DOCSLIB.ORG

BITTER RICE (1949, 108 Min) Online Versions of the Goldenrod Handouts Have Color Images & Hot Links

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
BITTER RICE (1949, 108 Min) Online Versions of the Goldenrod Handouts Have Color Images & Hot Links September 25, 2018 (XXXVII:5) Guiseppe De Santis: BITTER RICE (1949, 108 min) Online versions of The Goldenrod Handouts have color images & hot links: http://csac.buffalo.edu/goldenrodhandouts.html DIRECTED BY Giuseppe De Santis WRITING story by Giuseppe De Santis, Carlo Lizzani, and Gianni Puccini; screenplay by Corrado Alvaro, Giuseppe De Santis, Carlo Lizzani, Carlo Musso, Ivo Perilli, and Gianni Puccini; dialogue by Franco Monicelli PRODUCED BY Dino De Laurentiis MUSIC Goffredo Petrassi CINEMATOGRAPHY Otello Martelli FILM EDITING Gabriele Varriale PRODUCTION DESIGN Carlo Egidi COSTUME DESIGN Anna Gobbi CAST Vittorio Gassman...Walter (as Vittorio Gassmann) Doris Dowling...Francesca Silvana Mangano...Silvana Raf Vallone...Marco Checco Rissone...Aristide These films are notable for examining the socio/economic plight Nico Pepe...Beppe of ordinary people in post-war Italy. He was nominated for an Adriana Sivieri...Celeste Academy Award as a co-writer with Carlo Lizzani for Best Lia Corelli...Amelia Writing, Motion Picture Story for Riso Amaro in 1951. Maria Grazia Francia...Gabriella Dedi Ristori...Anna De Santis directed 13 films. In addition to the aforementioned Anna Maestri...Irene Caccia Tragica and Riso Amaro, he wrote and directed: Under Mariemma Bardi...Gianna the Olive Tree (1950)*, Rome 11:00 (1952)*, A Husband for Maria Capuzzo...Giulia Anna (1953)*, Days of Love (1954)*, Men and Wolves (1957)*, Isabella Marincola...Rosa (as Isabella Zennaro) The Year Long Road (1958), La garçonnière (1960), Attack and Carlo Mazzarella...Gianetto Retreat (1964), Un apprezzato professionista di sicuro avvenire Ermanno Randi...Paolo (1972), Today and Another Day (1995, Documentary short).He Antonio Nediani...Erminio wrote for 21 films. In addition to the films he wrote and directed, Mariano Englen...Cesare he also wrote for these films: Don Pasquale (1940)*, Ossessione (1943), Desire (1946)*, Outcry (1946), Ultimo amore (1947)*, GIUSEPPE DE SANTIS (b. February 11, 1917, Fondi, Lazio, Riscatto (1953), Angels of Darkness (1954), I fidanzati della Italy—d. May 16, 1997 (age 80) in Rome, Lazio, Italy) studied morte (1957), and The Visit (1963). literature, philosophy and cinema during the 1930's, then began *Indicates films for which De Santis wrote or co-wrote the work as a film critic during the early years of World War II. screenplay Before directing his own films, he assisted Luchino Visconti on Ossessione (1942). He was the coordinating director for the OTELLO MARTELLI (b. May 19, 1902, Rome, Lazio, Italy— documentary Days of Glory (1945). After five years as an d. February 20, 2000 (age 97), Rome, Lazio, Italy) did assistant director and screenwriter, he began writing and cinematography for 82 films, some of which are: Liberazione directing his own features, starting with Caccia Tragica (Tragic (1920), La donna, il diavolo, il tempo (1921), The Erratic Mrs. Pursuit) in 1947, followed by Riso Amaro (Bitter Rice) in 1949. Delamere (1922), and Consuelita (1925); Old Guard and Il De Santis—BITTER RICE—2 cardinale Lambertini in 1934; Marcella and Hands Off Me! in DORIS DOWLING (b. May 15, 1923, Detroit, Michigan—d. 1937; The Duchess of Parma and The Ancestor in 1938; Lucrezia June 18, 2004 (age 81), Los Angeles, California) acted in 63 Borgia (1940) and The Hero of Venice (1941); Tragic Night, films and television series, including: And Now Tomorrow Loves of Don Juan, and The Gorgon in 1942; Paisan (1946); (1944); Bring on the Girls and The Lost Weekend in 1945; The Ultimo amore and Tragic Hunt in 1947; The Golden Madonna Blue Dahlia (1946), The Emperor Waltz (1948), and Bitter Rice and Bitter Rice in 1949; Stromboli (photography) and The (1949); Sarumba, Alina, and Cuori sul mare in 1950; Othello Flowers of St. Francis in 1950; Anna (1951) and Rome 11:00 (1951), Lights Out (1952, TV Series), Medic (1954, TV Series), (1952); A Husband for Anna and I Vitelloni in 1953; La Strada and Cheyenne (1955, TV Series); Wink of an Eye and The Party (director of photography), Days of Love, and The River Girl in Crashers in 1958; Perry Mason (1962, TV Series), Bonanza 1954; What a Woman! (1956); The Sea Wall and Holiday Island (1963, TV Series), Flipper (1967, TV Series), The Streets of San in 1957; The Law (1959); La Dolce Vita (director of Francisco (1972, TV Series), Get Christie Love! (1975, TV photography) and Stories of the Revolution in 1960; Woman in Series), Barnaby Jones (1974-1979, TV Series), and The Dukes the Window (1961); Boccaccio '70 (segments "La riffa", "Le of Hazzard (1980-1984, TV Series). tentazioni del dottor Antonio") and Redhead in 1962; Cyrano et d'Artagnan (1964), Menage Italian Style (1965), and 3 pistole SILVANA MANGANO (b. April 21, 1930, Rome, Lazio, contro Cesare (1967). Italy—d. December 16, 1989 (age 59), Madrid, Madrid, Spain) acted in 41 films, such as: The Last Judgment (1945), Elixir of Love (1947), Mad About Opera (1948), Bitter Rice (1949), Outlaw Girl (1950), and Anna (1951); Mambo and Ulysses in 1954; Tempest (1958), The Great War (1959), and 5 Branded Women (1960); The Last Judgment and Barabbas in 1961; My Wife (1964), Oedipus Rex (1967), and Teorema (1968); Death in Venice, The Decameron, and Scipio the African in 1971; Ludwig (1973), Dune (1984), and Slugs (1988). RAF VALLONE (b. February 17, 1916, Tropea, Calabria, Italy—d. October 31, 2002 (age 86), Rome, Lazio, Italy) acted in 95 films, some of which are: We the Living (1942) and Bitter Rice (1949); Under the Olive Tree, The White Line, and The Path of Hope in 1950; Anna (1951); Rome 11:00 and Don Juan's Night of Love in 1952; Perdonami! and The Adultress in 1953; Storm and Obsession in 1954; Andrea Chenier (1955), Love (1956), The Sins of Rose Bernd (1957), No Escape (1958), Two Women (1960), and El Cid (1961); A View from the Bridge and Phaedra in 1962; The Cardinal (1963), Harlow (1965), Nevada VITTORIO GASSMAN (b. September 1, 1922, Genoa, Liguria, Smith (1966), 1001 Nights (1968), The Italian Job (1969), Italy—d. June 29, 2000 (age 77), Rome, Lazio, Italy) acted in Cannon for Cordoba (1970), and A Gunfight (1971); Rosebud 130 films, some of which are: Incontro con Laura (1945); and That Lucky Touch in 1975; The Other Side of Midnight and Shamed and The Adventures of Pinocchio in 1947; The The Devil's Advocate in 1977; The Greek Tycoon (1978) and An Mysterious Rider (1948); Bitter Rice and Una voce nel tuo cuore Almost Perfect Affair (1979); Return to Marseilles and Lion of in 1949; Streets of Sorrow (1950); Double Cross, Black Crown, the Desert in 1980; A Time to Die (1980), The Godfather: Part and Anna in 1951; The Dream of Zorro (1952); Rhapsody and III (1990), Toni (1999), and Vino santo (2000, TV Movie). Mambo in 1954; War and Peace (1956); Big Deal on Madonna Street and The Love Specialist in 1958; The Great War and The GIUSEPPE DE SANTIS from World Film Directors Vol I. Miracle in 1959; The Last Judgment, Seduction of the South, and Edited by John Wakeman. The H.W. Wilson Company, NY, Barabbas in 1961; March on Rome and Sex Can Be Difficult in 1987 1962; The Eye of the Needle (1963); Let's Talk About Women and The Gaucho in 1964; The Secret Agents (1965); The Tiger Italian director, scenarist, and critic, was born in Fondi, an and the Pussycat and Woman Times Seven 1967; The Archangel ancient town between Rome and Naples. He studied literature and Where Are You Going All Naked? In 1969; Scipio the and philosophy at university, and then entered the Italian film African (1971) and La Tosca (1973); Scent of a Woman and We school, the Centro Sperimentale in Rome. De Santis first made All Loved Each Other So Much in 1974; The Immortal Bachelor his name as a film critic—as a prominent and rigorously severe (1975), The Career of a Chambermaid (1976), and A Wedding contributor to Cinema. (1978); Quintet and Two Pieces of Bread in 1979; La terrazza The magazine, under the nominal editorship of Vittorio and The Nude Bomb in 1980; Sharky's Machine (1981), Tempest Mussolini, the Duce’s son, and Luciano De Feo provided a (1982), Life Is a Bed of Roses (1983), Big Deal After 20 Years rallying point for a group of leftist young critics who prepared (1985), The Family (1987), Les 1001 nuits (1990), Once a Year, the way for the coming of neorealism—among them Visconti, Every Year (1994), The Dinner (1998), and La bomba (1999). Lizzani, and Antonioni. In 1941 De Santis wrote: “We are fighting for the dawn of an awareness that will lead toward realism. We have learned to scan the horizons of an imagination De Santis—BITTER RICE—3 that is forever opposed to the miserable conditions of man, his They are ambushed by bandits (including Alberto, a former solitude his difficulty in escaping, and which finds, even in comrade) who murder the farm official, steal the money, kidnap escapism, the imposing strength of reciprocal human Giovanna. The rest of the film deals with the pursuit of the communication. Our sympathies are joined always with a cinema bandits by Michele and members of the collective. Cutting from that breathes the intimate essence of one group to the other, the picture reality through historical education. explores the motive of both—the social The level of civilization cannot be idealism of the peasants; the tragic separated from the land that gave passion that binds Alberto to the woman birth to it.” gang-leader Daniela, and Giovanna (and The Italian neorealists, the money) are recovered. influenced by French cinema could Some contemporary reviewers found find no worthy models in their own Caccia tragica vulgar, sensational, and contemporary culture and instead confused, but for others the director’s looked back to the novels of the great passionate sincerity was “more nineteenth century Sicilian realist compelling than the novelettish detail,” Giovanni Verga, who had already and there was praise for his fluid inspired a brief flowering of verismo camerawork (with a striking and at that in the early days of the Italian time uncommon use of crane shots) and cinema, around the beginning of his attractive composition within the World War I.
Load more

Recommended publications
  • SENSO NOI CREDEVAMO 150° Dell'unità D'italia
    Venerdì 29 aprile 2011 edizione a 9 SENSO di Luchino Visconti (1954) "Tutto in una notte" 150° dell'unità d'Italia .graficameani.com www CINETEATRO EXCELSIOR di Mario Martone (2010) NOI CREDEVAMO Programma della notte: Via C. Colnaghi, 3 - LISSONE - MI Ore 21.15 - 00.10 Noi credevamo Tel. 039.2457233 - www.excelsior-lissone.it Ore 00.10 - 00.40 Coffee break di mezzanotte Ore 00.40 - 02.45 Senso Noi credevamo di Mario Martone con Luigi Lo Cascio, Valerio Binasco, Francesca Inaudi - Italia 2010 – durata 170 minuti Domenico, Salvatore e Angelo, tre ragazzi del Sud Italia testimoni della feroce repressione borbonica dei moti del 1828, decidono di affiliarsi alla Giovine Italia di Giuseppe Mazzini. Le loro esistenze, sospese tra rigore morale e pulsione omicida, spirito di sacrificio e paura, carcere e clandestinità, slanci ideali e disillusioni politiche, si svolgeranno sullo sfondo della più sconosciuta storia dell'Unità d'Italia e verranno segnate tragicamente dalla loro missione di cospiratori e rivoluzionari. Il titolo "Noi credevamo" è quello di un romanzo di Anna Banti: ogni speranza e promessa del Risorgimento delusa, tradita. È la storia di una sconfitta, un film tragico: all'inizio, la testa mozzata di un ribelle meridionale infilzata sulla baionetta d'un militare piemontese. Storia non scolastica e parziale (mancano l'Austria,il 1848 e il 1860 delle cinque giornate di Milano e dell'impresa dei Mille), girata in digitale, nel 150° anniversario dell'Unità d'Italia "Noi credevamo" dice che restano oggi ancora irrisolte la conciliazione tra Nord e Sud, quella tra padronato e proletariato, quella tra conservatorismo autoritario e democrazia libertaria: i soli mutamenti risultano istituzionali e hanno preteso tanto tempo, la fine del potere temporale del Papato, la Repubblica.
    [Show full text]
  • It 2.007 Vc Italian Films On
    1 UW-Madison Learning Support Services Van Hise Hall - Room 274 rev. May 3, 2019 SET CALL NUMBER: IT 2.007 VC ITALIAN FILMS ON VIDEO, (Various distributors, 1986-1989) TYPE OF PROGRAM: Italian culture and civilization; Films DESCRIPTION: A series of classic Italian films either produced in Italy, directed by Italian directors, or on Italian subjects. Most are subtitled in English. Individual times are given for each videocassette. VIDEOTAPES ARE FOR RESERVE USE IN THE MEDIA LIBRARY ONLY -- Instructors may check them out for up to 24 hours for previewing purposes or to show them in class. See the Media Catalog for film series in other languages. AUDIENCE: Students of Italian, Italian literature, Italian film FORMAT: VHS; NTSC; DVD CONTENTS CALL NUMBER Il 7 e l’8 IT2.007.151 Italy. 90 min. DVD, requires region free player. In Italian. Ficarra & Picone. 8 1/2 IT2.007.013 1963. Italian with English subtitles. 138 min. B/W. VHS or DVD.Directed by Frederico Fellini, with Marcello Mastroianni. Fellini's semi- autobiographical masterpiece. Portrayal of a film director during the course of making a film and finding himself trapped by his fears and insecurities. 1900 (Novocento) IT2.007.131 1977. Italy. DVD. In Italian w/English subtitles. 315 min. Directed by Bernardo Bertolucci. With Robert De niro, Gerard Depardieu, Burt Lancaster and Donald Sutherland. Epic about friendship and war in Italy. Accattone IT2.007.053 Italy. 1961. Italian with English subtitles. 100 min. B/W. VHS or DVD. Directed by Pier Paolo Pasolini. Pasolini's first feature film. In the slums of Rome, Accattone "The Sponger" lives off the earnings of a prostitute.
    [Show full text]
  • Il Mafioso (1962) Directed by Alberto Lattuada (1914-2005)
    Il Mafioso (1962) Directed by Alberto Lattuada (1914-2005) Cinematographer: Armando Annuzzi Editor: Nino Baragli Screenplay: Rafael Azcona, Bruno Caruso, Marco Ferreri, Agenore Incrocci, Furio Scarpelli (Age and Scarpelli) Production: Compagnia Cinematografica Antonio Cervi Dino de Laurentiis Cinematografica Cast: Alberto Sordi: Nino Badalamenti Norma Bengell: Marta Badalamenti Ugo Attanasio: Don Vincenzo Armando Tine: Dr. Znchi Carmelo Oliviero: Don Liborio Brief Filmography: Additional production information at IMDb.com: http://www.imdb.com/name/nm0490444/ Questions for Class Discussion: Il Mafioso While viewing the film during in-class screening and outside of class, please take notes on the following questions/prompts. You may not be able to answer all the questions/prompts in one sitting, but try to jot down notes while viewing or directly after viewing. 1. How does the film establish the character (personality) of Antonio (Nino) Badalamenti? What kind of person is he? How does his character change throughout the film? What do you believe he learns about himself? 2. How does the film represent northern Italy (Milan)? Describe how the north is represented in the film? 1 3. How does the film represent Sicily? Describe Nino’s family and his town of Calamo. How does the film represent the clash between the old and new countries? 4. In Sicily, what are the men (Nino’s friends) doing on the beach? What do they discuss? 5. Describe Nino’s experience in the United States? How does he interact with the Italian Americans? What is he forced to do in the name of shared origins? 2 .
    [Show full text]
  • Berkeley Art Museum·Pacific Film Archive W in Ter 20 19
    WINTER 2019–20 WINTER BERKELEY ART MUSEUM · PACIFIC FILM ARCHIVE UNIVERSITY OF CALIFORNIA PROGRAM GUIDE ROSIE LEE TOMPKINS RON NAGLE EDIE FAKE TAISO YOSHITOSHI GEOGRAPHIES OF CALIFORNIA AGNÈS VARDA FEDERICO FELLINI DAVID LYNCH ABBAS KIAROSTAMI J. HOBERMAN ROMANIAN CINEMA DOCUMENTARY VOICES OUT OF THE VAULT 1 / 2 / 3 / 4 / 5 / 6 CALENDAR DEC 11/WED 22/SUN 10/FRI 7:00 Full: Strange Connections P. 4 1:00 Christ Stopped at Eboli P. 21 6:30 Blue Velvet LYNCH P. 26 1/SUN 7:00 The King of Comedy 7:00 Full: Howl & Beat P. 4 Introduction & book signing by 25/WED 2:00 Guided Tour: Strange P. 5 J. Hoberman AFTERIMAGE P. 17 BAMPFA Closed 11/SAT 4:30 Five Dedicated to Ozu Lands of Promise and Peril: 11:30, 1:00 Great Cosmic Eyes Introduction by Donna Geographies of California opens P. 11 26/THU GALLERY + STUDIO P. 7 Honarpisheh KIAROSTAMI P. 16 12:00 Fanny and Alexander P. 21 1:30 The Tiger of Eschnapur P. 25 7:00 Amazing Grace P. 14 12/THU 7:00 Varda by Agnès VARDA P. 22 3:00 Guts ROUNDTABLE READING P. 7 7:00 River’s Edge 2/MON Introduction by J. Hoberman 3:45 The Indian Tomb P. 25 27/FRI 6:30 Art, Health, and Equity in the City AFTERIMAGE P. 17 6:00 Cléo from 5 to 7 VARDA P. 23 2:00 Tokyo Twilight P. 15 of Richmond ARTS + DESIGN P. 5 8:00 Eraserhead LYNCH P. 26 13/FRI 5:00 Amazing Grace P.
    [Show full text]
  • The Myth of the Good Italian in the Italian Cinema
    ISSN 2039-2117 (online) Mediterranean Journal of Social Sciences Vol 5 No 16 ISSN 2039-9340 (print) MCSER Publishing, Rome-Italy July 2014 The Myth of the Good Italian in the Italian Cinema Sanja Bogojević Faculty of Philosophy, University of Montenegro Doi:10.5901/mjss.2014.v5n16p675 Abstract In this paper we analyze the phenomenon called the “myth of the good Italian” in the Italian cinema, especially in the first three decades of after-war period. Thanks to the recent success of films such as Tarantino’s Inglorious Basterds or Academy Award- winning Benigni’s film La vita è bella and Spielberg’s Schindler’s List it is commonly believed that the Holocaust is a very frequent and popular theme. Nevertheless, this statement is only partly true, especially when it comes to Italian cinema. Soon after the atrocities of the WWII Italian cinema became one of the most prominent and influential thanks to its national film movement, neorealism, characterized by stories set amongst the poor and famished postwar Italy, celebrating the fight for freedom under the banners of Resistance and representing a nation opposed to the Fascist and Nazi regime. Interestingly, these films, in spite of their very important social engagement, didn’t even mention the Holocaust or its victims and it wasn’t until the 1960’s that Italian cinema focused on representing and telling this horrific stories. Nevertheless, these films represented Italians as innocent and incapable of committing cruel acts. The responsibility is usually transferred to the Germans as typically cold and sadistic, absolving Italians of their individual and national guilt.
    [Show full text]
  • October 5, 2010 (XXI:6) Federico Fellini, 8½ (1963, 138 Min)
    October 5, 2010 (XXI:6) Federico Fellini, 8½ (1963, 138 min) Directed by Federico Fellini Story by Federico Fellini & Ennio Flaiano Screenplay by Ennio Flaiano, Tullio Pinelli, Federico Fellini & Brunello Rondi Produced by Angelo Rizzoli Original Music by Nino Rota Cinematography by Gianni Di Venanzo Film Editing by Leo Cattozzo Production Design by Piero Gherardi Art Direction by Piero Gherardi Costume Design by Piero Gherardi and Leonor Fini Third assistant director…Lina Wertmüller Academy Awards for Best Foreign Picture, Costume Design Marcello Mastroianni...Guido Anselmi Claudia Cardinale...Claudia Anouk Aimée...Luisa Anselmi Sandra Milo...Carla Hazel Rogers...La negretta Rossella Falk...Rossella Gilda Dahlberg...La moglie del giornalista americano Barbara Steele...Gloria Morin Mario Tarchetti...L'ufficio di stampa di Claudia Madeleine Lebeau...Madeleine, l'attrice francese Mary Indovino...La telepata Caterina Boratto...La signora misteriosa Frazier Rippy...Il segretario laico Eddra Gale...La Saraghina Francesco Rigamonti...Un'amico di Luisa Guido Alberti...Pace, il produttore Giulio Paradisi...Un'amico Mario Conocchia...Conocchia, il direttore di produzione Marco Gemini...Guido da ragazzo Bruno Agostini...Bruno - il secundo segretario di produzione Giuditta Rissone...La madre di Guido Cesarino Miceli Picardi...Cesarino, l'ispettore di produzione Annibale Ninchi...Il padre di Guido Jean Rougeul...Carini, il critico cinematografico Nino Rota...Bit Part Mario Pisu...Mario Mezzabotta Yvonne Casadei...Jacqueline Bonbon FEDERICO FELLINI
    [Show full text]
  • Final Copy 2019 01 23 Derou
    This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Derounian, Flora Title: Representations and Oral Histories of Working Women in Post-World War Two Italy (1945-1965) General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Representations and Oral Histories of Working Women in Post-World War Two Italy (1945-1965) Flora Derounian A dissertation submitted to the University of Bristol in accordance with the requirements for award of the degree of Doctor of Philosophy in the Faculty of Arts in the School of Italian.
    [Show full text]
  • Pressbook (Pdf)
    PAYPERMOON – PALOMAR – ISTITUTO LUCE CINECITTA’ con RAI CINEMA CINECITTÀ STUDIOS in collaborazione con CUBOVISION di TELECOM ITALIA con il contributo della DIREZIONE GENERALE CINEMA presentano CHE STRANO CHIAMARSI FEDERICO SCOLA RACCONTA FELLINI un film scritto da Ettore, Paola e Silvia Scola regia di Ettore Scola distribuzione DISTRIBUZIONE uscita: 12 settembre 2013 CREDITS Regia di Ettore Scola Sceneggiatura Ettore, Paola e Silvia Scola Fotografia Luciano Tovoli Scenografia Luciano Ricceri Musiche Andrea Guerra Costumi Massimo Cantini Parrini Montaggio Raimondo Crociani Produzione PayperMoon Srl, Palomar, Istituto Luce-Cinecittà con Rai Cinema - Cinecittà Studios in collaborazione con Cubovision di Telecom Italia Con il contributo del Ministero per i Beni e le Attività Culturali – Direzione Generale Cinema Ufficio Stampa Studio Lucherini Pignatelli Distribuzione BIM – Istituto Luce Cinecittà Italia, 2013, 93’ CAST ARTISTICO Fellini Giovane TOMMASO LAZOTTI Il narratore VITTORIO VIVIANI Il Direttore SERGIO PIERATTINI Wanda ANTONELLA ATTILI Il Madonnaro SERGIO RUBINI Il Comico VITTORIO MARSIGLIA Scola Giovane GIACOMO LAZOTTI Ruggero Maccari EMILIANO DE MARTINO Fellini anziano (sagoma) MAURIZIO DE SANTIS Ufficio stampa Studio Lucherini Pignatelli Via A. Secchi, 8 – 00197 Roma Tel. 06/8084282 [email protected] Fax: 06/80691712 www.lucherinipignatelli.it Materiali stampa disponibili su www.lucherinipignatelli.it 2 SINOSSI Il film è un ricordo/ritratto di Federico Fellini, raccontato da Ettore Scola in occasione del ven- tennale della morte del grande regista. Oltre la ricchezza del cinema di Fellini - patrimonio comune al pubblico di tutto il mondo - un devoto ammiratore dell'ineguagliabile Maestro vuole rievocare il privilegio di averlo conosciuto di persona e le emozioni che egli suscitava in chi lo ascoltava, con la sua ironia e le sue riflessioni su "la vita che è una festa".
    [Show full text]
  • The Cinema of Giorgio Mangiamele
    WHO IS BEHIND THE CAMERA? The cinema of Giorgio Mangiamele Silvana Tuccio Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy August, 2009 School of Culture and Communication The University of Melbourne Who is behind the camera? Abstract The cinema of independent film director Giorgio Mangiamele has remained in the shadows of Australian film history since the 1960s when he produced a remarkable body of films, including the feature film Clay, which was invited to the Cannes Film Festival in 1965. This thesis explores the silence that surrounds Mangiamele’s films. His oeuvre is characterised by a specific poetic vision that worked to make tangible a social reality arising out of the impact with foreignness—a foreign society, a foreign country. This thesis analyses the concept of the foreigner as a dominant feature in the development of a cinematic language, and the extent to which the foreigner as outsider intersects with the cinematic process. Each of Giorgio Mangiamele’s films depicts a sharp and sensitive picture of the dislocated figure, the foreigner apprehending the oppressive and silencing forces that surround his being whilst dealing with a new environment; at the same time the urban landscape of inner suburban Melbourne and the natural Australian landscape are recreated in the films. As well as the international recognition given to Clay, Mangiamele’s short films The Spag and Ninety-Nine Percent won Australian Film Institute awards. Giorgio Mangiamele’s films are particularly noted for their style. This thesis explores the cinematic aesthetic, visual style and language of the films.
    [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]
  • Scarica Il Programma in Formato
    SOTTO L’ALTO PATRONATO DEL PRESIDENTE DELLA REPUBBLICA ITALIANA PRESIDENTE ETTORE SCOLA DIRETTORE FELICE LAUDADIO IL PROGRAMMA Questo festival è davvero un’utopia. Edgar Reitz Illustrazione di Ettore Scola Iniziativa cofinanziata da Prodotta da Tributo a Ettore Scola Partnership Con la collaborazione determinante di Sponsor tecnici Main media partner Quartier generale durante il Bif&st Spazio Murat Media partner Piazza del Ferrarese 70122 Bari, Italy [email protected] www.bifest.it IL PRO GRA MMA Questo festival è davvero un’utopia. Edgar Reitz sotto l’Alto Patronato una iniziativa della Regione Puglia del Presidente Assessorato Industria Turistica e Culturale della Repubblica Italiana finanziata dal P.O.R. Puglia 2014-2020, Asse VI, Obiettivo tematico 6.7. COMITATO D’ONORE SOGGETTO ATTUATORE Michele Emiliano Fondazione Apulia Film Commission Presidente Regione Puglia Loredana Capone Consiglio di amministrazione Assessore Industria Turistica e Culturale Maurizio Sciarra Regione Puglia presidente Antonio Decaro Chiara Coppola Sindaco di Bari Simonetta Dellomonaco Antonio Felice Uricchio Fabio Prencipe Rettore Università degli Studi di Bari Giandomenico Vaccari Gianrico Carofiglio consiglieri Presidente Fondazione Teatro Petruzzelli Aurora De Falco Massimo Biscardi Sebastiano Di Bari Sovrintendente Fondazione Teatro Petruzzelli Giuseppe Tanisi Paolo Verri collegio revisori Commissario Agenzia Puglia Promozione Cristina Piscitelli - RUP Bif&st MAIN MEDIA PARTNER Andreina De Nicolò ufficio progettazione e gestione progetti Daniele
    [Show full text]
  • 1 Revisiting the Past As a Means of Validation: Bridging the Myth of The
    1 Revisiting the Past as a Means of Validation: Bridging the Myth of the Resistance and the Satire of the Economic Miracle in Two Comedies “Italian style” Giacomo Boitani, National University of Ireland, Galway Abstract: Many commedia all’italiana filmmakers have acknowledged the neorealist mode of production as a source of inspiration for their practice of pursuing social criticism in realistic and satirical comedies between 1958 and 1977. The detractors of the genre, however, have accused the commedia filmmakers of “diluting” the neorealist engagement to a simple description of the habits of Italians during the Economic Miracle, a description which threatened to encourage, through the casting of popular stars, the cynical attitude it sought to satirise. In this article, I shall discuss how two commedia all’italiana directors, namely Dino Risi and Ettore Scola, produced two significant commedie, respectively Una vita difficile (1961) and C’eravamo tanto amati (1974), which bridged the Resistance setting, associated with neorealism, and the Economic Miracle setting of most commedie all’italiana in order to reaffirm their neorealist roots, thus revisiting the past as a response to the critical underestimation from which their cinematic practice suffered. Many filmmakers of the comedy “Italian style” genre (commedia all’italiana) have acknowledged Italian neorealism as a source of inspiration for their practice of pursuing social criticism in realistic and satirical comedies produced in the years between 1958 and 1977. For instance, comedy “Italian style” star Alberto Sordi said that of those involved in the genre that “our project was to reinvent neorealism and to take it in a satirical direction” (Giacovelli, Un italiano 110),1 while director Marco Ferreri stated that “the commedia is neorealism revisited and modified in order to make people go to the movies” (Giacovelli, Commedia 21).
    [Show full text]