DOCSLIB.ORG

First Oscar Nominated Female Director Lina Wertmüller on Her Life and Times

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
First Oscar Nominated Female Director Lina Wertmüller on Her Life and Times Community Community A fungus linked Qatar Natural to dandruff in the History P4hair may worsen P16 Group intestinal disorders such (QNHG) organises a as inflammatory bowel talk on ‘Falconry in disease in patients with a Qatar’ at Doha English certain genetic makeup. Speaking School. Friday, March 8, 2019 Rajab 1, 1440 AH Doha today 160 - 260 COVER 90 and counting STORY First Oscar nominated female director Lina Wertmüller on her life and times. P2-3 CUISINE SHOWBIZ Non-fried spring rolls The next level: Shekhar, from Vietnam. Kabir eye digital space. Page 6 Page 15 2 GULF TIMES Friday, March 8, 2019 COMMUNITY COVER STORY Total recall Italian film-maker Lina Wertmüller broke ground when she was Oscar nominated for Seven PRAYER TIME Beauties, but her films were never calculated to Fajr 4.35am Shorooq (sunrise) 5.51am Zuhr (noon) 11.45am win mainstream appeal, writes Claire Armitstead Asr (afternoon) 3.08pm Maghreb (sunset) 5.41pm Isha (night) 7.11pm USEFUL NUMBERS Emergency 999 Worldwide Emergency Number 112 Kahramaa – Electricity and Water 991 Local Directory 180 International Calls Enquires 150 Hamad International Airport 40106666 Labor Department 44508111, 44406537 Mowasalat Taxi 44588888 Qatar Airways 44496000 Hamad Medical Corporation 44392222, 44393333 Qatar General Electricity and Water Corporation 44845555, 44845464 Primary Health Care Corporation 44593333 44593363 Qatar Assistive Technology Centre 44594050 Qatar News Agency 44450205 44450333 Q-Post – General Postal Corporation 44464444 Humanitarian Services Offi ce (Single window facility for the repatriation of bodies) Ministry of Interior 40253371, 40253372, 40253369 Ministry of Health 40253370, 40253364 Hamad Medical Corporation 40253368, 40253365 Qatar Airways 40253374 ote Unquo Qu te “Think like a queen. A queen is not ina Wertmüller’s fi rst job in fi lm was to scout afraid to fail. Failure is another out interesting faces for Federico Fellini. The Critics will Italian master was at the height of his success; stepping stone to greatness.” she was an ambitious young puppeteer more say what interested in snatching her own location — Oprah Winfrey Lfootage than honouring the duties of an assistant critics director. “I was the worst assistant, but that was overlooked because I was likeable,” she says. say. I have The fi lm was 8½, the tale of a fecklessly promiscuous never been director abandoned by his muse. It wasn’t long before Wertmüller had cast her own mother and her card concerned circle of elegant socialites, who went on to be fl eetingly Community Editor immortalised playing canasta on a beach, in the 1963 fi lm with success listed by Sight & Sound as the 10th greatest of all time. Kamran Rehmat By the end of that year, Wertmüller had made her e-mail: [email protected] directorial debut with I basilischi (The Lizards) — about Telephone: 44466405 — Lina three aimless youths in a sleepy southern Italian town Fax: 44350474 — and embarked on her own lifelong pursuit of faces, Wertmüller bodies and dialects that could not easily be sourced from ‘ ’ Cinecittà (Italy’s central studios). Friday, March 8, 2019 GULF TIMES 3 COVER STORY COMMUNITY Now aged 90, Wertmüller is puppet troupe. “Really, there are about to arrive in London, on screen two strands — two souls — which if not in person, as the fi rst star of coexist in my work: the lighthearted a new strand at London’s Barbican one associated with musical celebrating neglected fi lm-makers. comedies and the more socially Four of her fi lms will be featured in conscious one,” she says. the month-long season, alongside Her most recent, and probably a perky documentary about her her last, job was as co-director of life directed by her protege and Verdi’s opera Macbeth, at Salerno assistant Valerio Ruiz. It is Ruiz in 2016. But her rackety “vulgar” who greets me at her apartment, side is captured in the documentary perched two storeys up a winding when she performs one of her own staircase around the corner from songs, Bac Baccanale, written for the Piazza del Populo in central an abortive musical about Caligula. Rome. “Hands, sighs, bellies … girls all in The door opens on two lifesized a frenzy …” she growls, lit up with a cloth dummies which sprawl ribald energy. across a bench in the entrance The fi nal fi lm of the Barbican hall. Wertmüller is reclined on a season, 1974’s Swept Away, chaise longue, a diminutive fi gure condenses the elemental struggles in her trademark white-framed of class, sex and geographical origin glasses, with glossy scarlet toenails into a fable of a rich woman and a peeping out from a loose black poor sailor marooned on a desert robe. She shifts enough to allow island. It is Wertmüller’s Lord of the me a perch on the end next to her Flies , with the exquisite Mariangela feet, but is clearly not going to be Melato gradually succumbing to separated from the two props that Giannini’s re-emerging south- will dominate the next hour: an Italian machismo. “They are not ashtray, into which she taps the ash only a man and a woman but they from a steady stream of cigarettes, represent two politics: communist and an antique telephone, which and capitalist. I was interested in she answers at length, each of the observing what their relationship several times it rings. could be with no laws,” Wertmüller Her attention is focused beadily says. outwards: “And where did you grow Swept Away was picked up by up?” she parries, in answer to a Guy Ritchie and Madonna for a question about her early life. “How poorly received remake in 2002. tall are you?” she demands later, In the aftermath of her Oscars creating the alarming impression success, Wertmüller was signed that I might be being sized up as up by Warner Brothers for four an extra for her next fi lm. When I English language fi lms, but the deal tell her I have spent the last week only survived one fl op. The fi lm immersed in her work, which I critic Derek Malcolm recalls “a very found impressive but also deeply curious case In the early and mid- shocking, she takes a deep drag on 70s, she was the toast of Rome, her cigarette and gives the fi rst of ON CUE: Lina Wertmüller, right, on the set of Seven Beauties in 1975 with her star Giancarlo Giannini. London and New York, but quite many exaggerated shrugs. suddenly, in the late 70s, the bubble The four fi lms that will be shown the mafi a in the naive belief that he has been conscripted after a unsisterly camerawork, the director seemed to burst. After getting that in the retrospective were released the ballot would be secret. In 1973’s series of mishaps prompted by the gives another of her histrionic rare Academy nomination, she in an intense bout of creativity in lingerie-tastic Love and Anarchy, accidental shooting of his sister’s shrugs, and says: “I am looking for a could do nothing right.” the early 1970s, culminating in an accidental anarchist hides out wealthy sugar-daddy. reality that deforms the body.” “Italy is not one but many Seven Beauties, which won four in a brothel and falls in love with All three feature cameos from So who is Lina Wertmüller and countries,” she says. One possible Oscar nominations in 1977, making a prostitute, while waiting to one of Wertmüller’s most striking what drives her “deforming” explanation for her seesawing Wertmüller the fi rst woman to assassinate Mussolini. In the grimly outsider actors, Elena Fiore, who vision? Archangela Felice Assunta fortunes is that her work was so receive a best director nomination comedic Seven Beauties, a young made her debut in The Seduction Wertmüller von Eigg Spañol von intricately bound up with those (it wasn’t until 1994 that Jane Neapolitan hoodlum (nicknamed of Mimi as a middle-aged Sicilian Braueich — to give her full birth countries, as refl ected in the Campion joined her, for The Piano). “Settebellezze” — seven beauties — housewife, who succumbs to his name — was born into a wealthy faces and speech rhythms of their Her Oscar nominations (she also because of his disfi guring freckles) cynical advances. When I suggest family with a lineage that stretched inhabitants, that it got lost in received a nod for best screenplay) ends up in a concentration camp that it must have been pretty back to Switzerland, via a couple of translation. Her portrayal of women opened the door to a brief aff air after deserting the army to which brave for an actor to agree to such generations in the southern Italian also fell foul of feminist critics. with American cinema. In the region of Basilicata. “Wertmüller’s detachment from her documentary, Behind the White Those bare facts, she suggests, own femaleness and her old-style Glasses, her lead actor, Giancarlo Wertmüller’s explain two things: fi rst, her sense of herself as superwoman Giannini, recalls strolling together attachment to the south of Italy, allows her to treat women with through New York’s Times Square detachment even though she has spent much of more exaggerated scorn, even beneath billboards for four of their from her own her life in Rome. And, second and loathing, than men would dare to,” fi lms. more playfully, her predilection wrote Barbara Quart in 1988 — an With their polemical ardour, femaleness and for long titles (the Italian title of accusation that 30 years on, earns their gross-out caricatures — Love and Anarchy is Film d’amore e another shrug from the director: usually of women — and their her old-style d’anarchia, ovvero: stamattina alle “Critics will say what critics say.
Load more

Recommended publications
  • 978–0–230–30016–3 Copyrighted Material – 978–0–230–30016–3
    Copyrighted material – 978–0–230–30016–3 Introduction, selection and editorial matter © Louis Bayman and Sergio Rigoletto 2013 Individual chapters © Contributors 2013 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identified as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2013 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978–0–230–30016–3 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin.
    [Show full text]
  • The Films of Lina Wertmüller
    The Films of Lina Wertmüller 7 films directed by Lina Wertmüller 1972 - 1999 / Italy / In Italian with English subtitles Press materials: www.kinolorber.com Distributor Contact: Kino Lorber 333 W. 39th Street New York, NY 10018 (212) 629-6880 Jonathan Hertzberg, [email protected] 1 Synopsis: “[Seeing Wertmüller films] was a life-changing moment for me.” —Jodie Foster In the 1970s, Lina Wertmüller was a certifiable international phenomenon—a lively firebrand behind white glasses who became one of the decade's marquee-name filmmakers. Her hot-button, epically-titled movies—erotic and polemical and provocative all at once—became must-see conversation pieces and smashed American box-office records for foreign-language films. New York put her on the cover, emblazoned with the headline "The Most Important Film Director Since Ingmar Bergman." Laraine Newman memorably impersonated her on Saturday Night Live. Her notorious Seven Beauties earned four Oscar nominations, including one for Best Director, making her the first woman ever nominated for the award. (And one of only four, still.) Pauline Kael, Molly Haskell, and Ellen Willis, meanwhile, savaged her politics. She vexed countless interviewers with her mischievously contradictory proclamations. Rarely discussed and seldom screened today, her daring, unapologetically politically incorrect films—where sex and politics are always inextricably bound—feel more essential than ever before. With world premieres of new restorations of her greatest successes, this collection offers the opportunity to dive into the history of this extraordinary director, an aesthetic pioneer and a crucial trailblazer in a male-dominated industry. – Christopher Wells, Quad Cinema 2 Films: The Seduction of Mimi (1972) / 112 min.
    [Show full text]
  • Homage to Lina Wertmüller the First Woman Ever Nominated for the Academy Award for Best Director
    Cinema Italia SF, in collaboration with the Italian Cultural Institute of San Francisco and The Italian Consulate General and with the support of The Leonardo da Vinci Society, is proud to present its 6th series of Italian Classic Cinema: Homage to Lina Wertmüller The first woman ever nominated for the Academy Award for Best Director. Saturday, September 23, 2017 – Castro Theatre, San Francisco A day-long cinematic celebration of Lina Wertmüller, the groundbreaking, pioneering woman director and visionary whose fearless, polemical and provocative films have left indelible marks and influence on the international entertainment field. • 11:00 AM: “Love & Anarchy” (129 min.) • 1:30 PM: “Behind the White Glasses” (104 min.) • 4:00 PM: “Swept Away” (115 min.) • 6:30 PM: “Seven Beauties” (116 min.) • 8:30 PM: White Glasses Party in the Theatre’s Mezzanine (ends at 10:00 PM) • 10:00 PM: “The Seduction of Mimi” (112 min.) Four narrative films in 2K Restoration DCP and one documentary film. All DCPs are provided by Kino Lorber. All four narrative feature films star Giancarlo Giannini. We are excited to welcome to San Francisco Valerio Ruiz, the director of the documentary film “Behind the White Glasses”. The Director: Lina Wertmüller was born Arcangela Felice Assunta Wertmüller von Elgg Spañol von Braueich in Rome in 1928 to a devoutly Roman Catholic Swiss family of aristocratic descent. After graduating from school, her first job was touring Europe in a puppet show. For the next ten years she worked as an actress, director and playwright for the stage. During this period she met Giancarlo Giannini, who later starred in many of her films.
    [Show full text]
  • The Image of Adventure in Literature, Media, and Society: 2019 SASSI
    University of Northern Colorado Scholarship & Creative Works @ Digital UNC Society for the Academic Study of Social Imagery School of Communication 2019 The mI age of Adventure in Literature, Media, and Society: 2019 SASSI Conference Proceedings Thomas G. Endres University of Northern Colorado, [email protected] Follow this and additional works at: https://digscholarship.unco.edu/sassi Part of the Critical and Cultural Studies Commons, Film and Media Studies Commons, Journalism Studies Commons, and the Rhetoric and Composition Commons Recommended Citation Endres, Thomas G., "The mI age of Adventure in Literature, Media, and Society: 2019 SASSI Conference Proceedings" (2019). Society for the Academic Study of Social Imagery. 3. https://digscholarship.unco.edu/sassi/3 This Conference Proceeding is brought to you for free and open access by the School of Communication at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Society for the Academic Study of Social Imagery by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. THE IMAGE OF ADVENTURE in Literature, Media, and Society 2019 Conference Proceedings Society for the Academic Study of Social Imagery Edited by Thomas G. Endres Published by University of Northern Colorado ISSN 2572-4320 (online) THE IMAGE OF ADVENTURE in Literature, Media, and Society Proceedings of the 2019 Conference of the Society for the Academic Study of Social Imagery March 2019 Greeley, Colorado
    [Show full text]
  • The Male Eye and the Female Image : the Interruption of the Visual
    THE MALE EYE AND THE FEMALE IMAGE: THE INTERRUPTION OF THE VISUAL ENCOUNTER BY ABSTRACTION IN FOUR MOVIES BY LINA WERTMULLER BY SUELLYN WINKLE A DISSERTATION PRESENTED TO THE GRADUATE COUNCIL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 1982 Copyright 1982 by Suellyn Winkle For ray grandmother, Katherine Caroline Reynolds It is yin and yang. Light is the left hand of darkness. How did it go? Light, dark. Fear, courage, Cold, warmth. Female, male . both and one. A shadow on snow. Ursula K. LeGuin We may safely assert that the knowledge that men can acquire of women, even as they have been and are, without reference to what they might be, is wretchedly imperfect and superficial and will always be so until women themselves have told all that they have to tell. John Stuart Mill ACKNOWLEDGEMENTS I am grateful to many people for their contributions to this dissertation. I would first like to thank my committee members, Ben Pickard, Norman Markel, Barrie Straus, and Marie Nelson, for their willingness to take time from their own busy schedules to help me with this work. In the preparation of the manuscript, Cindy Cart was invaluable. She showed admirable stamina and was unfail- ingly cheerful after long hours at the word processor. Patti Williams generously offered to proofread the manuscript in the final hours. And Mr. Manche, of Manche Business Systems, repeatedly repaired my old Smith-Corona Electric and would accept no payment —only that I "tell him when I finished." To my chairman, W.
    [Show full text]
  • Appendix 1: Short Introduction to Film Study
    Appendix 1: Short Introduction to Film Study The next few pages offer an alphabetical list of topics often used in the critical evaluation of film with sample questions to aid in the critical discussion.1 Acting/Actors/Stars The cinema has long been driven by the visual appeal of its actors. Acting styles have changed since the silent days from the pantomime of the dive to the preference for nonpro- fessionals in the neorealist period to the present close connection between television, new media, and film. Silent-era actors in particular were universally popular because of the lack of linguistic barriers in their performances. Over the decades the personas of certain actors has even become identified with national, cultural, and class identities as well as with the style of living and attitudes in various time periods. In Italy, actors such as Alberto Sordi and Marcello Mastroianni were widely identified with the basic character traits of the Italian populace as were female stars such as Sophia Loren, Monica Vitti, or Anna Magnani. What type of acting style is used (nonprofessionals, method acting, theatrical, star persona)? Audience Film industries, including Italy, have periodically changed the type of films they produce in response to changes in target audiences. In the United States for example, Hollywood film production was targeted toward a female audience until the 1960s when the target audience became increasingly younger and male. In Italy, production in the 1960s and 1970s and thereafter introduced entertainment (art cinema, erotically charged cinema) not available on television because of censorship codes. What was the intended audience of the film? How was the film received when released? How has the film aged? Camera techniques Film theorists such as Christian Metz and Pier Paolo Pasolini wrote of the ability of shot selection to provide a language for film.2 The image on the screen has been filmed through the eye of a camera, which approaches its subject from certain angles and movements.
    [Show full text]
  • Gino Moliterno
    HISTORICAL DICTIONARY OF ITALIAN Cinema GINO MOLITERNO Historical Dictionaries of Literature and the Arts Jon Woronoff, Series Editor 1. Science Fiction Literature, by Brian Stableford, 2004. 2. Hong Kong Cinema, by Lisa Odham Stokes, 2007. 3. American Radio Soap Operas, by Jim Cox, 2005. 4. Japanese Traditional Theatre, by Samuel L. Leiter, 2006. 5. Fantasy Literature, by Brian Stableford, 2005. 6. Australian and New Zealand Cinema, by Albert Moran and Errol Vieth, 2006. 7. African-American Television, by Kathleen Fearn-Banks, 2006. 8. Lesbian Literature, by Meredith Miller, 2006. 9. Scandinavian Literature and Theater, by Jan Sjåvik, 2006. 10. British Radio, by Seán Street, 2006. 11. German Theater, by William Grange, 2006. 12. African American Cinema, by S. Torriano Berry and Venise Berry, 2006. 13. Sacred Music, by Joseph P. Swain, 2006. 14. Russian Theater, by Laurence Senelick, 2007. 15. French Cinema, by Dayna Oscherwitz and MaryEllen Higgins, 2007. 16. Postmodernist Literature and Theater, by Fran Mason, 2007. 17. Irish Cinema, by Roderick Flynn and Pat Brereton, 2007. 18. Australian Radio and Television, by Albert Moran and Chris Keat- ing, 2007. 19. Polish Cinema, by Marek Haltof, 2007. 20. Old Time Radio, by Robert C. Reinehr and Jon D. Swartz, 2008. 21. Renaissance Art, by Lilian H. Zirpolo, 2008. 22. Broadway Musical, by William A. Everett and Paul R. Laird, 2008. 23. American Theater: Modernism, by James Fisher and Felicia Hardi- son Londré, 2008. 24. German Cinema, by Robert C. Reimer and Carol J. Reimer, 2008. 25. Horror Cinema, by Peter Hutchings, 2008. 26. Westerns in Cinema, by Paul Varner, 2008.
    [Show full text]
  • Libro Free Man in Disorder: the Cinema of Lina
    Register Free To Download Files | File Name : Man In Disorder: The Cinema Of Lina Wertmller In The 1970S (Troubador Italian Studies) PDF MAN IN DISORDER: THE CINEMA OF LINA WERTMLLER IN THE 1970S (TROUBADOR ITALIAN STUDIES) Author : Grace Russo Bullaro Amazon.com: Man in Disorder: The Cinema of Lina Wertmller in the 1970s (Troubador Italian Studies) (9781905886395): Russo Bullaro, Grace: Books The phenomenal success of film director Lina Wertmuller in the 1970s has made her an icon of Italian cinema. Yet surprisingly and inexplicably, over the years there has been no full length in- depth critical study of the four films that made her reputation not only in Italy and the United States, but internationally as well. The Seduction of Mimi, Love and Anarchy, Swept Away and Seven Beauties ... Man in Disorder. : The phenomenal success of film director Lina Wertmuller in the 1970s has made her an icon of Italian cinema. Yet surprisingly and inexplicably, over the years there has been no full length in-depth critical study of the four films that made her reputation not only in Italy and the United States, but internationally as well. Find helpful customer reviews and review ratings for Man in Disorder: The Cinema of Lina Wertmller in the 1970s (Troubador Italian Studies) at Amazon.com. Read honest and unbiased product reviews from our users. Grace Russo Bullaro. Man in Disorder: The Cinema of Lina Wertmuller in the 1970s. Leicester: Troubador, 2007. That Lina Wertmuller's films have stirred controversy is evident from the strong lack of consensus of criticai reviews. They have been appreciated for their innovation and complexity and maligned for their contrivedness.
    [Show full text]
  • Ciao, Professore! a Decent, Upstanding Teacher with Principles and Scruples Is Erroneously Or Perversely Assigned to a Deficient
    Ciao, Professore! A decent, upstanding teacher with principles and scruples is erroneously or perversely assigned to a deficient, decaying school and inherits a willful pack of incorrigible delinquents... Sound familiar? Could be The Blackboard Jungle or Conrack or Up the Down Staircase or To Sir, With Love. The latest version of this familiar plot device is done a la italiana in Lina Wertmüller’s Ciao, Professore! Lina Wertmüller was a sensation in the mid-1970’s with a series of sardonic, edgy movies like The Seduction of Mimi, Swept Away, and Seven Beauties, but her work has been little seen in the United States during the last 15 years. After her spectacular successes, she won a Warner Brothers contract and tested the international market with the partly English-language A Night Full of Rain, but that and the next picture bombed, and she reverted to making mostly quirky Italian comedies with extravagant titles, such as Summer Night with Greek Profile, Almond Eyes and Scent of Basil. The inspiration for her latest film was a set of compositions written by Neapolitan street children to their elementary school teacher and compiled by Marcello D’Orta into a 1990 Italian bestseller. Entitled “Me, Let’s Hope I Make It” (in Italian “Io Speriamo Che Me La Cavo,” the original title of the film), the book was adapted by Wertmüller (and four other writers!) and altered principally by creating the character of a teacher (professore ) from Northern Italy who must adapt to very different Southern Italian mores. This disparity between northern cool and southern raunch is supposed to be the salt and spice of the movie, but the film’s recipe turns out to be too bland, more sentiment than spice.
    [Show full text]
  • Video Catalog 2012.Xlsx
    Geddes Language Center - Video Listings - Winter 2012 # RU 8.194 4 DVD Russian 2:06 2005 IT 8.145 8 1/2 DVD Italian 2:18 1963 IT 8.095 1860 VHS Italian 1:12 N/A IT 8.057 1900 DVD Italian 7:15 1977 CH 8.197 2046 DVD Chinese-Mandarin 2:09 2004 KO 8.080 41047 DVD Korean 2:05 2007 CH 8.047 1,000 kM beyond the Yellow River VHS English 5:30 1990 SP 8.258 1: Prelude to Tragedy DVD English 3:00 1983 JA 8.155 10 ProMises to My Dog PAL DVD Japanese 1:57 2008 FR 8.527 10th District Court DVD French 1:37 2004 EN 8.147 1995 faculty reading: Creative Writing Program VHS English 1:10 1995 EN 8.160 1997 faculty reading: Creative Writing Department VHS English 1:22 1997 SP 8.258 2: Revolution, Counterrevolution, and Terror 4:00 1983 CH 8.155 20 30 40 DVD Chinese-Mandarin 1:41 2004 IT 8.117 20 secolo: '39-'45, 2 setteMbre 1939 VHS Italian 0:55 N/A KO 8.074 200 Pound Beauty DVD Korean 2:00 2006 EN 8.399 2006 World Cup FilM DVD English&Spanish&French&Portugu1:52 2006 SP 8.258 3: Battleground for Idealists 5:00 1983 KO 8.002 301/302 DVD & VHS Korean 1:48 2004 FR 8.612 35 rhums DVD French 1:42 2009 FR 8.612 35 shots of ruM DVD French 1:42 2009 FR 8.456 36 fillette VHS French 1:27 1988 FR 8.238 37.2 le Matin VHS French 1:58 1986 CH 8.069 3T CoMpany, the VHS Chinese 1:44 N/A SP 8.143 4 de Boston VHS Spanish 0:25 2001 SP 8.258 4: Franco and the Nationalists 6:00 1983 FR 8.071 400 blows, The DVD & BD French 1:39 1959 HE 8.047 5 FilMs by Ram Loevy DVD Hebrew 1:45 2009 SP 8.258 5: The Revolution DVD English 6:00 1983 SP 8.258 6: Victory and Defeat DVD English 1:00
    [Show full text]
  • 492 Great Things About Being Italian by Boze Hadleigh
    492 Great Things About Being Italian By Boze Hadleigh Table of Contents: - Showbiz celebs: the funnier half of Abbott and Costello, Leonardo DiCaprio, De Niro, Pacino, Travolta, Stallone, Sal Mineo, Jay Leno, Ray Romano, Rudolph Valentino (the movies‟ first Latin Lover) and on and on - Cuisine: spaghetti, pizza, lasagna, macaroni and minestrone, also bologna, cannelloni, ravioli, chicken cacciatore, focaccia, pannini, polenta, tortellini and mozzarella, gorgonzola, ricotta and parmiggiano—aka parmesan cheese—plus breadsticks and Caesar Cardini, who invented Caesar‟s Salad! - Filmmakerss: Fellini, Scorsese, Visconti, Francis Ford Coppola, Lina Wertmuller, Antonioni, Brian De Palma, Sergio Leone; producer Dino Di Laurentiis - Places: Venice, Vesuvius, Florence, Rome, Naples, Capri, the sites of many of Shakespeare‟s plays—Padua, Verona— etc. - Automobiles: FIAT, Ferrari, Alfa Romeo, Lancia, Lamborghini - Classic Italian films: “Shoeshine,” “Bicycle Thief,” “La Dolce Vita,” “Divorce, Italian Style” and “8½”—source of the Broadway musical “Nine”—plus spaghetti westerns, which made a star of Clint Eastwood after Hollywood had tossed him aside - Drinks: espresso, cappuccino and caffe latte to macchiato and the martini, Grappa, Amaretto and other liquors and liqueurs - “Hidden” Italians: Anne Bancroft (nee Anna Maria Italiano), Paula Prentiss (nee Paula Ragusa), Connie Stevens (nee Concetta Ingolia), Connie Francis (nee Concetta Franconero, formerly the world‟s top-selling female singer), Steve Carell (Caroselli), horror icon Christopher Lee,
    [Show full text]
  • A SHORT HISTORY of FILM 00 Dixon FM I-Xxxviii 1/15/08 9:26 AM Page Ii 00 Dixon FM I-Xxxviii 1/15/08 9:26 AM Page Iii
    00 Dixon FM i-xxxviii 1/15/08 9:26 AM Page i A SHORT HISTORY OF FILM 00 Dixon FM i-xxxviii 1/15/08 9:26 AM Page ii 00 Dixon FM i-xxxviii 1/15/08 9:26 AM Page iii FILMA SHORT HISTORY OF WHEELER WINSTON DIXON & GWENDOLYN AUDREY FOSTER rutgers university press new brunswick, new jersey 00 Dixon FM i-xxxviii 1/15/08 9:26 AM Page iv Library of Congress Cataloging-in-Publication Data Dixon, Wheeler W., 1950– A short history of film / Wheeler Winston Dixon and Gwendolyn Audrey Foster. p. cm. Includes bibliographical references and index. ISBN 978–0-8135–4269–0 (hardcover : alk. paper)—ISBN 978–0-8135–4270–6 (pbk. : alk. paper) 1. Motion pictures—History. 2. Motion picture industry—History. I. Foster, Gwendolyn Audrey. II. Title. PN1993.5.A1D53 2008 791.43Ј7—dc22 2007022097 Copyright © 2008 by Wheeler Winston Dixon and Gwendolyn Audrey Foster All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or me- chanical, or by any information storage and retrieval system, without written permission from the publisher. Please contact Rutgers University Press, 100 Joyce Kilmer Avenue, Piscataway, NJ 08854–8099. The only exception to this prohibition is “fair use” as defined by U.S. copyright law. Visit our Web site: http://rutgerspress.rutgers.edu Manufactured in the United States of America 00 Dixon FM i-xxxviii 1/15/08 9:26 AM Page v To the filmmakers, historians, and critics of the twenty-first century 00 Dixon FM i-xxxviii 1/15/08 9:26 AM Page vi 00 Dixon FM i-xxxviii 1/15/08 9:26 AM Page vii CONTENTS
    [Show full text]