the baroque Spanish churches, to the lush colors of Guttuso’s paintings, the course will try to tie together the visual images of Sicily with its literary and filmic expressions. Major historical and social phenomena such as Mafia, Italian unification, sexual mores will be discussed through the texts of Verga, Pirandello, Sciascia, Tomasi di Lampedusa, and films by Petri, Visconti, Germi, Taviani brothers, Giordana, Crialese, Amenta. TEXTS: Verga, Giovanni: selected short stories on Canvas Pirandello, Luigi: Selected short stories on Canvas (please, print them for class discussion, since laptops, iPhone, iPads should not be used in class) Tomasi di Lampedusa, Giuseppe: The Leopard Brancati, Vitaliano: Beautiful Antonio Sciascia, Leonardo. The Day of the Owl ___________ Parts of Sicily as Metaphor FILMS Amenta, Marco: The Sicilian Girl Pietro Germi: Seduced and Abandoned Traviani Brothers: Kaos Crialese, Manuele: Respiro Marco Tullio Giordana: The One Hundred Steps On Canvas: Power points of Greek temples in Agrigento, Segesta, Senilunte; of Sicilian Baroque Architecture; of paintings by Antonello da Messina and Renato Guttuso with relative texts.
    [Show full text]
  • Bibliographie Der Filmmusik: Ergänzungen II (2014–2020)
    Repositorium für die Medienwissenschaft Hans Jürgen Wulff; Ludger Kaczmarek Bibliographie der Filmmusik: Ergänzungen II (2014– 2020) 2020 https://doi.org/10.25969/mediarep/14981 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Wulff, Hans Jürgen; Kaczmarek, Ludger: Bibliographie der Filmmusik: Ergänzungen II (2014–2020). Westerkappeln: DerWulff.de 2020 (Medienwissenschaft: Berichte und Papiere 197). DOI: https://doi.org/10.25969/mediarep/14981. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0197_20.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft: Berichte und Papiere 197, 2020: Filmmusik: Ergänzungen II (2014–2020). Redaktion und Copyright dieser Ausgabe: Hans J. Wulff u. Ludger Kaczmarek. ISSN 2366-6404. URL: http://berichte.derwulff.de/0197_20.pdf. CC BY-NC-ND 4.0. Letzte Änderung: 19.10.2020. Bibliographie der Filmmusik: Ergänzungen II (2014–2020) Zusammengestell !on "ans #$ %ul& und 'udger (aczmarek Mit der folgenden Bibliographie stellen wir unseren Leser_innen die zweite Fortschrei- bung der „Bibliographie der Filmmusik“ vor die wir !""# in Medienwissenschaft: Berichte und Papiere $#% !""#& 'rgänzung )* +,% !"+-. begr/ndet haben. 1owohl dieser s2noptische 3berblick wie auch diverse Bibliographien und Filmographien zu 1pezialproblemen der Filmmusikforschung zeigen, wie zentral das Feld inzwischen als 4eildisziplin der Musik- wissenscha5 am 6ande der Medienwissenschaft mit 3bergängen in ein eigenes Feld der Sound Studies geworden ist.
    [Show full text]
  • This Course Carries the Global Cultures Flag. Global Cultures Courses Are Designed to Increase Your Familiarity with Cultural Groups Outside the United States
    ITL 375 (37035) SICILY IN LITERATURE AND FILM Spring 2012 Instructor: Daniela Bini Office Hours: HRH 3.112C: W 10:30-11:00 and by appointment e-mail: bini@mail.utexas.edu; phone: 471-5995 Class meetings: TTh: 11:00-12:30, HRH 2.112; Screenings TBA COURSE DESCRIPTION Sicily has always occupied a priviledged place in the Italian literary and cinematic imagination. While such writers as Pirandello, Sciascia, and Verga have created what can legitimately be called a distinctly Sicilian category of Italian literature, such filmmakers as Visconti, Rosi, Tornatore, Giordana have been drawn to the island as a space for cinematic experimentation and artistic self- discovery. From Visconti's 1948 neorealist masterpiece La terra trema to Tornatore's 1988 Oscar- winning Cinema Paradiso, from Verga's late nineteenth century short stories to Sciascia's Mafia-based thrillers, Sicily has become both a mythic space of the mind, as well as a signifier, in extremis for its own, and the rest of Italy's, social, political, and historical concerns. The course will involve close analysis of selected novels, short stories, and films with specific focus on such issues as unification history, the Mafia, and social/sexual mores. Attendance at the screenings is required. This course will be taught in Italian. There will be four short papers (2-3 pages) to be written in Italian, a midterm and a final. Since the course will be conducted as a seminar, a great deal of emphasis will be placed on active class participation. The final grade will be computed as follows: Papers: 40%; Midterm: 20%; Final: 30%; Class Participation: 10% This course carries the Global Cultures flag.
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles Misery Is the True Script For
    UNIVERSITY OF CALIFORNIA Los Angeles Misery is the True Script for Comedy: A Study of Italian Film Comedy in the 1950s A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Italian by Christopher Burton White 2014 © Copyright by Christopher Burton White 2014 ABSTRACT OF THE DISSERTATION Misery is the True Script for Comedy: A Study of Italian Film Comedy in the 1950s by Christopher Burton White Doctor of Philosophy in Italian University of California, Los Angeles, 2014 Professor Thomas J. Harrison, Chair This dissertation fills a lacuna in the history of Italian cinema, formally analyzes a selection of significant film comedies from the 1950s, and challenges many of the assumptions that have been made about postWar Italian cinema. The conservative atmosphere of the fifties, the detrimental effects of censorship on Italian cinema, and the return of popular genres after the end of the widely-acclaimed neorealist period have led to assumptions about a limited engagement With contemporary Italian society in the motion pictures produced in Italy during the 1950s. While most critics and film historians vieW these years in Italian cinema as the disappointing aftermath of neorealism, a decade in Which conservative elements in Italian society pushed national cinema in the direction of facile optimism and escapism, this dissertation demonstrates that many comedies in fact engaged with Italian society, ii offering incisive critiques of contemporary Italy that pinpoint and satirize hypocrisy, inequality, and a host of other ills of the Italian republic in the 1950s. This study considers existing scholarship on Italian cinema and reevaluates films starring the popular Neapolitan actor Antonio De Curtis (Totò), Renato Castellani’s Due soldi di speranza (Two Cents Worth of Hope, 1952) and other examples of neorealismo rosa (rosy or pink neorealism), and the movies directed by Federico Fellini featuring Alberto Sordi, both in terms of aesthetics as well as subject matter.
    [Show full text]
  • Italian Neorealism, Vittorio De Sica, and Bicycle Thieves
    CHAPTER 4 ITALIAN NEOREALISM, VITTORIO DE SICA, AND BICYCLE THIEVES The post-World War II birth or creation of neorealism was anything but a collective theoretical enterprise—the origins of Italian neorealist cinema were far more complex than that. Generally stated, its roots were political, in that neorealism reacted ideologically to the control and censorship of the prewar cinema; aesthetic, for the intuitive, imaginative response of neorealist directors coincided with the rise or resurgence of realism in Italian literature, particularly the novels of Italo Calvino, Alberto Moravia, Cesare Pavese, Elio Vittorini, and Vasco Pratolini (a realism that can be traced to the veristic style first cultivated in the Italian cinema between 1913 and 1916, when films inspired by the writings of Giovanni Verga and others dealt with human problems as well as social themes in natural settings); and economic, in that this new realism posed basic solutions to the lack of funds, of functioning studios, and of working equipment. Indeed, what is sometimes overlooked in the growth of the neorealist movement in Italy is the fact that some of its most admired aspects sprang from the dictates of postwar adversity: a shortage of money made shooting in real locations an imperative choice over the use of expensive studio sets, and against such locations any introduction of the phony or the fake would appear glaringly obvious, whether in the appearance of the actors or the style of the acting. It must have been paradoxically exhilarating for neorealist filmmakers to be able to stare unflinchingly at the tragic spectacle of a society in shambles, its values utterly shattered, after years of making nice little movies approved by the powers that were within the walls of Cinecittà.
    [Show full text]
  • FESTA DEL CINEMA DI ROMA | ROME FILM FEST 15Th Edition | October 15 – 25, 2020
    FESTA DEL CINEMA DI ROMA | ROME FILM FEST 15th edition | October 15 – 25, 2020 PRESS CONFERENCE October 5, 2020 12 pm | Sala Petrassi | Auditorium Parco della Musica, Rome Streaming on https://www.facebook.com/romacinemafest https://www.youtube.com/user/romacinemafest PRESS KIT CONTENT o Minister of Cultural Heritage and Activities and Tourism, Dario Franceschini o Mayor of Roma Capitale, Virginia Raggi o Governor of Regione Lazio, Nicola Zingaretti o President of Rome Chamber of Commerce, Industry, Handicrafts, and Agriculture, Lorenzo Tagliavanti o President of Fondazione Musica per Roma, Claudia Mazzola, and CEO of Fondazione Musica per Roma, Daniele Pitteri o President of Istituto Luce-Cinecittà, Maria Pia Ammirati o President of Fondazione Cinema per Roma, Laura Delli Colli o General Director of Fondazione Cinema per Roma, Francesca Via o Artistic Director of Rome Film Fest, Antonio Monda th o 15 Rome Film Fest o Official Selection o In co-production with Alice nella città o Everybody’s talking about it o Special Events o Close Encounters o Duel – Loyalty/Betrayals o “Pre-opening” screenings – October with the Rome Film Fest o Retrospectives o Restored Films and Tributes o Riflessi o Films of our Lives o Rome Film Fest – social and environmental commitment o Other events at the Rome Film Fest o Alice nella città – the lineup o General Information o How to attend the Rome Film Fest – Tickets, advance sales, prices, accreditations o How to get here o Guide to the venue o Venues and services for the press Sede Operativa: Piazzale Cardinal Consalvi 9, 00196 Roma | Sede legale Viale Pietro de Coubertin 10, 00196 Roma | ph.
    [Show full text]
  • Introduction
    Introduction Austin Fisher n many ways, the remit of this book revolves around an obvious Iproposition. The Spaghetti Western, as a transatlantic meeting place, is of necessity a cinematic category to be considered in international contexts, the hundreds of fi lms which the category comprises docu- menting shifts in Italy’s cultural outlook, as the reference points of American popular culture became ever more visible in the post-war years. Yet an Italo-American focus tells only a fraction of a story in which myriad strands of infl uence converged within, and continue to emanate from, this amorphous group of fi lms. Spaghetti Western is a classifi cation constantly in transit between cultures, genres and conceptions of taste, and its patterns of production, distribution and consumption display diverse acts of ‘border crossing’ and translation. By appraising a broad selection of fi lms – from the internationally famed works of Sergio Leone to the cult cachet of Sergio Corbucci and the more obscure outputs of such directors as Giuseppe Colizzi and Ferdinando Baldi – this volume seeks to reconsider the cultural signifi - cance of the Italian Western, its position within global cinema and its continuing trends of reception and appropriation around the globe. Scholarly volumes are always at pains to stress their timeliness in rela- tion to trends within their broader disciplines, and in this respect this one is no different. What Mette Hjort has termed Film Studies’ ‘transnational turn’ (2010: 13) highlights a desire to understand the ways in which cinema has offered a means to document the movement of peoples and identities across perceived cultural and spatial boundaries.
    [Show full text]
  • Join Us. 100% Sirena Quality Taste 100% Pole & Line
    melbourne february 8–22 march 1–15 playing with cinémathèque marcello contradiction: the indomitable MELBOURNE CINÉMATHÈQUE 2017 SCREENINGS mastroianni, isabelle huppert Wednesdays from 7pm at ACMI Federation Square, Melbourne screenings 20th-century February 8 February 15 February 22 March 1 March 8 March 15 7:00pm 7:00pm 7:00pm 7:00pm 7:00pm 7:00pm Presented by the Melbourne Cinémathèque man WHITE NIGHTS DIVORCE ITALIAN STYLE A SPECIAL DAY LOULOU THE LACEMAKER EVERY MAN FOR HIMSELF and the Australian Centre for the Moving Image. Luchino Visconti (1957) Pietro Germi (1961) Ettore Scola (1977) Maurice Pialat (1980) Claude Goretta (1977) Jean-Luc Godard (1980) Curated by the Melbourne Cinémathèque. 97 mins Unclassified 15+ 105 mins Unclassified 15+* 106 mins M 101 mins M 107 mins M 87 mins Unclassified 18+ Supported by Screen Australia and Film Victoria. Across a five-decade career, Marcello Visconti’s neo-realist influences are The New York Times hailed Germi Scola’s sepia-toned masterwork “For an actress there is no greater gift This work of fearless, self-exculpating Ostensibly a love story, but also a Hailed as his “second first film” after MINI MEMBERSHIP Mastroianni (1924–1996) maintained combined with a dreamlike visual as a master of farce for this tale remains one of the few Italian films than having a camera in front of you.” semi-autobiography is one of Pialat’s character study focusing on behaviour a series of collaborative video works Admission to 3 consecutive nights: a position as one of European cinema’s poetry in this poignant tale of longing of an elegant Sicilian nobleman to truly reckon with pre-World War Isabelle Huppert (1953–) is one of the most painful and revealing films.
    [Show full text]
  • An Homage to Marcello Mastroianni Saturday, September 22, 2018 Castro Theatre, San Francisco
    Ciao, Marcello! An Homage to Marcello Mastroianni Saturday, September 22, 2018 Castro Theatre, San Francisco An overdue homage to a great star 60 years after the making of “La Dolce Vita”, featuring the works of four directors for one actor in one day. Presented in collaboration with The Leonardo da Vinci Society, The Consul General of Italy and The Italian Cultural Institute of San Francisco. With gratitude to Luce Cinecittá, Janus Films, Kino Lorber, and Paramount Pictures. Yesterday, Today and Tomorrow (1963) 119 min. BD 10:00 AM Directed by Vittorio De Sica with Sophia Loren 8½ (1963) 138 min. 35 mm 1:00 PM Directed by Federico Fellini with Claudia Cardinale, Anouk Aimèe, Sandra Milo A Special Day (1977) 106 min. 35 mm 3:30 PM Directed by Ettore Scola with Sophia Loren La Dolce Vita (1960) 173 min. DCP 6:00 PM Directed by Federico Fellini with Anita Ekberg Via Veneto Party 9:00 PM-10:30 PM Divorce Italian Style (1961) 105 min. 35 mm 10:30 PM Directed by Pietro Germi with Daniela Rocca, Stefania Sandrelli Marcello Mastroianni A more intimate Marcello, who after the 10 years in the theater under the artistic wing of Luchino Visconti, arrives to the big success of “La Dolce Vita”, never forgetting the intimate life of the average Italian of the time. He molds and changes according to the director that he works with, giving us a kaleidoscope of images of Italy of the 60s. Marcello said: “Yes! I confess, I prefer cinema to theater. Yes, I prefer it for approximation and improvisations, for its confusion.
    [Show full text]
  • Author Functions, Auteur Fictions Understanding Authorship in Conglomerate Hollywood Commerce, Culture, and Narrative
    Author Functions, Auteur Fictions Understanding Authorship in Conglomerate Hollywood Commerce, Culture, and Narrative VOLUME II: APPENDICES Thomas James Wardak A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities School of English Literature March 2017 Bibliography ‘2009 WORLDWIDE GROSSES’, Box Office Mojo (n.d.) <http://www.boxofficemojo.com/yearly/chart/?view2=worldwide&yr=2009> [accessed 13 March 2017]. ‘2015 WORLDWIDE GROSSES’, Box Office Mojo (n.d.) <http://www.boxofficemojo.com/yearly/chart/?view2=worldwide&yr=2015> [accessed 13 March 2017]. ‘3D screens—2004 onwards’, UK Cinema association (n.d.) <http://www.cinemauk.org.uk/the- industry/facts-and-figures/uk-cinema-industry-infrastructure/3d-screens/> [accessed 13 March 2017]. ‘ABOUT REDDIT’, Reddit (13 April 2016) <https://web.archive.org/web/20160413011025/https://www.reddit.com/about/> [accessed 13 March 2017]. ‘Box office revenue in North America from 1980 to 2015 (in billion U.S. dollars)’, Statista: The Statistics Portal (2016) <http://www.statista.com/statistics/187069/north-american-box- office-gross-revenue-since-1980/> [accessed 13 March 2017]. ‘Comic Book Sales by Year’, Comichron (n.d.) <http://www.comichron.com/yearlycomicssales.html> [accessed 13 March 2017]. ‘Footfall Breakdown for each Station’, Network Rail (n.d.) <https://web.archive.org/web/20160910230139/https://www.networkrail.co.uk/Footfa llBreakdownForEachStation.pdf> [accessed 13 March 2017]. ‘John Ford’s Young Mr. Lincoln: A collective text by the Editors of Cahiers du Cinéma’, trans. Helen Lackner and Diana Matias, Screen, 13.3 (1972), 5-44. ‘Monthly reach of Empire magazine in the United Kingdom (UK) from October 2012 to September 2015 (in 1,000s)’, Statista: The Statistics Portal (n.d.) <http://www.statista.com/statistics/413664/empire-monthly-reach-uk/> [accessed 13 March 2017].
    [Show full text]