History Newsletter Published Biannually Fall 2020 California State University, Bakersfield Vol
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The Cinema of Merzak Allouache Joseph Mcgonagle
Transculturality in Algiers: The Cinema of Merzak Allouache Joseph McGonagle Thanks to its rich and diverse history, the city of Algiers is undoubtedly a privileged site of transculturality. This was certainly the case in the French colonial period when, as Zeynep Çelik argues, colonial Algeria was the most important but most problematic of the French overseas territories and constituted “the colonial city par excellence, the terrain of many battles— cultural, political, military, urban, architectural.”1 Furthermore, as Martin Evans and John Phillips point out: “French rule in Algeria lasted for 132 years, as opposed to 75 years in Tunisia and 44 in Morocco, a depth and duration of colonial experience unique within the Arab world.”2 As a consequence, France “remains an omnipresent feature of Algeria,” and the complexity of its historical legacy helps ensure that Algeria is “the most francophone of France’s former territories.”3 Crucially, the Bay of Algiers forms a major economic maritime hub. As Tom Trevor has asserted regarding port cities more broadly, such spaces provide “symbolic sites of cultural exchange. They are the points of entry and departure, the mouth of an imagined body of the nation-state, where the foreign gets muddled up with the familiar and land-locked certainty is blurred by maritime exchange.”4 Given that Algiers is bordered by the Mediterranean Sea, Trevor’s argument pertains all the more, as the profound cultural and linguistic diversity of this geographical space “encourages a reshuffling of the usual cards of national belonging and unilateral framing.”5 As the capital city and seat of state power, Algiers has played a pivotal role in the formation of Algeria as a nation and the development of Algerian cultural identity. -
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. -
The Altering Eye Contemporary International Cinema to Access Digital Resources Including: Blog Posts Videos Online Appendices
Robert Phillip Kolker The Altering Eye Contemporary International Cinema To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/8 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Robert Kolker is Emeritus Professor of English at the University of Maryland and Lecturer in Media Studies at the University of Virginia. His works include A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg Altman; Bernardo Bertolucci; Wim Wenders (with Peter Beicken); Film, Form and Culture; Media Studies: An Introduction; editor of Alfred Hitchcock’s Psycho: A Casebook; Stanley Kubrick’s 2001: A Space Odyssey: New Essays and The Oxford Handbook of Film and Media Studies. http://www.virginia.edu/mediastudies/people/adjunct.html Robert Phillip Kolker THE ALTERING EYE Contemporary International Cinema Revised edition with a new preface and an updated bibliography Cambridge 2009 Published by 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com First edition published in 1983 by Oxford University Press. © 2009 Robert Phillip Kolker Some rights are reserved. This book is made available under the Cre- ative Commons Attribution-Non-Commercial 2.0 UK: England & Wales Licence. This licence allows for copying any part of the work for personal and non-commercial use, providing author -
Nonprofessional Acting in El Perro Issue 9 | Movie: a Journal of Film Criticism | 56
Nonprofessional Acting in El Perro Issue 9 | Movie: A Journal of Film Criticism | 56 interpretable, or because the performers are, from this initial is also renamed after the non-actor, which makes it easier for contact with the filmmaking devices, modifying their behav- the performer to identify with the role. On set, scripts are iour and incorporating gestures and mannerisms. For these withheld from the non-actors, favouring instead the use of filmmakers it is the contact with the camera (the recording cues and verbal explanations. (This alleviates the performer’s device) that inevitably changes the person’s behaviour and possible difficulties memorising lines.) Non-actors are also their status as film performers. encouraged to adapt words and sentences to their natural way Robert Bresson, who made the use of non-actors a dis- of speaking. Sorin also shoots in chronological order (Sorin tinctive feature of his filmmaking style, would disagree. For in Ponce 2004), a technique facilitated by the use of a small Bresson what radically altered the non-actor’s behaviour and production crew. The shooting ratio is very high, often above their status was not performing for the camera but watching thirty to one, as scenes are not rehearsed; rather, all rehearsals their own on-screen performance. Bresson explains: are filmed. Do not use the same models in two films. […] They would These choices, popular among social realist filmmak- look at themselves in the first film as one looks at one- ers such as Ken Loach, help withhold fictional events from Nonprofessional Acting self in the mirror, would want people to see them as they the performer so that actor and character discover them wish to be seen, would impose a discipline on themselves, simultaneously.4 The emphasis is on preserving a quality of in El Perro would grow disenchanted as they correct themselves. -
ME,YOUBY BILLE AUGUST a Film Based on the Novel “Tu, Mio” by ERRI DE LUCA SYNOPSIS
ME,YOUBY BILLE AUGUST A Film based On The Novel “Tu, Mio” by ERRI DE LUCA SYNOPSIS Ischia, 1955. In the waters of the island in the bay of Naples, Marco (16) Caia is Jewish. Marco does not have these prejudices, on the contrary, spends his days sailing with Nicola (52), a hardened fisherman who tells this discovery pushes him to delve into the girl’s life even more. A stories about the sea and the war, that is still very fresh in his memory. beautiful complicity is established between the two in which Caia reveals Marco is different from the other boys, he prefers spending his time her painful past, with a childhood stolen by the SS and a father who in the company of the hermetic Nicola rather than going to the beach, preferred to throw his daughter out of a train in Yugoslavia, rather having courting girls or bathing in the ocean like his peers. Shy and curious, he her to experience the horrors of a concentration camp. takes advantage of his holidays on the Italian island to fill his eyes with Marco’s gestures remind Caia of her father: his protective attitudes, the images of a world that is so distant from his native London or from the way he kisses her on the forehead, the sound of his voice when he the gloomy boarding school in Scotland where his family sheltered Marco pronounces her name in Romanian, Chaiele. Next to him she feels the to protect him from the bombings. presence of her father, even though Marco is just a slender boy 4 years On vacation with his parents at his maternal uncle’s house, he will live younger than her. -
Texto Completo (Pdf)
ZBD # 8 La mostra di Venezia prima, durante e dopo Pontecorvo Roberto Donati Arezzo, Italia [email protected] Artículo recibido el 30/02/2016, aceptado el 10/05/2016 y publicado el 15/07/2016 Reconocimiento-No comercial-Sin obras derivadas 3.0 License 68] RIASSUNTO: Breve introduzione storica alla Mostra Internazionale d’Arte Cinematografica di Venezia. Le ragioni che hanno portato alla scelta di Gillo Pontecorvo come direttore, nel 1992. Le linee programmatiche di Pontecorvo, i successi e i primi passi falsi: il caso Gli spietati. Le cinque edizioni firmate Pontecorvo nel dettaglio: titoli, registi, scoperte, rivalutazioni. Le sue iniziative da direttore per ripopolare il Lido di spettatori comuni e soprattutto di giovani, dopo anni in cui la Mostra era diventata meta quasi esclusiva di addetti ai lavori. Il ritorno di Gillo a Venezia da ex direttore, di nuovo in veste di regista, con il cortometraggio Nostalgia di protezione. Infine, il dopo-Pontecorvo: da Felice Laudadio ad Alberto Barbera, da Moritz de Hadeln a Marco Müller, fino al ritorno di Barbera. Parole chiave: Mostra del Cinema di Venezia, direttore, Gillo Pontecorvo. 81) – (pp. 67 67 (pp. ∫ 3576 - ABSTRACT: A brief historical introduction to Venice Film Festival. The reasons that led Gillo Pontecorvo to become Director in 1992. Pontecorvo’s programmatic standpoint, 2255 N: successes and first false steps: the Unforgiven case. The five Pontecorvo editions in detail: SS I titles, directors, discoveries, reassessments. His initiatives aimed to repopulate the Lido of - common moviegoers, specifically young spectators, after years when the Mostra had 2016) 2016) become an insiders’ exclusive destination. -
Semester at Sea Course Syllabus
SEMESTER AT SEA COURSE SYLLABUS Voyage: Summer 2013 Discipline: Media Studies MDST 2502: Mediterranean Cinemas after 1945 Division: Lower division Faculty Name: Ernesto R. Acevedo-Muñoz, Ph.D. COURSE DESCRIPTION: This course presents students with a history and overview of the major European film movements, the most influential films and directors, and the relationship between European cinemas, history, and culture from 1945 to the 2000s. Focusing largely –though not exclusively- on the principal film industries of France, Italy, Spain, Greece, Turkey and Northern Africa, the course draws direct comparisons and relationships between the practices of cinema, and developments in history and society. COURSE OBJECTIVES: Students will explore the styles and significance of such influential movements as Italian Neorealism (1944-1952), the French the New Wave (1958-1964), the “Golden Age” of Greek cinema (1950s-1960s) and Spanish cinema before and after democratization. The course will consider specific relationships of national cinemas in general, and exemplary films in particular, to representations of landscape, the city, and key historical junctures. Rome, Open City (Roberto Rossellini, Italy 1945). REQUIRED TEXTBOOK: Elizabeth Ezra (ed.) European Cinema. Oxford U. Press, 2004. Other reading materials will be available electronically. Our most important texts, of course, are the movies assigned for each class meeting. Course Schedule C1- June 19: Introductions and rules of the game. Opening lecture/discussion: “Understanding cultures through film.” Reading: Ezra, Introduction: “A brief history of cinema in Europe.” C2- June 20: The Hollywood Standard. Casablanca and Classical Cinema. Film: Casablanca (Michael Curtiz, US 1942). C3- June 21: War as a starting point. Film: Rome, Open City (Roberto Rossellini, Italy 1945). -
Gian Maria Volonte:Programme Notes.Qxd
Operation Ogre / Ogro Spain / France / Italy | 1979 | 115 minutes Credits In Brief Director Gillo Pontecorvo As 1973 winds down, Franco is still governing Spain with an iron hand. Screenplay Giorgio Arlorio, Ugo Pirro, Gillo Opposition parties are forbidden; labor movements are repressed; and Pontecorvo (novel byJulen Aguirre) Basque nationalists are mercilessly hunted down. The caudillo is aging, though, and the continuity of the régime is in question. One man has the Music Ennio Morricone trust of Franco, enough authority and experience to assume the leadership, Photography Marcello Gatti and an impeccable track record as to dealing with enemies of the State: admiral Carrero Blanco. For the embattled clandestine Basque organization Cast ETA, Carrero Blanco must be brought down. Daring plans are made, requiring Izarra Gian Maria Volonté a meticulous execution... Amaiur Ángela Molina Eduardo Casais, IMDB Luque Saverio Marconi Iker José Sacristán Ogro (1979) is the third Gillo Pontecorvo film I've seen, after the brilliant Battle of Algiers and the disappointing Burn! Pontecorvo again deals with the politics and harsh realities of terrorism and revolution, but in a more subdued manner than above-named films. Unfortunately, Ogro is also a bit too obvious and slow compared to his previous works, and suffers as a result. In 1973, Spain is still under the thumb of Generalissmo Francisco Franco, the Fascist dictator who has ruled the country since 1939. Still, most knowledgable Spaniards know he hasn't long to live, and his equally repressive right-hand man Carrero Blanco (Agapito Romo) is in line to take over. A cell of the ETA, a Basque terrorist organization, has decided to kidnap Blanco and hold him for ransom. -
The Political Import and Impact of the Battle of Algiers
Cine Qua Non: The Political Import and Impact of The Battle of... http://lisa.revues.org/5006 Revue LISA/LISA e-journal Littératures, Histoire des Idées, Images, Sociétés du Monde Anglophone – Literature, History of Ideas, Images and Societies of the English-speaking World Vol. X – n° 1 | 2012 : Regards croisés sur des guerres contemporaines H/histoire(s) et résonances de guerre(s) : témoignages littéraires et représentations cinématographiques Cine Qua Non: The Political Import and Impact of The Battle of Algiers Cine Qua Non : L’impact de La bataille d’Alger STEPHEN J. WHITFIELD p. 249-270 Résumé Co-production italo-algérienne (en français et en arabe), La Battaglia di Algeri (1965), mérite le titre de meilleur film jamais réalisé. Gillo Pontecorvo, réalisateur et co-scénariste, montre avec brio et perspicacité les luttes de groupes d’insurgés se livrant à une guérilla urbaine dans l’Alger des années 1954-1957. Dans son portrait des exactions terroristes, ce film anticipe une vision du monde actuel, empli d’une violence effroyable, insoutenable. Ce 1 of 18 3/30/16, 1:50 PM Cine Qua Non: The Political Import and Impact of The Battle of... http://lisa.revues.org/5006 film prémonitoire a un impact indéniable sur le temps présent. Que l’on soit de gauche ou de droite, de 1965 à nos jours, ce film ne cesse de fasciner. Ainsi dans le cadre de cette étude, je tenterai de mettre en relief la réalité historique à travers l’art cinématographique. Censuré en France en 1965, et peu projeté en salle dans la décennie qui suivit, ce film garde de sa force impressionnante grâce à son style étonnant mais aussi au thème choisi, criant par son éternelle actualité. -
FILM STUDIES by Clodagh Brook, University of Birmingham, and Cosetta Veronese, University of Birmingham
FILM STUDIES By Clodagh Brook, University of Birmingham, and Cosetta Veronese, University of Birmingham General readers of Italian film history. Rémi Fournier Lanzoni, Comedy Italian Style: The Golden Age of Italian Film Comedies, New York–London, Continuum, 276 pp., provides a panorama of commedia all’italiana within the broader context of comedy in Italy. Bert Cardullo, After Neorealism: Italian Filmmakers and Their Films; Essays and Interviews, Newcastle, Cambridge Scholars, 198 pp., provides interviews with directors and analyses of their work, including Visconti, Fellini, Monicelli, Pasolini, Antonioni, Olmi, Amelio, and Moretti. Fabio Vighi, Sexual Difference in European Cinema: The Curse of Enjoyment, NY, Palgrave Macmillan, 258 pp., offers a radical Lacanian- Žižekian re-reading of European auteur cinema, including analysis of Rossellini, Fellini, Pasolini, and Antonioni. Adaptations and cross-media studies. V. Galbiati, ‘Tra lettera tura e cinema: Landolfi, Cavazzoni e Fellini’, Italianistica, 38.3:159–66, studies the echoes of Landolfi’s work and Cavazzoni’s novel Il poema dei lunatici in Fellini’s film La voce della luna. ParL, 60.81–83 contains an extensive section on cinema, including a reflection upon Bertolucci’s activity as a cinema critic (F. Zabagli, ‘Attilio Bertolucci “cronista di cinema”’, 80–85), and an analysis of the significance that the advent of cinema had on literary activity of the early 20th century (I. Gambacorti, ‘Lo schermo di carta. Letteratura sul cinema negli anni Dieci’, 86–98). E. Ciccotti, ‘Mario Verdone, Eugène Ionesco, Siena e il rinoceronte. Tra teatro, circo e cinema’, NA, 144.2252:187–202, analyses Verdone’s 1963 theatrical piece La gloria del Rinoceronte. -
Images of Germans in Post-War Italian Cinema
Damiano Garofalo Images of Germans in Post-war Italian Cinema Abstract This essay aims at tracing the models of representation of the Germans in Italian post-war cinema. Taking into consideration dozens of films produced in Italy between ’40s and ’50s dealing with the memory of Fascism, Second World War, Holocaust and the Resis- tance, the essay questions the so-called “bad German” memorial paradigm, attempting to underline the persistences or removals of this mythology in Italian films of the period. The aim is to understand what kind of function the Germans and the Nazis assume in these works, if they have a symbolic, memorial and historiographical value, or they are just functional to the cinematic narration. Moreover, the essay discusses whether these characteristics appear differentiated, or they recall the nationalist stereotypes of those years. Analyzing four cases more deeply (“Roma città aperta”, “Anni difficili”, “Ach- tung! Banditi!”, and “Kapò”), this essay argues how the German characters reveal their characteristic of persecutors in their relationship with the Italian “victims”. As a final accomplishment, this essay inserts these representations into a wider medial and cultural system, trying to understand how these definitions and typologies affect both the local and national public memory. 1 Introduction The history of Second World War and the relations between Germany and Italy have been central in Italian post-war film culture. This paper aims at understanding how post-war Italian cinema assisted in the construction of a national and stereotypical public image of Germans in Italy. I argue that the film industry strengthened a col- lective consciousness by presenting Fascism and Italian-German relations in different ways. -
300 Greatest Films 4 Black Copy
The goal in this compilation was to determine film history's definitive creme de la creme. The titles considered to be the greatest of the great from around the world and throughout the history of film. So, after an in-depth analysis of respected critics and publications from around the globe, cross-referenced and tweaked to arrive at the ranking of films representing, we believe, the greatest cinema can offer. Browse, contemplate, and enjoy. Check off all the films you have seen 1 Citizen Kane 1941 USA 26 The 400 Blows 1959 France 51 Au Hasard Balthazar 1966 France 76 L.A. Confidential 1997 USA 2 Vertigo 1958 USA 27 Satantango 1994 Hungary 52 Andrei Rublev 1966 USSR 77 Modern Times 1936 USA 3 2001: A Space Odyssey 1968 UK 28 Raging Bull 1980 USA 53 All About Eve 1950 USA 78 Mr Hulot's Holiday 1952 France 4 The Rules of the Game 1939 France 29 L'Atalante 1934 France 54 Sunset Boulevard 1950 USA 79 Wings of Desire 1978 France 5 Seven Samurai 1954 Japan 30 Annie Hall 1977 USA 55 The Turin Horse 2011 Hungary 80 Ikiru 1952 Japan 6 The Godfather 1972 USA 31 Persona 1966 Sweden 56 Jules and Jim 1962 France 81 The Apartment 1960 USA 7 Apocalypse Now 1979 USA 32 Man With a Movie Camera 1929 USSR 57 Double Indemnity 1944 USA 82 Discreet Charm of the Bourgeoisie 1972 France 8 Tokyo Story 1953 Japan 33 E.T. the Extra-Terrestrial 1982 USA 58 Contempt (Le Mepris) 1963 France 83 The Seventh Seal 1957 Sweden 9 Taxi Driver 1976 USA 34 Star Wars Episode IV 1977 USA 59 Belle De Jour 1967 France 84 Wild Strawberries 1957 Sweden 10 Casablanca 1942 USA 35