Life Is Beautiful: a Moderated Discussion on Unconventional Holocaust Representation

Total Page:16

File Type:pdf, Size:1020Kb

Life Is Beautiful: a Moderated Discussion on Unconventional Holocaust Representation Life is Beautiful: A moderated discussion on unconventional Holocaust representation Additional Resources for Future Viewing/Reading, prepared by Jeremy Maron Reading Ben-Ghiat, Ruth, “The Secret Histories of Roberto Benigni’s Life is Beautiful,” Yale Journal of Criticism 14.1 (2001), 253-266. Denby, David, “In the Eye of the Beholder: Another Look at Roberto Benigni’s Holocaust Fantasy,” New Yorker, 15 March 1999), 96. de Felice, Renzo, The Jews in Fascist Italy: A History, translated by Robert L. Miller (New York: Enigma Books, 2001). Loy, Rosetta, First Words: A Childhood in Fascist Italy, translated by Gregory Conti (New York: Henry Holt and Company, 2000). Marcus, Millicent, Italian Film in the Shadow of Auschwitz (Toronto: University of Toronto Press, 200 Maron, Jeremy, “Theatrical Games and the Gift of a Fable: Performance vs. Reality in Roberto Benigni’s Life is Beautiful,” Stages of Reality: Theatricality in Cinema, André Loiselle and Jeremy Maron, eds. (University of Toronto Press, 2012), 160-182. Niv, Kobi. Life is Beautiful, but not for Jews: Another View of the Film by Benigni (Lanham, MD: Scarecrow Press, 2003). Zimmerman, Joshua (ed) Jews in Italy under Fascist and Nazi Rule, 1922-1945 (Cambridge: Cambridge University Press, 2005. Zuccotti, Susan, The Italians and the Holocaust (New York: Basic Books, 1987. Viewing (Note: Not all films may be suitable for all viewers. Viewer discretion is advised) Il Conformista (The Conformist, Bernardo Bertolucci, 1970) Il Giardino dei Finzi-Contini (The Garden of the Finzi-Continis, Vittorio de Sica, 1970) Il portiere di notte (The Night Porter, Lilliana Caviani, 1974) Jona che visse nella balena (Jonah Who Lived in the Whale, Roberto Faenza, 1993) Kapò (Gillo Pontecorvo, 1960). La caduta degli dei (The Damned, Luchino Visconti, 1969) La ciociara (Two Women, Vittorio de Sica, 1960) La strada di Levi (Primo Levi’s Journey, Davide Ferrario, 2006) La tregua (The Truce, Francesco Rosi, 1997) Memoria (Ruggero Gabbai, 1996) Settebellezze (Seven Beauties, Lina Wertmüller, 1975) .
Recommended publications
  • Beneath the Surface *Animals and Their Digs Conversation Group
    FOR ADULTS FOR ADULTS FOR ADULTS August 2013 • Northport-East Northport Public Library • August 2013 Northport Arts Coalition Northport High School Sunday Monday Tuesday Wednesday Thursday Friday Saturday Courtyard Concert EMERGENCY Volunteer Fair presents Jazz for a Yearbooks Wanted GALLERY EXHIBIT 1 Registration begins for 2 3 Friday, September 27 Children’s Programs The Library has an archive of yearbooks available Northport Gallery: from August 12-24 Summer Evening 4:00-7:00 p.m. Friday Movies for Adults Hurricane Preparedness for viewing. There are a few years that are not represent- *Teen Book Swap Volunteers *Kaplan SAT/ACT Combo Test (N) Wednesday, August 14, 7:00 p.m. Northport Library “Automobiles in Water” by George Ellis Registration begins for Health ed and some books have been damaged over the years. (EN) 10:45 am (N) 9:30 am The Northport Arts Coalition, and Safety Northport artist George Ellis specializes Insurance Counseling on 8/13 Have you wanted to share your time If you have a NHS yearbook that you would like to 42 Admission in cooperation with the Library, is in watercolor paintings of classic cars with an Look for the Library table Book Swap (EN) 11 am (EN) Thursday, August 15, 7:00 p.m. and talents as a volunteer but don’t know where donate to the Library, where it will be held in posterity, (EN) Friday, August 2, 1:30 p.m. (EN) Friday, August 16, 1:30 p.m. Shake, Rattle, and Read Saturday Afternoon proud to present its 11th Annual Jazz for emphasis on sports cars of the 1950s and 1960s, In conjunction with the Suffolk County Office of to start? Visit the Library’s Volunteer Fair and speak our Reference Department would love to hear from you.
    [Show full text]
  • Press Release Ref
    Press Release Ref. 774a98 Contact: Denise Slavik Tel: +33/3 88 41 25 74 Fax: +33/3 88 41 27 89 Email: [email protected] For information 40 Members Eurimages supports 11 European co-productions STRASBOURG, 26.11.98 – At its 57th meeting, held on 23-24 November 1998 in Albania Strasbourg (France), the Board of Management of Eurimages agreed to support 10 Andorra feature films and one documentary for a total amount of 23.1 Million French Francs. Austria Belgium The feature films are: Bulgaria Croatia A Mulher Policia - Joaquim Sapinho (Portugal, France, Spain) Cyprus Antonio "on fait un beau sourire" - Anna Di Francisca (Italy, France, Greece) Czech Republic Denmark Freedom - Sharunas Bartas (France, Portugal) Estonia Harem soirée - Ferzan Ozpetek (Italy, France, Turkey) Finland Lumumba, retour au Congo - Raoul Peck (France, Belgium, Germany) France O anthos tis limnis - Stamatis Tsarouhas (Greece, Bulgaria, Hungary) Germany Saint-Cyr - Patricia Mazuy (France, Belgium, Germany) Greece Hungary Une liaison pornographique - Frédéric Fonteyne (Belgium, France, Luxembourg, Iceland Switzerland) Ireland Ungfruin goda og husid - Guony Halldorsdottir (Iceland, Sweden, Denmark) Italy Volaverunt (la maja desnuda) - Bigas Luna (Spain, France) Latvia Liechtenstein The following documentary was supported: Lithuania Luxembourg Working of Utopia –Donia Feuer (Sweden, Denmark) Malta Moldova Support was awarded to the following distributors: Netherlands Norway METROPOLIS FILM (H) for the distribution of the film Poland Un Air de famille - Cédric Klapisch (France)
    [Show full text]
  • Italian Cinema As Literary Art UNO Rome Summer Study Abroad 2019 Dr
    ENGL 2090: Italian Cinema as Literary Art UNO Rome Summer Study Abroad 2019 Dr. Lisa Verner [email protected] COURSE DESCRIPTION: This course surveys Italian cinema during the postwar period, charting the rise and fall of neorealism after the fall of Mussolini. Neorealism was a response to an existential crisis after World War II, and neorealist films featured stories of the lower classes, the poor, and the oppressed and their material and ethical struggles. After the fall of Mussolini’s state sponsored film industry, filmmakers filled the cinematic void with depictions of real life and questions about Italian morality, both during and after the war. This class will chart the rise of neorealism and its later decline, to be replaced by films concerned with individual, as opposed to national or class-based, struggles. We will consider the films in their historical contexts as literary art forms. REQUIRED TEXTS: Rome, Open City, director Roberto Rossellini (1945) La Dolce Vita, director Federico Fellini (1960) Cinema Paradiso, director Giuseppe Tornatore (1988) Life is Beautiful, director Roberto Benigni (1997) Various articles for which the instructor will supply either a link or a copy in an email attachment LEARNING OUTCOMES: At the completion of this course, students will be able to 1-understand the relationship between Italian post-war cultural developments and the evolution of cinema during the latter part of the 20th century; 2-analyze film as a form of literary expression; 3-compose critical and analytical papers that explore film as a literary, artistic, social and historical construct. GRADES: This course will require weekly short papers (3-4 pages, double spaced, 12- point font); each @ 20% of final grade) and a final exam (20% of final grade).
    [Show full text]
  • Critical Analysis of the Roles of Women in the Lais of Marie De France
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1976 Critical analysis of the roles of women in the Lais of Marie de France Jeri S. Guthrie The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Guthrie, Jeri S., "Critical analysis of the roles of women in the Lais of Marie de France" (1976). Graduate Student Theses, Dissertations, & Professional Papers. 1941. https://scholarworks.umt.edu/etd/1941 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. A CRITICAL ANALYSIS OF THE ROLES OF WOMEN IN THE LAIS OF MARIE DE FRANCE By Jeri S. Guthrie B.A., University of Montana, 1972 Presented in partial fulfillment of the requirements for the degree of Master of Arts UNIVERSITY OF MONTANA 1976 Approved by: Chairmah, Board of Exami iradua4J^ School [ Date UMI Number EP35846 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT OissHEH'tfttkffl Pk^islw^ UMI EP35846 Published by ProQuest LLC (2012).
    [Show full text]
  • Feature Films
    NOMINATIONS AND AWARDS IN OTHER CATEGORIES FOR FOREIGN LANGUAGE (NON-ENGLISH) FEATURE FILMS [Updated thru 88th Awards (2/16)] [* indicates win] [FLF = Foreign Language Film category] NOTE: This document compiles statistics for foreign language (non-English) feature films (including documentaries) with nominations and awards in categories other than Foreign Language Film. A film's eligibility for and/or nomination in the Foreign Language Film category is not required for inclusion here. Award Category Noms Awards Actor – Leading Role ......................... 9 ........................... 1 Actress – Leading Role .................... 17 ........................... 2 Actress – Supporting Role .................. 1 ........................... 0 Animated Feature Film ....................... 8 ........................... 0 Art Direction .................................... 19 ........................... 3 Cinematography ............................... 19 ........................... 4 Costume Design ............................... 28 ........................... 6 Directing ........................................... 28 ........................... 0 Documentary (Feature) ..................... 30 ........................... 2 Film Editing ........................................ 7 ........................... 1 Makeup ............................................... 9 ........................... 3 Music – Scoring ............................... 16 ........................... 4 Music – Song ...................................... 6 ..........................
    [Show full text]
  • Sydney Film Festival Announces Essential Scorsese
    MEDIA RELEASE THURSDAY 31 MARCH 2016 DAVID STRATTON CURATES SCORSESE RETROSPECTIVE Sydney Film Festival, Australian Centre for the Moving Image (ACMI) and the National Film and Sound Archive of Australia (NFSA) announce that David Stratton will present a program of 10 essential films directed by Martin Scorsese. The curated films will screen as the retrospective program during the 63rd Sydney Film Festival (8-19 June) and in Melbourne at ACMI (27 May-12 June) to coincide with ACMI’s exhibition SCORSESE (26 May-18 September). All 10 films will screen at the NFSA in Canberra (1-23 July) after Sydney Film Festival’s screenings. The retrospective program of ten titles, including specially imported 35mm prints, curated by David Stratton, entitled Essential Scorsese: Selected by David Stratton, features works by one of the most influential directors of our time, including Taxi Driver, Goodfellas, Raging Bull and The Age of Innocence. The renowned critic and broadcaster, was appointed director of the Sydney Film Festival 50 years ago, and held the position from 1966 to 1983. Stratton will introduce selected screenings in the retrospective program. David Stratton says: “Scorsese talks in a rapid-fire style as though he doesn’t have enough time to describe everything he knows. He’s like a character in a 1930s movie. His films are passionate too. His best are explosive in their impact, crammed with information and detail. On the one hand, his Catholic upbringing leads him to tackle religious subjects (The Last Temptation of Christ, Kundun) while the Saturday matinee kid in him revels in the trashy gore of his gangster films.” Essential Scorsese: Selected by David Stratton will screen over two weekends during the Festival (8 – 19 June) at the Art Gallery of NSW.
    [Show full text]
  • The Odyssey of Fellini Kayla Knuth
    ISSUE #1 | JULY 2020 The Odyssey of Fellini Kayla Knuth Making raw cinematic artistry work on the big screen can be extremely challenging, and directors such as Federico Fellini meet that challenge by giving us unique films, each with a clear vision. There are many masterful auteurs within the film industry, but there is something about Fellini’s good-natured style that truly engages me, along with how he incorporates elements of both reality and fantasy in iconic films such as La Strada (1953), La Dolce Vita (1961), and 8 ½ (1963). Not everyone is capable of digging deeper into what the artist is actually saying, and many are too quick to make harsh judgements about what they see rather than what they interpret. This is another reason why his film work interests me. I enjoy the “chase” that helps me provide a deeper analysis of what certain scenes in his films actually symbolize. This makes me pay closer attention to the films, and I find myself rewinding scenes, taking a step back to investigate the meaning of what I’m seeing. Almost all of Fellini’s films feature a dominant protagonist character with qualities to which the audience can at least secretly relate. Some of Fellini’s most striking cinematic moments are memorable because of characters that tend to stick with you even when the films become unclear at times. In addition, the artistry, passion, zest for life, and inven- tiveness on display in his filmmaking help us appreciate a wide range of possibilities for cinematic representation. Aesthetically, Fellini’s films reach for what I will call “ugliness within beauty.” His films seem to ask: is there beauty to be found within ugliness? Or is there ugliness lurking within the beautiful? Fellini attempts to ask these questions through both his striking visuals and sympathetic characters.
    [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]
  • And Bernardo Bertolucci's 1900
    The “Betrayed Resistance” in Valentino Orsini’s Corbari (1970) and Bernardo Bertolucci’s 1900 (1976) Dominic Gavin The connections between Italian film and history have been the object of renewed attention in recent years. A number of studies have provided re-readings of Italian cinema, especially from the perspective of public memory. Charting the interrelations of cinema, the public use of history, and historiography, these studies include reevaluations of the cinema of the Resistance, the war film, the Holocaust and the Fascist dictatorship.1 The ongoing debates over Resistance memory in particular—the “never-ending liberation,” in the words of one historian—have provided a motive for reconsidering popular cultural productions as vehicles of collective perceptions of the past.2 If Italian film studies came relatively late to the issues of cinema and public memory, this approach has now become mainstream.3 In this essay, I am concerned with films on the Resistance during the 1970s. These belong to a wider grouping of contemporary cinematic productions that deal with the Fascist dictatorship and antifascism. These films raise a series of critical questions. How did the general film field contribute to the wider processing of historical memory, and how did it relate to political violence in Italy?4 To what extent did the work of Italian filmmakers participate in the “new discourse” of international cinema in the 1970s concerning the treatment of Nazism and the occupation,5 or to what extent were filmmakers engaged in reaffirming populist
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • Poliziotto Cura Te Stesso
    L'UNITÀ / SABATO 12 19 MARZO 1983 lia trovato a proprio agio nei Ancora in sciopero Assegnato a Orson E scomparso successivi sviluppi linguistici della musica afro-americana, i doppiatori: Welles il Premio il jazzista pur rimanendo vincolato alla Un divertente prassi e alla forma musicate della «big band-, dalla quale atto unico di falliti gli incontri Visconti per 1*83 Ernie Royal in qualche modo discendeva. Dall'anonimato cui spesso so­ Paolo Hendel pcHacoli ROMA — Ancora nessuna schiarita por \u scio­ ROMA — Il premio Luchino Visconti per il 1983 NEW YORK — Ernie Rovai, no confinati t comprimari del pero dei doppiatori che da sci settimane blocca­ e stato assegnato ad Orson Welles. ÌA> ha deciso trombettista della «vecchia jazz orchestrale, Royal e riu­ no gli stabilimenti impedendo l'uscita sui gran­ una giuria di critici e saggisti cinematografini guardia», uomo «di sezione- e scito ad emergere, assieme ai di e piccoli schermi di una dolina di grossi presieduta da Gian Luigi Rondi che si è riunita solista apprezzato da maestri vari Cai Anderson, Johnny Si può film e di altrettanti importanti sceneggiati te­ a Roma nel settimo anniversario della morte di tanto diversi quanto Count ilodges, Lawrence Hrown. Ne­ levisivi. Per tre giorni sindacati degli attori e Luchino Visconti. Il premio, che ogni anno vie* Basic e Gii Evans, Woody Her­ gli ultimi anni, la sua attività rappresentanti dcll'ANICA, della HAI e dei ne­ ne attribuito ad un autore di fama mondiale, è. man e Duke Ellington, Stai» si era incentrata soprattutto twork privati si sono incontrati a livello tecnico stato assegnato a Orson Welles «per avere por­ Kcnton e Lione! Hampton, è nel tentativo di tenere in vita fare per esaminare le richieste dei doppiatori e valu­ tato un contributo innovatore e profondo alla scomparso ieri a New York, il verbo dei grandi suoi con­ tarne l'onere economico per i datori di lavoro.
    [Show full text]