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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. -
ORPHÉE | ORPHEUS | ORFEUS Directed by Jean Cocteau
ORPHÉE | ORPHEUS | ORFEUS Directed by Jean Cocteau Starring : Jean Marais, François Périer, María Casarès, Marie Déa, Roger Blin, Juliette Greco 1950 | 91’ | B&W | OV French | Fantasy | DCP Film restored in 2008 Subtitles : English, German, Finnish Rights : International (except for UK, USA & Anglophone Canada) Once again Jean Cocteau updates a classic to a compelling modern allegory. Jean Marais is Orpheus, a poet in search of inspiration. Marie Déa is radiant as Eurydice. María Casarès is Death, the imperious and se- ductive princess, whose glove-clad hand ripples though a mirror, leading Orpheus to another world. “If a poet has a dream, it is not of becoming famous, but of being believed.” - Jean Cocteau Cannes Film Festival, Cannes Classics, 2008 LA PISCINE | THE SWIMMING POOL DER SWIMMING POOL Directed by Jacques Deray Starring : Alain Delon, Romy Schneider, Maurice Ronet, Jane Birkin 1968 | 120’ | Colour | OV French | Crime, Drama | DCP Film restored in 2008 Subtitles : English, German, Dutch Rights : International (except USA, Canada, Italy, Russia, Japan, Ex-USSR, Dutch-speaking territories) Jean-Paul and Marianne spend lazy holidays at their villa in idyllic Southern France. However when Harry and his attractive young daughter Penelope show up, the dreamy summer days are suddenly filled with unspoken tension and jealousy. The shimmering swimming pool becomes the scene of a crime of passion. * Music by Michel Legrand 2 LA BANDERA | ESCAPE FROM YESTERDAY KOMPANIE DER VERLORENEN Directed by Julien Duvivier Starring : Jean Gabin, Anabella, Robert Le Vigan 1935 | 100’ | B&W | OV French | French classic | DCP Film restored in 2006 Subtitles : English, German Rights : International Jean Gabin is unforgettable as a French Legionnaire relentlessly pursued by his criminal past – and a fellow soldier who seems to know a little too much about him… Sent to the frontline, the two men come to terms with their courage in the face of danger. -
Separate and Consolidated Interim Financial Statements As at 30 June 2020
Separate and Consolidated Interim Financial Statements as at 30 June 2020 Separate and Consolidated Interim Financial Statements as at 30 June 2020 Contents 7 Introduction 17 Report on Operations 171 Interim Separate Financial Statements as at 30 June 2020 239 Interim Consolidated Financial Statements as at 30 June 2020 303 Corporate Directory 4 Contents Introduction 7 Corporate Officers 8 Organisational Structure 9 Introduction from the Chairman of the Board of Directors 11 Financial Highlights 12 Report on Operations 17 Mission 18 Market scenario 18 The Rai Group 24 Television 41 Radio 97 RaiPlay and Digital 107 Public broadcasting service function 116 TV production 119 Technological activities 120 Transmission and distribution activities 129 Sales activities 130 Other activities 135 Changes in the regulatory framework 143 Corporate governance 148 Corporate Governance Report - the Rai Control Governance Model and the Internal Control and Risk Management System (SCIGR) 150 Other information 155 Human Resources and Organisation 155 Safety & Security 159 Intercompany Relations 161 Significant events occurring after 30 June 2020 168 Outlook of operations 168 5 Interim Separate Financial Statements as at 30 June 2020 171 Analysis of the results and performance of operating results, financial position and cash flows for the first half of 2020 172 Financial Statements of Rai SpA 186 Notes to the Interim Separate Financial Statements as at 30 June 2020 191 Certification pursuant to article 154-bis of Italian Legislative Decree 58/98 235 Independent -
Film Divertenti
Commedie e film comici Ciao Pussycat (regia di Clive Donner – USA, 1965) Simon Konianski (regia Micha Wald – Francia, 2009) Johnny English (regia di Peter Howitt – Regno Unito, 2003) Il favoloso mondo di Amélie (regia di Jean Pierre Jeunet – Francia, 2001) Airbag - tre uomini e un casino (regia di Juanma Bajo Ulloa – Spagna, 1997) Torrente - Il braccio idiota della legge (regia di Santiago Segura – Spagna, 1998) Il giorno della bestia (regia di Alex de la Iglesia – Spagna, 1995) La serie "The Durrells" (scritta da Simon Nye – Regno Unito, 2016-2018) Robin Hood un uomo in calzamaglia (regia di Mel Brooks – USA, 1993) Borat (regia di Larry Charles – USA, 2007) Bruno (regia di Larry Charles – USA, 2009) Tre uomini e una gamba (regia di Aldo Baglio, Giacomo Poretti, Giovanni Storti, Massimo Venier – Italia, 1997) La pazza gioia (regia di Paolo Virzì – Italia, 2016) I soliti ignoti (regia di Mario Monicelli – Italia, 1958) I mostri (regia di Dino Risi – Italia, 1963) L’armata Brancaleone (regia di Mario Monicelli – Italia, 1966) Brancaleone alle crociate (regia di Mario Monicelli – Italia, 1970) Il mio grosso grasso matrimonio greco (regia di Joel Zwick – Canada, USA, Grecia, 2002) Albeggia e non è poco (regia di José Luis Cuerda – Spagna, 1989) L'arbitro (regia di Paolo Zucca – Italia, 2013) L’uomo che comprò la luna (regia di Paolo Zucca – Italia, 2018) Non sposate le mie figlie (regia di Philippe de Chauveron – Francia, 2015) La felicità è un sistema complesso (regia di Gianni Zanasi – Italia 2015) Pecore in Erba, ovvero quando un documentario -
Print Catalogue
ORPHÉE | ORPHEUS | ORFEUS Directed by Jean Cocteau Starring : Jean Marais, François Périer, María Casarès, Marie Déa, Roger Blin, Juliette Greco 1950 | 91’ | B&W | OV French | Fantasy | DCP Film restored in 2008 Subtitles : English, German, Finnish Rights : International (except for UK, USA & Anglophone Canada) Once again Jean Cocteau updates a classic to a compelling modern allegory. Jean Marais is Orpheus, a poet in search of inspiration. Marie Déa is radiant as Eurydice. María Casarès is Death, the imperious and se- ductive princess, whose glove-clad hand ripples though a mirror, leading Orpheus to another world. “If a poet has a dream, it is not of becoming famous, but of being believed.” - Jean Cocteau Cannes Film Festival, Cannes Classics, 2008 LA PISCINE | THE SWIMMING POOL DER SWIMMING POOL Directed by Jacques Deray Starring : Alain Delon, Romy Schneider, Maurice Ronet, Jane Birkin 1968 | 120’ | Colour | OV French | Crime, Drama | DCP Film restored in 2008 Subtitles : English, German, Dutch Rights : International (except USA, Canada, Italy, Russia, Japan, Ex-USSR, Dutch-speaking territories) Jean-Paul and Marianne spend lazy holidays at their villa in idyllic Southern France. However when Harry and his attractive young daughter Penelope show up, the dreamy summer days are suddenly filled with unspoken tension and jealousy. The shimmering swimming pool becomes the scene of a crime of passion. * Music by Michel Legrand 2 LA BANDERA | ESCAPE FROM YESTERDAY KOMPANIE DER VERLORENEN Directed by Julien Duvivier Starring : Jean Gabin, Anabella, Robert Le Vigan 1935 | 100’ | B&W | OV French | French classic | DCP Film restored in 2006 Subtitles : English, German Rights : International Jean Gabin is unforgettable as a French Legionnaire relentlessly pursued by his criminal past – and a fellow soldier who seems to know a little too much about him… Sent to the frontline, the two men come to terms with their courage in the face of danger. -
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. -
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). -
Cartolina IL VEDOVO
Bologna, Sotto dal 4 luglio al 1° settembre le stelle Piazza Maggiore e BarcArena del Cinema ore 21.30 sotto tutela (coniugale) e fantasioso buono a nulla. La salma però è di- Martedì 4 agosto 2020 spersa, e Dino Risi, solidamente sorretto dalle parole di Sonego e Con- tinenza, organizza un funerale in contumacia che s’iscrive nella storia Serata promossa da del cinema italiano: il vedovo che arriva bardato di nero “con occhialoni neri, guanti, cilindro e bastone, così ben agghindato che sembrerebbe lui il morto” (Enrico Giacovelli), l’amante di lui fasciata di satin che serve Omaggio a Franca Valeri le tagliatelle, un’orchestrina che suona valzer viennesi, Alberto Raba- IL VEDOVO gliati che intona l’Ave Maria di Schubert, mentre la veglia vira all’euforia scomposta. Ma tutti sappiamo e in fondo temiamo che arriverà la resa (Italia/1959) dei conti: “Cosa fai, cretinetti?”, e la tragedia della vita (che ritorna) pone fine alla commedia della morte. Quel che succede poi non ha la stessa Regia: Dino Risi. Sceneggiatura: Fabio Carpi, Sandro Continenza, tensione, ma a questo punto Il vedovo è già un capolavoro e Franca Dino Risi, Rodolfo Sonego, Dino Verde. Fotografia: Luciano Trasatti. Valeri lo attraversa coi suoi passetti irrigiditi dal tailleur, con il suo scon- Montaggio: Alberto Gallitti. Scenografia: Piero Filippone. Musica: certante coraggio, con il suo talento mozzafiato. Questa moglie terribile Armando Trovajoli. Interpreti: Alberto Sordi (commendator Alberto forse è solo l’estrema deriva della signorina snob “invecchiata che s’in- Nardi), Franca Valeri (Elvira Almiraghi), Livio Lorenzon (ragionier durisce, si cementa, le sue sciocchezze diventano dogmi, le sfumature Stucchi), Nando Bruno (Armando), Ruggero Marchi (commendator vocali si adeguano a quelle morali. -
Commedia All'italiana
Commedia all’italiana 1958-80 Commedia all’italiana 1958-80 Prof. Marco Marcucci Liceo Primo Levi San Donato Milanese La commedia all’italiana 1952-80 La commedia all’italiana nasce dalla contaminazione del neorealismo con il cinema classico e con la commedia dell’arte. Stefania Sandrelli in: Io la conoscevo bene - Paolo Pietrangeli, 1965 Si torna ad una narrazione in cui lo spettatore è al centro della scena, si riutilizzano le «maschere» del teatro popolare: il servo astuto, il trafficone furbo, il vecchio borioso, il fanfarone, la ragazzina sveglia ecc. Le storia sono calate nel nuovo panorama dell’Italia del boom e raccontano, come nel neorealismo, fatti veramente accaduti o che potrebbero accadere. Il tono è lieve e a volte farsesco ma spesso nasconde un’amarezza o una denuncia sociale. Si ride dei vizi degli italiani o delle debolezze di alcuni Prof. Marco Marcucci Liceo Primo Levi San Donato Milanese La commedia all’italiana 1952-80 I soliti ignoti di Monicelli, è considerato da molti critici, per ambientazione, Più che un vero e proprio genere, come tematiche, tipologia dei personaggi e impostazioni estetiche, il punto di inizio potrebbe essere il western o il thriller, il della Commedia all'italiana. termine indica un periodo in cui in Italia venivano prodotte I soliti ignoti Mario Monicelli 1958 principalmente commedie brillanti, ma con dei contenuti comuni come la satira di costume e l'ambientazione preferibilmente borghese, spesso caratterizzate da una sostanziale amarezza di fondo, che stempera i contenuti comici. Se si volesse individuare un manifesto del genere, il cui fascino poggia anche, in parte, sull'indeterminatezza di canoni estetici condivisi, probabilmente ci si potrebbe riferire a tre film su tutti, ossia I mostri di Risi, Il medico della mutua, di Luigi Zampa, e il suo seguito Il prof. -
Il Sorpasso 2002, La Pellicola Conserva Intatta Tutta La in Collaborazione Con Il Centro Sua Carica Sarcastica
Cineforum G. Verdi 30°anno 15° film 26 - 27 – 28 – 29 gennaio 2005 [email protected] anni di distanza e dopo il restauro del Il sorpasso 2002, la pellicola conserva intatta tutta la in collaborazione con il Centro sua carica sarcastica. Il personaggio di Sperimentale di Cinematografia- Bruno, magistralmente reso dall’interpretazione di Gassman, è un Cineteca Nazionale uomo istrionico ed irresponsabile che incarna perfettamente la società italiana di CAST TECNICO ARTISTICO quegli anni, impazzita dagli effetti del Regia: Dino Risi boom economico. Ma l’affresco solo il Leone d’oro alla carriera del Soggetto e Sceneggiatura: Ettore Scola. dell’italiano cialtrone, logorroico e 2002 e l'onorificenza di Cavaliere di Ruggero Maccari. Dino Risi, Rodolfo bontempone che Risi riesce a tratteggiare Gran Croce, consegnata dal Presidente Sonego è probabilmente senza tempo e riflette della Repubblica lo scorso anno, gli Fotografia: Alfio Contini molti dei tratti italiani più tipici. hanno reso il giusto merito. Scenografia: Ugo Pericoli Anche perché Bruno, a momenti generoso De Il Sorpasso oggi apprezziamo Costumi: Ugo Pericoli e amichevole, riesce anche simpatico. Lo soprattutto la capacità di scavare nelle Musica: Riz Ortolani è certamente per Roberto, un ragazzo per Montaggio: Maurizio Lucidi contraddizioni della società senza bene, di buona famiglia, con un futuro Prodotto da: Mario Cecchi Gori. cadere nella tentazione della caricatura. (Italia 1962) brillante. Forse la sua vita è un po’ noiosa, In questo sta la cifra stilistica della Durata: 108' ma sicura. Accetta di partire non tanto per pellicola e qui il cinema di Risi (si Distribuzione cinematografica: Incei trasgredire a queste regole, ma per ricordi anche La grande guerra e Una films ascoltare i racconti di vita vissuta del vita difficile) si allontana di più da quel nuovo amico: il viaggio per lui diventa cinema italiano d’oggi, sempre così PERSONAGGI E INTERPRETI una sorta di esperienza educativa. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Misery is the True Script for Comedy: A Study of Italian Film Comedy in the 1950s Permalink https://escholarship.org/uc/item/52s6f970 Author White, Christopher Burton Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California 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. -
Socio-Economic Critique, Cognitive Engagement and Gender Roles in Carlo Lizzani’S La Celestina P
Socio-economic critique, cognitive engagement and gender roles in Carlo Lizzani’s La Celestina P.. R..1 Marco Paoli Carlo Lizzani (1922-2013) was one of Italy’s most prolific film directors but he has rarely attracted the degree of critical attention that has been afforded to his contemporaries. However, Lizzani’s films are fascinating visual documents of the stylistic influences absorbed by Italian cinema in the post-war period, and they contain unorthodox and sometimes controversial social critiques which merit greater critical attention as various recent publications on the diverse cinematic oeuvre of the director demonstrates.2 Most notably, Lizzani’s films provide a range of portrayals of the evolving criminal scene in the post-war period, depictions which are closely connected to different manifestations of Italian cinematic genres or filoni.3 In particular, his comedies including Il carabiniere a cavallo (1961), La vita agra (1964), La Celestina P.. R.. (1964) and L’autostrada del sole, Lizzani’s episode in Thrilling (1965), reflect Italian style comedy’s capacity to draw attention to topical subjects and to the most recent social transformations by exploring the implications of emerging forms of criminality and gendered tensions in the early-mid 1960s and by engaging viewers from an emotional and intellectual perspective.4 This article discusses the director’s capacity to exploit the potential of comedy at the peak of the 1960s to elaborate a detailed portrayal of contemporary Italy and, at the same time, to highlight the contradictions and deleterious effects of the changing nature of society as a consequence of the economic miracle.