DOCSLIB.ORG

9 SETTIMANE E ½ ALLA CASA DEL CINEMA 11 Luglio – 12 Settembre Sala Deluxe E Teatro All’Aperto Ore 21

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
9 SETTIMANE E ½ ALLA CASA DEL CINEMA 11 Luglio – 12 Settembre Sala Deluxe E Teatro All’Aperto Ore 21 9 SETTIMANE e ½ ALLA CASA DEL CINEMA 11 luglio – 12 settembre Sala Deluxe e Teatro all’aperto ore 21 Ingresso gratuito consentito fino ad esaurimento posti Largo Marcello Mastroianni, 1 - 00197 Roma (a 50 metri da Porta Pinciana e da Via Veneto) Info tel. 060608 www.casadelcinema.it www.060608.it In caso di pioggia le proiezioni previste al Teatro all’aperto si terranno nella Sala Deluxe Il programma può subire variazioni LUNEDI 11 LUGLIO | SALA DELUXE Buon compleanno a…FRANCO GIRALDI ore 16.30 LA GIACCA VERDE Italia, 1969, 103’ ore 19 GLI ORDINI SONO ORDINI Italia, 1972, 110’ LUNEDI 11 LUGLIO ORE 21 | TEATRO ALL’APERTO Shakespeare al Cinema SHAKESPEARE IN LOVE di John Madden USA, 1998, 123’ (v.o. con sottotitoli) MARTEDI 12 LUGLIO ORE 21 | TEATRO ALL’APERTO Omaggio a Nino Rota ROMA di Federico Fellini Italia, 1972, 120’ MERCOLEDI 13 LUGLIO ORE 21 | TEATRO ALL’APERTO Omaggio a Nino Rota SOTTO IL SOLE DI ROMA di Renato Castellani Italia, 1948, 104’ GIOVEDI 14 LUGLIO ORE 21 | SALA DELUXE Omaggio a Nino Rota GIOVANI MARITI di Mauro Bolognini Italia, Francia, 1958, 98’ DOMENICA 17 LUGLIO ORE 21 | TEATRO ALL’APERTO Omaggio a Nino Rota ASSASSINIO SUL NILO di John Guillermin Death on the Nile GB, 1978, 140’ LUNEDI 18 LUGLIO ORE 21 | TEATRO ALL’APERTO Shakespeare al Cinema PROSPERO’S BOOK di Peter Greenaway L’ultima tempesta GB, Olanda, Fr, Giappone, Ita, 1991, 124’ (v.o. con sottotitoli) MERCOLEDI 20 LUGLIO ORE 21 | TEATRO ALL’APERTO Omaggio a Nino Rota VITA DA CANI di Steno e Mario Monicelli Italia, 1950, 90’ GIOVEDI 21 LUGLIO ORE 21 | SALA DELUXE Omaggio a Nino Rota MIO FIGLIO PROFESSORE di Renato Castellani Italia, 1946, 85’ DOMENICA 24 LUGLIO ORE 21 | TEATRO ALL’APERTO Buon compleanno a…ERMANNO OLMI IL MESTIERE DELLE ARMI Italia, Fr, Ge, 2000, 100’ LUNEDI 25 LUGLIO ORE 21 | TEATRO ALL’APERTO Shakespeare al Cinema LOVE’S LABOUR’S LOST di Kenneth Branagh Pene d’amor perdute GB, 1999, 95’ (v.o. con sottotitoli) MARTEDI 26 LUGLIO ORE 21 | TEATRO ALL’APERTO Omaggio a Nino Rota UN EROE DEI NOSTRI TEMPI di Mario Monicelli Italia, 1955, 90’ MERCOLEDI 27 LUGLIO ORE 21 | TEATRO ALL’APERTO Omaggio a Nino Rota L’ISOLA DI ARTURO di Damiano Damiani Italia, 1962, 92’ GIOVEDI 28 LUGLIO ORE 21 | SALA DELUXE Omaggio a Nino Rota LE MISERIE DEL SIGNOR TRAVET di Mario Soldati Italia, 1945, 100’ DOMENICA 31 LUGLIO ORE 21 | TEATRO ALL’APERTO Omaggio a Nino Rota AMARCORD di Federico Fellini Italia, Fr, 1973, 127’ LUNEDI 1 AGOSTO ORE 21 | TEATRO ALL’APERTO Shakespeare al Cinema ROMEO AND JULIET di Franco Zeffirelli Romeo e Giulietta Italia, GB, 1968, 132’(v.o. con sottotitoli) MARTEDI 2 AGOSTO ORE 21 | TEATRO ALL’APERTO Omaggio a Nino Rota OBSESSION di Edward Dmytryk Ossessione – Vendico il tuo peccato Italia, 1949, 93’ (v.o. con sottotitoli) MERCOLEDI 3 AGOSTO ORE 21 | TEATRO ALL’APERTO Omaggio a Nino Rota IL MOMENTO PIÙ BELLO di Luciano Emmer Italia Francia, 1957, 92’ GIOVEDI 4 AGOSTO ORE 21 | SALA DELUXE Omaggio a Nino Rota LA BELLA DI ROMA di Luigi Comencini Italia, 1955, 99’ DOMENICA 7 AGOSTO ORE 21 | TEATRO ALL’APERTO Omaggio a Nino Rota WAR AND PEACE di King Vidor Guerra e pace Italia, USA, 1956, 200’ (v.o. con sottotitoli) LUNEDI 8 AGOSTO ORE 21 | TEATRO ALL’APERTO Shakespeare al Cinema SOGNO DI UNA NOTTE D’ESTATE di Gabriele Salvatores Italia, 1983, 98’ MARTEDI 9 AGOSTO ORE 21 | TEATRO ALL’APERTO Omaggio a Nino Rota THE GODFATHER di Francis Ford Coppola Il padrino USA, 1972, 168’(v.o. con sottotitoli) MERCOLEDI 10 AGOSTO ORE 21 | TEATRO ALL’APERTO Omaggio a Nino Rota THE GODFATHER, part II di Francis Ford Coppola Il padrino, parte seconda USA, 1974, 194’ (v.o. con sottotitoli) GIOVEDI 11 AGOSTO ORE 21 | TEATRO ALL’APERTO Omaggio a Nino Rota MAFIOSO di Alberto Lattuada Italia, 1962, 106’ LUNEDI 22 AGOSTO ORE 21 | TEATRO ALL’APERTO Shakespeare al Cinema TWELFTH NIGHT di John Sichel La dodicesima notte GB, 1969, 110’ (v.o. con sottotitoli) MARTEDI 23 AGOSTO ORE 21 | TEATRO ALL’APERTO Omaggio a Nino Rota GIULIETTA DEGLI SPIRITI di Federico Fellini Italia, 1965, 132’ MERCOLEDI 24 AGOSTO ORE 21 | TEATRO ALL’APERTO Omaggio a Nino Rota WATERLOO di Sergei Bondarciuk Italia, URSS, 1970, 140’ GIOVEDI 25 AGOSTO ORE 21 | TEATRO ALL’APERTO Omaggio a Nino Rota FILM D'AMORE E D'ANARCHIA OVVERO: STAMATTINA ALLE 10 IN VIA DEI FIORI NELLA NOTA CASA DI TOLLERANZA... di Lina Wertmüller Italia, 1973, 113’ DOMENICA 28 AGOSTO ORE 21 | TEATRO ALL’APERTO Omaggio a Nino Rota IL GATTOPARDO di Luchino Visconti Italia, 1963, 205’ LUNEDI 29 AGOSTO ORE 21 | TEATRO ALL’APERTO Shakespeare al Cinema RICHARD III di Laurence Olivier Riccardo III GB, 1955, 140’ (v.o. con sottotitoli) MARTEDI 30 AGOSTO ORE 21 | TEATRO ALL’APERTO Omaggio a Nino Rota IL BIDONE di Federico Fellini Italia, Francia, 1955, 104’ MERCOLEDI 31 AGOSTO ORE 21 | TEATRO ALL’APERTO Omaggio a Nino Rota DELITTO IN PIENO SOLE di René Clément Plein Soleil Francia, 1960, 120’ GIOVEDI 1 SETTEMBRE ORE 21 | SALA DELUXE Omaggio a Nino Rota VIVERE IN PACE di Luigi Zampa Italia, 1946, 89’ DOMENICA 4 SETTEMBRE ORE 21 | TEATRO ALL’APERTO Buon compleanno a… RIZ ORTOLANI MA QUANDO ARRIVANO LE RAGAZZE? di Pupi Avati Italia, 2005, 146’ LUNEDI 5 SETTEMBRE ORE 21 | TEATRO ALL’APERTO Shakespeare al Cinema LOOKING FOR RICHARD di Al Pacino Riccardo III. Un uomo un re USA, 1996, 115’ (v.o. con sottotitoli) MARTEDI 6 SETTEMBRE ORE 21 | TEATRO ALL’APERTO Omaggio a Nino Rota LA DOMENICA DELLA BUONA GENTE di Anton Giulio Majano Italia, 1953, 95’ MERCOLEDI 7 SETTEMBRE ORE 21 | TEATRO ALL’APERTO Omaggio a Nino Rota PARANOID PARK di Gus Van Sant Fr, USA, 2007, 85’ GIOVEDI 8 SETTEMBRE ORE 21 | SALA DELUXE Omaggio a Nino Rota CARO MICHELE di Mario Monicelli Italia, 1976, 110’ DOMENICA 11 SETTEMBRE ORE 21 | TEATRO ALL’APERTO Omaggio a Nino Rota PROVA D’ORCHESTRA di Federico Fellini Italia, Germania, 1979, 70’ LUNEDI 12 SETTEMBRE ORE 21 | TEATRO ALL’APERTO Shakespeare al Cinema RICHARD III di Richard Loncraine Riccardo III GB, 1995, 105’ (v.o. con sottotitoli) Programma realizzato in collaborazione con il CENTRO SPERIMENTALE DI CINEMATOGRAFIA-CINETECA NAZIONALE e grazie al generoso contributo di: NORBERTO VEZZOLI 20TH CENTURY FOX, CECCHI GORI, DALL’ANGELO PICTURES, FILMAURO, FILM & VIDEO, LUCKY RED, MEDUSA, MINERVA PICTURES, MONDO HOME ENTERTAINMENT, MOVIE HEART, RAI CINEMA, RAI TECHE, RIPLEY’S FILM, SURF FILM, TITANUS, UNIVERSAL, WARNER BROS., 01 DISTRIBUTION. Ufficio Stampa Casa del Cinema - Zètema Progetto Cultura Giusi Alessio +39 06 82077327 - +39 340 4206562 [email protected] www.zetema.it .
Load more

Recommended publications
  • Mary in Film
    PONT~CALFACULTYOFTHEOLOGY "MARIANUM" INTERNATIONAL MARIAN RESEARCH INSTITUTE (UNIVERSITY OF DAYTON) MARY IN FILM AN ANALYSIS OF CINEMATIC PRESENTATIONS OF THE VIRGIN MARY FROM 1897- 1999: A THEOLOGICAL APPRAISAL OF A SOCIO-CULTURAL REALITY A thesis submitted to The International Marian Research Institute In Partial Fulfillment of the Requirements for the degree Licentiate of Sacred Theology (with Specialization in Mariology) By: Michael P. Durley Director: Rev. Johann G. Roten, S.M. IMRI Dayton, Ohio (USA) 45469-1390 2000 Table of Contents I) Purpose and Method 4-7 ll) Review of Literature on 'Mary in Film'- Stlltus Quaestionis 8-25 lli) Catholic Teaching on the Instruments of Social Communication Overview 26-28 Vigilanti Cura (1936) 29-32 Miranda Prorsus (1957) 33-35 Inter Miri.fica (1963) 36-40 Communio et Progressio (1971) 41-48 Aetatis Novae (1992) 49-52 Summary 53-54 IV) General Review of Trends in Film History and Mary's Place Therein Introduction 55-56 Actuality Films (1895-1915) 57 Early 'Life of Christ' films (1898-1929) 58-61 Melodramas (1910-1930) 62-64 Fantasy Epics and the Golden Age ofHollywood (1930-1950) 65-67 Realistic Movements (1946-1959) 68-70 Various 'New Waves' (1959-1990) 71-75 Religious and Marian Revival (1985-Present) 76-78 V) Thematic Survey of Mary in Films Classification Criteria 79-84 Lectures 85-92 Filmographies of Marian Lectures Catechetical 93-94 Apparitions 95 Miscellaneous 96 Documentaries 97-106 Filmographies of Marian Documentaries Marian Art 107-108 Apparitions 109-112 Miscellaneous 113-115 Dramas
    [Show full text]
  • Shakespeare Cinema: Romeo & Juliet
    SHAKESPEAREONFILM SHAKESPEARE CINEMA: ROMEO & JULIET PART ONE SHAKESPEARE IN PERFORMANCE - THEN AND NOW Act One, Scene One Enter Sampson and Gregory, with swords and bucklers, of the house of Capulet. The first instructions given in ROMEO AND JULIET to the actors are very brief: “Two actors enter’. But what do they enter? A house? A street? A tavern? Is it important for us to know? For Shakespeare’s audience it would not have been important. From what the Chorus has already said they would know that the play was set in Verona and so they would have an idea of the general location of the play. The two actors would have entered onto a stage. And that was all. No backdrops, no complicated scenery. Just a stage, probably bare. It is perhaps difficult for us to understand that audiences would accept this because we are so used to seeing television and film where directors try to make settings as realistic as possible. Our visual expectations when we go to see a play are very different from those of audiences 400 years ago. RESEARCH TASK Find a drawing of the original Globe Theatre. How is it different from a modern theatre? What sort of costumes did the actors in Shakespeare’s time use when they were performing? What sorts of people used to go to the theatre in Shakespeare’s time? Today, we expect ‘realistic’ performances of Shakespeare’s plays - if it says in the text that ROMEO AND JULIET takes place in Verona, then what do we expect? Probably Italian style town settings and carefully designed house interiors.
    [Show full text]
  • THE MUSEUM of MODERN ART If WEST 53 STREET, NEW YORK 19, N
    THE MUSEUM OF MODERN ART If WEST 53 STREET, NEW YORK 19, N. Y. TftfPHONI: CIRCLE 5-8900 FOR RELEASE: kl May 1, 1955 No SCHEDULE OF EXHIBITIONS AND EVENTS MUSEUM HOURS: ADMISSION: Weekdays 12 - 7 p.*.(») Adults 60fi Sundays 1 - 7 p.m. Children 20/£ Note: Full releases on each exhibition are available five days before the opening. Photographs are available on request, MAY OPENINGS AND EVENTS f May fc RODIN S MONUMENT TO BALZAC on view in the Museum garden. A gift to the Museum by friends of the late Curt Valentin. May 11 - Aug.7 THE NEW DECADE: 22 EUROPEAN PAINTERS AND SCULPTORS. 85 paintings and sculptures selected by Andrew Carnduff Ritchie, Director of the Museum's Department of Painting and Sculpture. The exhibition will open concurrently with the Whitney Museum's exhibition: The New Decade: 35 American Painters and Sculptors.(Press preview: May 10 '- 1-5 p.m.) (third floor) May 17 & 18 ** THE STORY OF APU AND DUTGA - World Premiere of a feature film of (sold out for Bengal village life, produced by Satyajit Ray of Calcutta, 1955. May 17th eve.) The last of "The Living Arts of India"series of evenings to be presented by the Museum's Junior Council in connection with the 8:30 p.m. in the exhibition, "Textiles and Ornamental Arts of India," currently Auditorium on view in the Museum's first floor galleries. Admission: Members and Students - $2.25, Non-members - $3.00 May 25 - Sept. 5 PAINTINGS FROM PRIVATE COLLECTIONS. An exhibition of approximately 100 important paintings from the collections of friends of the Museum, planned to complement the "Paintings from the Museum Collection" exhibition with which the Museum's 25th Anniversary celebration opened.
    [Show full text]
  • La Bella Estate
    Biblioteca civica U. Pozzoli – Lecco FILM vincitori del LEONE D’ORO alla Mostra d’Arte Cinematografica di Venezia (posseduti dalla biblioteca) - 1934: Robert Flaerthy, L’uomo di Aran (Coppa Mussolini). - 1935: Clarence Brown, Anna Karenina (Coppa Mussolini). - 1936: Augusto Genina, Lo squadrone bianco (Coppa Mussolini). - 1937: Carmine Gallone, Scipione l’Africano (Coppa Mussolini). - 1940: Augusto Genina, L’assedio dell’Alcazar (Coppa Mussolini). - 1946: Jean Renoir, L’uomo del Sud. - 1948: Laurence Oliver, Amleto. - 1951: Akira Kurosawa, Rashomon. - 1952: René Clément, Jeux interdix. - 1954: Renato Castellani, Giulietta e Romeo. - 1955: Carl Theodor Dreyer, Ordet. - 1957: Ray Satyajit, Aparajito. - 1959: Mario Monicelli, La grande guerra. Roberto Rossellini, Il generale Della Rovere. _______________________________________________________________________________________ Piazza Diaz, 1 - 23900 LECCO - C.F. e P.IVA 00623530136 - tel. centralino 0341 481111 - fax 0341 286874 - www.comune.lecco.it - 1961: Alain Resnais, L’anno scorso a Marienbad. - 1962: Valerio Zurlini, Cronaca familiare. Andrej Tarkovskji, L’infanzia di Ivan. - 1963: Francesco Rosi, Le mani sulla città. - 1964: Michelangelo Antonioni, Deserto rosso. - 1965: Luchino Visconti, Vaghe stelle dell’Orsa… - 1966: Gillo Pontecorvo, La battaglia di Algeri. - 1967: Luis Buñuel, Bella di giorno. - 1980: Loius Malle, Atlantic City. - 1981: Margarethe von Trotta, Anni di piombo. - 1982: Wim Wenders, Lo stato delle cose. - 1983: Jean-Luc Godard, Prénom Carmen. - 1985: Agnès Varda, Senza tetto né legge. - 1986: Éric Rohmer, Il raggio verde. - 1987: Louis Malle, Arrivederci ragazzi. - 1988: Ermanno Olmi, La leggenda del santo bevitore. - 1992: Zhang Yimou, La storia di Qiu Ju. - 1993: Robert Altman, America Oggi. Krzysztof Kieślowski, Tre Colori - Film Blu. - 1994: Milcho Manchevski, Befor the rain. - 1996: Neil Jordan, Michael Collins.
    [Show full text]
  • Filmographie
    347 Filmographie Abbasso la miseria! (Gennaro Righelli, 1945) Acciaio (Walter Ruttmann, 1933) Achtung! Banditi! (Carlo Lizzani, 1951) L’amore (Roberto Rossellini, 1948) Anna (Alberto Lattuada, 1951) I bambini ci guardano (Vittorio De Sica, 1943) Bambini in città (Luigi Comencini, 1946) Il bandito (Alberto Lattuada, 1946) Il bell’Antonio (Mauro Bolognini, 1960) Bellissima (Luchino Visconti, 1951) Berliner Ballade (Robert Adolf Stemmle, 1948) Cabiria (Giovanni Pastrone, 1914) Caccia tragica (Giuseppe De Santis, 1947) Camicia nera (Giovacchino Forzano, 1933) Campane a martello (Luigi Zampa, 1950) Campo de’ Fiori (Mario Bonnard, 1943) Catene (Raffaello Matarazzo, 1949) Cielo sulla palude (Augosto Genina, 1949) La Ciociara (Vittorio De Sica, 1960) Comacchio (Fernando Cerchio, 1942) La confessione di una donna (Amleto Palermi, 1928) Il delitto di Giovanni Episcopo (Alberto Lattuada, 1947) Desiderio (Roberto Rossellini, 1946) Due lettere anonime (Mario Camerini, 1945) Eins-zwei-drei Corona! (Hans Müller, 1948) I fi gli di nessuno (Raffaello Matarazzo, 1951) La fortuna di essere donna (Alessandro Blasetti, 1956) Gente del Po (Michelangelo Antonioni, 1943, veröffentlicht 1947) Germania anno zero (Roberto Rossellini, 1947) Gioventù perduta (Pietro Germi, 1947) Il grande appello (Mario Camerini, 1936) La grande bouffe (Marco Ferreri, 1973) In jenen Tagen (Helmut Käutner, 1947) Irgendwo in Berlin (Gerhard Lamprecht, 1946) Ladri di biciclette (Vittorio De Sica, 1949) Liebe 47 (Wolfgang Liebeneiner, 1949) Luci del varietà (Federico Fellini, 1950) Luciano
    [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]
  • TL0396 A3 Programme Nono Rota V2
    MAURO GIOA Mauro Gioa has often sought to bring the most disturbing CADOGAN HALL and dreamlike aspects of Italian popular music to the SUNDAY 3 OCTOBER 2010 stage. “I’m not a singer,” he says. “I’m a stage designer who sings, and who evokes and describes things.” Throughout his career, Mauro Gioia has tried to resurrect Created by Mauro Gioia the theatrical traditions of his native city Naples through cabaret and variety performances, so that they continue to Arrangement: Tonino Esposito remain a vital part of 21st century Italian culture. A long- time admirer of Nino Rota’s music, Gioia decided to bring Piano: Fabrizio Romano Rota’s musical riches to the concert hall, and invite Clarinet and Saxophone: Gianni Minale international artists to rediscover the music for themselves. Violin: Gianluca Falasca Trumpet: Gianfranco Campagnoli Doublebass: Luigi Sigillo MARIA DE MEDEIROS Drums: Salvatore Minale Maria de Medeiros was born in Portugal but at the age of Performed by Light and technical direction: Gianni Caccia 18 she moved to France to pursue a career in acting. Mauro Gioia Medeiros has had a rich career both on and off screen in Sound direction: Benjamin Feuillade various international productions. One of Medeiros' most Maria de Medeiros Backline: Olivier Legrand memorable film appearances was in Quentin Tarantino's Martirio Pulp Fiction, playing Butch Coolidge's (Bruce Willis’) Catherine Ringer Performed by Mauro Gioia, Maria de Medeiros, Martirio, Catherine girlfriend Fabienne. Medeiros’ music career took off in Ringer and Sharleen Spiteri. 2007 when she released her album, A Little More Blue, in and Sharleen Spiteri which she performed songs by Brazilian musicians.
    [Show full text]
  • Italian Neorealism in NY. Life Lessons at the Lincoln Center's
    Italian Neorealism in NY. Life Lessons at the Lincoln Center’s Walter Reade Theater Published on iItaly.org (http://www.iitaly.org) Italian Neorealism in NY. Life Lessons at the Lincoln Center’s Walter Reade Theater Natasha Lardera (November 06, 2009) When you hear the words Life Lessons, what do you think about? A self help book, a seminar held at your neighborhood church or the next topic of discussion on Oprah? Whichever you have picked, we are sorry to say, you’ll be luckier next time. This time around the phrase Life Lessons is going to take Page 1 of 6 Italian Neorealism in NY. Life Lessons at the Lincoln Center’s Walter Reade Theater Published on iItaly.org (http://www.iitaly.org) you to Lincoln Center’s Walter Reade Theater for the biggest ever collection of Italian Neorealism films ever put together. Interview with Richard Peña, Program Director at the Film Society The Film Society of Lincoln Center [2], in association with Cinecittà Luce [3], and the Fondazione Centro Sperimentale di Cinematografia-Cineteca Nazionale [4], are presenting the most complete series on Italian Neorealism ever screened in New York, "Life Lessons: Italian Neorealism and the Birth of Modern Cinema", a month-long (last day is November 25th) 40-film series on the film movement from postwar Italy. “Birthed from the ashes and rubble-strewn landscapes of 1940s Italy, Neorealist films were both unique stylistically and thematically. Shot on location, using available light, casting non-professional actors, these films were revolutionary also for their candid depictions of the working class.
    [Show full text]
  • Italian Film Cylce to Be Shown at MOMA
    _, FOB RELEASE: MONDAY THE MUSEUM OF MODERN ART March ,, 1955 „ WBT 33 STMET, NIW YORK •». N. Y. £^ ^^ No. lo ITALIAN FITJI CYCLE TO BE SHOWN AT MUSEUM OF MODERN ART 50 YEARS OF ITALIAN CINEMA, the first survey of the development of the film in Italy to be shown in the United States, will be presented by the Film Library of the Museum of Modern Art beginning March 21, in the Museum's Auditorium, 11 West 53 Street, The retrospect, consisting of some thirty films, more than a third of which have never before been shown in the United States, is part of the Museum's 25th Anniversary year-long celebration. It marks as well the occasion of the 50th Anni­ versary of Italian films, the first of which, THE TAKING OF ROME, was produced in 1905* Films are shown ttice daily at 3 and 5130 p.m. In the Museum Auditorium. Commenting on the retrospect, Richard Griffith, Curator of the Film Library, says: "Twice in the course of motion picture history, Italian films have achieved world-wide fame and influence. Before the first World War, such spectacles as QUO VADIS? and CABIRIA brought the growing film medium to a new level of artistry, helped to establish its prestige, and deeply affected production everywhere -- their great length and colossal scale, for example, inspired D. W. Griffith to produce his THE BIRTH OF A NATION and INTOLERANCE. After the second War, OPEN CITY, PAISAN, BICYCLE THIEF, and other electrifying documents of "neo-realism" startled the world with their vitality and challenged film-makers of all nations by raising all the issues inherent in film form.
    [Show full text]
  • Hofstra University Film Library Holdings
    Hofstra University Film Library Holdings TITLE PUBLICATION INFORMATION NUMBER DATE LANG 1-800-INDIA Mitra Films and Thirteen/WNET New York producer, Anna Cater director, Safina Uberoi. VD-1181 c2006. eng 1 giant leap Palm Pictures. VD-825 2001 und 1 on 1 V-5489 c2002. eng 3 films by Louis Malle Nouvelles Editions de Films written and directed by Louis Malle. VD-1340 2006 fre produced by Argosy Pictures Corporation, a Metro-Goldwyn-Mayer picture [presented by] 3 godfathers John Ford and Merian C. Cooper produced by John Ford and Merian C. Cooper screenplay VD-1348 [2006] eng by Laurence Stallings and Frank S. Nugent directed by John Ford. Lions Gate Films, Inc. producer, Robert Altman writer, Robert Altman director, Robert 3 women VD-1333 [2004] eng Altman. Filmocom Productions with participation of the Russian Federation Ministry of Culture and financial support of the Hubert Balls Fund of the International Filmfestival Rotterdam 4 VD-1704 2006 rus produced by Yelena Yatsura concept and story by Vladimir Sorokin, Ilya Khrzhanovsky screenplay by Vladimir Sorokin directed by Ilya Khrzhanovsky. a film by Kartemquin Educational Films CPB producer/director, Maria Finitzo co- 5 girls V-5767 2001 eng producer/editor, David E. Simpson. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987. ita Flaiano, Brunello Rondi. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987.
    [Show full text]
  • Doktori Disszertáció
    Eötvös Loránd Tudományegyetem Bölcsészettudományi Kar DOKTORI DISSZERTÁCIÓ SERKÉDI ORSOLYA PIER PAOLO PASOLINI FILMMŰVÉSZETÉNEK IKONOGRÁFIÁJA Irodalomtudományi Doktori Iskola Iskolavezető: Prof. Dr. Kállay Géza DSc, egyetemi tanár Italianisztikai Irodalom- és Művelődéstörténet Program Programvezető: Prof. Dr. Szkárosi Endre PhD, egyetemi tanár A bizottság tagjai Prof. Dr. Kelemen János CMHAS, egyetemi tanár (elnök) Dr. Stőhr Lóránt DLA, egyetemi docens (bíráló) Dr. Török Tamara PhD, egyetemi tanársegéd (bíráló) Dr. Szegedi Eszter PhD, egyetemi tanársegéd (titkár) Dr. Földényi F. László CsC, egyetemi tanár (tag) Dr. Fried Ilona CsC, habilitált egyetemi docens (póttag) Dr. Gelencsér Gábor PhD, habilitált egyetemi docens (póttag) Témavezetők: Prof. Dr. Szkárosi Endre PhD, egyetemi tanár †Dr. Takács József PhD, egyetemi docens Budapest, 2014 1 Eötvös Loránd University Faculty of Arts DOCTORAL DISSERTATION ORSOLYA SERKÉDI THE ICONOGRAPHY OF PIER PAOLO PASOLINI’S CINEMA Doctoral School of Literary Studies Head of Doctoral School: Prof. Dr. Géza Kállay DSc, full professor Doctoral Program in Italian Literary and Cultural Studies Head of Doctoral Program: Prof. Dr. Endre Szkárosi PhD, full professor The Doctoral Committee Prof. Dr. János Kelemen CMHAS, full professor (chair) Dr. Lóránt Stőhr DLA, associate professor (referee) Dr. Tamara Török PhD, assistant lecturer (referee) Dr. Eszter Szegedi PhD, assistant lecturer (secretary) Dr. László Földényi F. CsC, full professor (member) Dr. Ilona Fried CsC, associate professor with habilitation (alternate member) Dr. Gábor Gelencsér PhD, associate professor (alternate member) Supervisors: Prof. Dr. Endre Szkárosi PhD, full professor †Dr. József Takács PhD, associate professor Budapest, 2014 2 TABLE OF CONTENTS TABLE OF CONTENTS……………………………………………………….3 ACKNOWLEDGEMENTS…………………………………………………….7 I. INTRODUCTION…………………………………………………………………..8 I.1. Scope of dissertation……………………………………………………8 I.2. Structure and methodology……………………………………………10 II.
    [Show full text]
  • UNSTITCHING the 1950S FILM Á COSTUMES: HIDDEN
    1 UNSTITCHING THE 1950s FILM Á COSTUMES: HIDDEN DESIGNERS, HIDDEN MEANINGS Volume I of II Submitted by Jennie Cousins, to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Film Studies, October 2008. This thesis is available for library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. …………………………………. 2 Abstract This thesis showcases the work of four costume designers working within the genre of costume drama during the 1950s in France, namely Georges Annenkov, Rosine Delamare, Marcel Escoffier, and Antoine Mayo. In unstitching the cinematic wardrobes of these four designers, the ideological impact of the costumes that underpin this prolific yet undervalued genre are explored. Each designer’s costume is undressed through the identification of and subsequent methodological focus on their signature garment and/or design trademark. Thus the sartorial and cinematic significance of the corset, the crinoline, and accessories, is explored in order to determine an ideological pattern (based in each costumier’s individual design methodology) from which the fabric of this thesis may then be cut. In so doing, the way in which film costume speaks as an independent producer of cinematic meaning may then be uncovered. By viewing costume design as an autonomous ideological system, rather than a part of mise-en- scène subordinate to narrative, this fabric-centric enquiry consolidates Stella Bruzzi’s insightful exploration of film costume in Undressing Cinema, Clothing and Identity in the Movies (1997).
    [Show full text]