Films That in Some Way Teach Their Audience About Westerns
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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. -
Film Schedule
Spaghetti Westerns - Week 1 – January 5 Week 6 – February 8 Winter 2017 Course Intro: Identifying The Zapata Spaghetti Plot Genres Run Man, Run (Corri uomo corri) – Professor: Yuri M. Sangalli Sergio Sollima, 1968 Week 2 – January 11 ☎: 661.2111 ext. 86039 The Classic Western Week 7 – February 15 ✉: Please use OWL for all course Shane – George Stevens, 1958 The (Stylized) Italian Western correspondence and (Genre) History Once Upon a Time in the West (C’era Marking scheme: una volta il West) – S. Leone, 1968 Test - two hours, in class 15% Group presentation + report February 20-24 Reading Week (written/web-based) 15% Essay - 2500 words max. 25% Final exam – three hours 30% Class participation and attendance* 15% Week 9 – March 8 *attendance taken at each After the Italian Western: The screening and class Professional Plot The Wild Bunch – Sam Peckinpah, Students are expected to view 1969 films and complete readings Week 10 – March 15 before coming to class. Vengeance Plots and Urban Week 3 – January 18 Vigilantes: the Poliziesco The Samurai Film and the Revolver – Sergio Sollima, 1973 Peplum Adventure Film Yojimbo – Akira Kurosawa, 1961 Week 11 – March 22 Quentin Tarantino’s “Southern Week 4 – January 25 Western” The Servant of 2 Masters Plot Week 8 – March 1 Django Unchained – Quentin Django – Sergio Corbucci, 1966 The Meta Spaghetti Western: Tarantino, 2012 Genre Parody Week 12 – March 29 Week 5 – February 1 My Name Is Nobody (Il mio nome è Group presentations The Transitional Plot nessuno) – Tonino Valerii, 1973 The Good, the Bad and the Ugly (Il Week 13 – April 5 buono, il brutto e il cattivo) – Sergio March 2 – Test (2 hours) Group presentations Leone, 1966 Friday April 7 - Essay due . -
Reminder List of Productions Eligible for the 90Th Academy Awards Alien
REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 90TH ACADEMY AWARDS ALIEN: COVENANT Actors: Michael Fassbender. Billy Crudup. Danny McBride. Demian Bichir. Jussie Smollett. Nathaniel Dean. Alexander England. Benjamin Rigby. Uli Latukefu. Goran D. Kleut. Actresses: Katherine Waterston. Carmen Ejogo. Callie Hernandez. Amy Seimetz. Tess Haubrich. Lorelei King. ALL I SEE IS YOU Actors: Jason Clarke. Wes Chatham. Danny Huston. Actresses: Blake Lively. Ahna O'Reilly. Yvonne Strahovski. ALL THE MONEY IN THE WORLD Actors: Christopher Plummer. Mark Wahlberg. Romain Duris. Timothy Hutton. Charlie Plummer. Charlie Shotwell. Andrew Buchan. Marco Leonardi. Giuseppe Bonifati. Nicolas Vaporidis. Actresses: Michelle Williams. ALL THESE SLEEPLESS NIGHTS AMERICAN ASSASSIN Actors: Dylan O'Brien. Michael Keaton. David Suchet. Navid Negahban. Scott Adkins. Taylor Kitsch. Actresses: Sanaa Lathan. Shiva Negar. AMERICAN MADE Actors: Tom Cruise. Domhnall Gleeson. Actresses: Sarah Wright. AND THE WINNER ISN'T ANNABELLE: CREATION Actors: Anthony LaPaglia. Brad Greenquist. Mark Bramhall. Joseph Bishara. Adam Bartley. Brian Howe. Ward Horton. Fred Tatasciore. Actresses: Stephanie Sigman. Talitha Bateman. Lulu Wilson. Miranda Otto. Grace Fulton. Philippa Coulthard. Samara Lee. Tayler Buck. Lou Lou Safran. Alicia Vela-Bailey. ARCHITECTS OF DENIAL ATOMIC BLONDE Actors: James McAvoy. John Goodman. Til Schweiger. Eddie Marsan. Toby Jones. Actresses: Charlize Theron. Sofia Boutella. 90th Academy Awards Page 1 of 34 AZIMUTH Actors: Sammy Sheik. Yiftach Klein. Actresses: Naama Preis. Samar Qupty. BPM (BEATS PER MINUTE) Actors: 1DKXHO 3«UH] %LVFD\DUW $UQDXG 9DORLV $QWRLQH 5HLQDUW] )«OL[ 0DULWDXG 0«GKL 7RXU« Actresses: $GªOH +DHQHO THE B-SIDE: ELSA DORFMAN'S PORTRAIT PHOTOGRAPHY BABY DRIVER Actors: Ansel Elgort. Kevin Spacey. Jon Bernthal. Jon Hamm. Jamie Foxx. -
In Nanni Moretti's La Stanza Del Figlio
09-Mary Ann_0Syrimis 2/10/14 10:31 AM Page 113 MORETTI ’S CHILDREN : T HE NEXT GENERATION ? MARY ANN MCDONALD CAROLAN Summary : Nanni Moretti’s La stanza del figlio/The Son’s Room (2001) reveals the effects of a child’s death on the protagonist Giovanni (a psy - coanalyst played by Moretti) and his family. This film appears after Aprile/April (1998), which narrates both the birth of the director’s son Pietro as well as the Italian electoral campaign in 1996 in the month of the title. The arrival of a biological son followed by the death of a fic - tional one in Moretti’s oeuvre suggests greater implications for the par - ent-child relationship in Italy. This phenomenon also comments on the relationship between generations of Italian directors. An examination of Moretti’s earlier autobiographical film Caro diario/Dear Diary (1994) gives insight into this director’s relationship to other artists and also sug - gests implications for the future of Italian filmmaking. In Nanni Moretti’s La stanza del figlio /The Son’s Room (2001), the death of a child allows the narrative to explore the highly personal realm of grief. The title of Moretti’s film refers to a now uninhabited space that serves as a metaphor for the void in the family created by Andrea’s (Giuseppe Sanfelice) accidental drowning while scuba diving. The son’s death devas - tates his father Giovanni (Nanni Moretti), mother Paola (Laura Morante), and sister Irene (Jasmine Trinca). Moretti examines the family members’ reactions to this unimaginable loss that leads ultimately to a redefinition of self. -
Nosferatu. Revista De Cine (Donostia Kultura)
Nosferatu. Revista de cine (Donostia Kultura) Título: Giuliano Gemma Autor/es: Billiottet, Olivier Citar como: Billiottet, O. (2002). Giuliano Gemma. Nosferatu. Revista de cine. (41):229- 234. Documento descargado de: http://hdl.handle.net/10251/41316 Copyright: Reserva de todos los derechos (NO CC) La digitalización de este artículo se enmarca dentro del proyecto "Estudio y análisis para el desarrollo de una red de conocimiento sobre estudios fílmicos a través de plataformas web 2.0", financiado por el Plan Nacional de I+D+i del Ministerio de Economía y Competitividad del Gobierno de España (código HAR2010-18648), con el apoyo de Biblioteca y Documentación Científica y del Área de Sistemas de Información y Comunicaciones (ASIC) del Vicerrectorado de las Tecnologías de la Información y de las Comunicaciones de la Universitat Politècnica de València. Entidades colaboradoras: Una pistola para Ringo Honestidad y acrobacias Gt'11lt'w1o Gmunu /)('l¡etako /l('l m· poút/{)l)a han :.en F.uropuko wrslrrncnn aiJenturo mt'tologt'kuen p.;efu•mml./ctmo har/11 ondoren. lllt11a eta atlett'koa, bett' art' zentin'barre::., eta perlsnnat'en akroba::.t'ak lwmnd• egt'tm ::.t't11m, aurrett'k kt'rolart' /: ([// hm'!z.en. Olivier liliollet iul iano Gemma nace en rrera artística en 1956 trabajando mudo, es visible; se le distingue Roma el 2 de septiem en fotonovelas y anuncios y, más notablemente en la escena en que bre de 1938. Cuand o tarde, como "especialista". Ben Hur intenta escapar de las tenía seis años fue heri prisiones romanas (Genuna es el do en la mejill a derecha por la ex Aparece en pantalla por primera segundo de Messala). -
Uw Cinematheque Announces Fall 2012 Screening Calendar
CINEMATHEQUE PRESS RELEASE -- FOR IMMEDIATE RELEASE AUGUST 16, 2012 UW CINEMATHEQUE ANNOUNCES FALL 2012 SCREENING CALENDAR PACKED LINEUP INCLUDES ANTI-WESTERNS, ITALIAN CLASSICS, PRESTON STURGES SCREENPLAYS, FILMS DIRECTED BY ALEXSEI GUERMAN, KENJI MISUMI, & CHARLES CHAPLIN AND MORE Hot on the heels of our enormously popular summer offerings, the UW Cinematheque is back with the most jam-packed season of screenings ever offered for the fall. Director and cinephile Peter Bogdanovich (who almost made an early version of Lonesome Dove during the era of the revisionist Western) writes that “There are no ‘old’ movies—only movies you have already seen and ones you haven't.” With all that in mind, our Fall 2012 selections presented at 4070 Vilas Hall, the Chazen Museum of Art, and the Marquee Theater at Union South offer a moveable feast of outstanding international movies from the silent era to the present, some you may have seen and some you probably haven’t. Retrospective series include five classic “Anti-Westerns” from the late 1960s and early 70s; the complete features of Russian master Aleksei Guerman; action epics and contemplative dramas from Japanese filmmaker Kenji Misumi; a breathtaking survey of Italian Masterworks from the neorealist era to the early 1970s; Depression Era comedies and dramas with scripts by the renowned Preston Sturges; and three silent comedy classics directed by and starring Charles Chaplin. Other Special Presentations include a screening of Yasujiro Ozu’s Dragnet Girl with live piano accompaniment and an in-person visit from veteran film and television director Tim Hunter, who will present one of his favorite films, Tsui Hark’s Shanghai Blues and a screening of his own acclaimed youth film, River’s Edge. -
(A) REGISTA TITOLO FILM QUANTITÀ Una
Fondo fotografico Ugo Casiraghi Scatola n. 10 ITALIA CONSUMO (A) INVENTARIO 197.592 QUANTITÀ FOTOGRAFIE: 136 REGISTA TITOLO FILM QUANTITÀ Duccio Tessari Una farfalla con le ali insanguinate 7 " " 1 Ignazio Dolce L'ammazzatina 2 " " 4 " " 2 " " 4 " " 1 " " 1 " " 1 n.r. " 1 n.r. " 1 n.r. " 15 n.r. n.r. 13 n.r. Banana Joe 2 n.r. Il giono del cobra 1 n.r. " 1 n.r. Sfrattato cerca casa equo canone 3 Luigi Filippo D'Amico L'arbitro 2 " " 1 " " 1 n.r. Frou Frou del Tabarin 2 Armando Crispino L'Etrusco uccide ancora 3 " " 1 " " 1 " " 1 " " 5 n.r. Quel movimento che mi piace tanto 5 n.r. Vamos a matar, compañeos 2 n.r. " 2 Franco Prosperi Un uomo dalla pelle dura 1 " " 1 " " 1 n.r. Processo per direttissima 3 Duccio Tessari Viva la muerte…tua! 1 " " 1 " " 1 Fernando Di Leo La bestia dagli occhi freddi 1 Pagina 1 Fondo fotografico Ugo Casiraghi Lucio Fulci I guerrieri dell'anno 2072 2 " " 1 n.r. Bello mio, bellezza mia 2 Silvio Amadio Quell'età maliziosa 4 " " 2 n.r. " 1 Franco Ferrini Caramelle da uno sconosciuto 1 Amico, stammi lontano almeno un Michele Lupo palmo… 1 " " 1 " " 4 Lucio Fulci Zanna bianca 1 Fausto Tozzi Trastevere 1 Giuseppe Murgia Maladolescenza 1 n.r. " 1 Luciano Salce La pecora nera 1 Duccio Tessari Tony Arzenta 1 Sergio Leone Il mio nome è Nessuno 1 n.r. " 1 n.r. " 1 Sergio Leone, Tonino Valerii " 1 " " 1 Giacomo Battiato Stradivari 1 Alberto Cavallone Zelda 5 Gianfranco Parolini Sotto a chi tocca 1 Luigi Faccini Garofano rosso 2 Pupi Avati Dichiarazione d'amore 1 ITALIA CONSUMO (B) INVENTARIO 197.594 QUANTITÀ FOTOGRAFIE: 141 REGISTA TITOLO FILM QUANTITÀ n.r. -
Modernizing the Greek Tragedy: Clint Eastwood’S Impact on the Western
Modernizing the Greek Tragedy: Clint Eastwood’s Impact on the Western Jacob A. Williams A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Interdisciplinary Studies University of Washington 2012 Committee: Claudia Gorbman E. Joseph Sharkey Program Authorized to Offer Degree: Interdisciplinary Arts and Sciences Table of Contents Dedication ii Acknowledgements iii Introduction 1 Section I The Anti-Hero: Newborn or Reborn Hero? 4 Section II A Greek Tradition: Violence as Catharsis 11 Section III The Theseus Theory 21 Section IV A Modern Greek Tale: The Outlaw Josey Wales 31 Section V The Euripides Effect: Bringing the Audience on Stage 40 Section VI The Importance of the Western Myth 47 Section VII Conclusion: The Immortality of the Western 49 Bibliography 53 Sources Cited 62 i Dedication To my wife and children, whom I cherish every day: To Brandy, for always being the one person I can always count on, and for supporting me through this entire process. You are my love and my life. I couldn’t have done any of this without you. To Andrew, for always being so responsible, being an awesome big brother to your siblings, and always helping me whenever I need you. You are a good son, and I am proud of the man you are becoming. To Tristan, for always being my best friend, and my son. You never cease to amaze and inspire me. Your creativity exceeds my own. To Gracie, for being my happy “Pretty Princess.” Thank you for allowing me to see the world through the eyes of a nature-loving little girl. -
Widescreen Weekend 2014 Brochure
WIDESCREEN WEEKEND 10-13 APRIL 2014 2OTH BRADFORD INTERNATIONAL FILM FESTIVAL IN PARTNERSHIP WITH NATIONAL MEDIA MUSEUM Bradford BD1 1NQ Box Office 0844 856 3797 www.nationalmediamuseum.org.uk www.bradfordfilmfestival.org.uk 20TH BRADFORD INTERNATIONAL FILM FESTIVAL 27 MARCH - 6 APRIL 2014 WIDESCREEN WEEKEND 1 ................................................................................................................. INTRODUCTION TH TICKETS 2O In 1954 the movie industry was facing fierce competition from television, and investing heavily in offering the best possible experience in the cinema. Quality counted, and that year Tickets for individual screenings and events can be a new widescreen process was launched. The words “Paramount proudly presents the first purchased from the National Media Museum Box picture in VistaVision” appeared on screen and the letter V came flying towards the audience, Office (open 10am-9pm during the festival), on the BRADFORD creating a startling 3D effect. And with this introduction yet another widescreen process was phone 0844 856 3797 (8.30am-8.30pm), or via the presented to the public, the third in as many years. Each was designed to ensure that the only website www.bradfordfilmfestival.org.uk INTERNATIONAL place you could witness vivid, exciting, detailed imagery, was in cinemas. For details of how to book a widescreen FILM FESTIVAL Hollywood had to strive continually in the 1950s to offer something which could not be weekend pass, please see the festival website 27 MARCH - 6 APRIL 2O14 rivalled in the home. Television had started gaining a foothold in American homes from 1948 www.bradfordfilmfestival.org.uk and just like today – with large screen HD TVs, home cinema and uncompressed audio – the battle between the two media was intense. -
The Annual Rachael Low Lecture: the Secrets of Percy Smith’S Life – Making Science Films in Surburban London
The Annual Rachael Low Lecture: The Secrets of Percy Smith’s Life – Making Science Films in Surburban London. Saturday 17th April, 4pm Presented by Tim Boon, Chief Curator at The Caption: ‘Synchronising a Secret’. Commentator Science Museum, London and orchestra (probably led by Jack Beaver) recording the sound track for one of the Secrets of Nature, c.1933. Cinema is well known to have a mixed parentage; on one side the worlds of science and invention; on Tim Boon is Chief Curator at the Science Museum, the other, that of spectacular entertainments. where he is responsible for the team of specialist Nature films are the oldest science film genre; the subject curators and is a member of the Museum’s first examples made for the general public were senior management team. He has been active as shown at the Alhambra Music Hall, London, in an exhibition curator; displays include Health August 1903. After the ballet and the conjuror came Matters (1994), Making the Modern World (2000), the scientific films. Over the ensuing 20 years, Treat Yourself (2003) and Films of Fact: The science and nature filmmaking grew up with the rest Origins of Science on Screen (2008). He is a of cinema, and non-fiction films became part of the member of the Council of the British Society for the regular staple of the first purpose-built cinemas. By History of Science. After studying History and the 1920s, especially in British Instructional’s History of Science at Leeds University (1979-82), Secrets of Nature series, nature filmmaking was he completed an MSc in History of Science at settling down into the stable form that, in many University College in 1986. -
C of Significance Tcwealthpartners.Com/Ofsignificance
c Of Significance TCWealthPartners.com/OfSignificance Did you know? A quiz to test your market and economy knowledge. Spring, 2018 What is a Spaghetti Western? When was the first federal income tax introduced in the United States? Which country has the highest debt as a percent of GDP? Test your knowledge in this latest edition of "Did You Know?" AT THE MOVIES Question: “The Good, he Bad and the Ugly” is called a By: “Spaghetti Western” because: A. Clint Eastwood was constantly eating spaghetti on set B. The make-up team used spaghetti sauce for blood C. The film was directed by an Italian D. Spaghetti was served at the premier Answer: (C) The film was directed by an Italian J. Reed Murphy C I M A ® A Spaghetti Western is an entire subgenre of western films President | Chief Investment Officer that emerged in the 1960s. During this period Italian producers and directors found success by taking the “old Hollywood” [email protected] genre and giving it new life through low-budget international 630-545-3675 productions starring up-and-coming talent like Clint Eastwood. They were filmed in Europe with a cast and crew largely made up of Italians, Spaniards and Americans. Though Italy had been making westerns far before the 1960s, the international success “A Fistful of Dollars” is largely seen as the beginning of Spaghetti Westerns. A Spanish journalist is credited with coining the term in the 1960s. 1901 Butterfield Road, Suite 1000 ▪ Downers Grove, IL 60515 ▪ 630-545-2200 ▪ TCWealthPartners.com 1 c Of Significance TCWealthPartners.com/OfSignificance FEDERAL INCOME TAX Question: The first federal income tax in the United States as we know it was introduced in: A. -
Giorgio Scerbanenco's Appropriation of the American Hard-Boiled Novel
Italians Do It Differently: Giorgio Scerbanenco’s Appropriation of the American Hard-Boiled Novel Barbara Pezzotti In the 1960s, Giorgio Scerbanenco (1911-1969) published four crime novels featuring Duca Lamberti, a former doctor struck off the register and imprisoned for practicing euthanasia, who first turned private detective and then policeman. This crime series1 marks the beginning of a wave of successful Italian gialli by many writers that has shown close ties with the urban setting and a sustained engagement with Italy’s political and social conflicts.2 Scerbanenco was the first Italian writer to successfully exploit the conventions of the American hard-boiled sub-genre3 in order to develop a harsh critique of Italian society and politics.4 In particular, he tackles urbanization and pollution, consumerism, and the rise of brutal organized crime in Milan and Europe. His novels also portray a changing Italian society where the traditional family is gradually being replaced by new family structures and women are trying to break free from a sexist society in which they are largely treated as objects. Far from merely imitating a foreign formula, Scerbanenco provided an all-Italian approach to crime fiction that continues to influence and inspire local contemporary crime writers. In so doing, he also filled a perceived void, covering “an area of fiction in the realist tradition that had grown progressively narrower in the ‘60s and ‘70s.”5 In other words, he responded to the demand of those readers interested in 1 In this article, I follow Martin Priestman and Stephen Knight in using “crime fiction” as the label for the genre as a whole.