Italian Film Club

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Italian Film Club Italian Film Club Fall 2015 Monday, September 21, 2015, 6 PM @ Language Center (THH 309) JOHNNY STECCHINO / JOHNNY TOOTHPICK Directed by Roberto Benigni, 1991 (122 min) This film follows the life of Dante, a school bus driver who bears a striking resemblance to Johnny Stecchino, an Italian mafioso who is wanted by Sicilian mobsters for treason and murder. The film’s plot begins to unravel when Dante meets Maria, Stecchino’s wife, who begins her plan into tricking mobsters to kill Dante, thinking he is Stecchino. The film takes several unexpected twists when Maria begins to fall for Dante, and it becomes clear that Dante cannot possibly be the cold blooded killer, Johnny Stecchino. Wednesday, October 7, 2015, 6 PM @ Language Center (THH 309) LA DOPPIA ORA / THE DOUBLE HOUR Directed by Giuseppe Capotondi, 2009 (102 min) In this thriller, a chambermaid, Sonia, and an ex-cop, Guido, meet at a speed dating event. They strike up a friendship, and spend some time together after the event. As they part, Guido notices that the time is 23:23 - a double hour, when the hour and minute are the same. He believes that at such times, one may make a wish and it will be granted - although he admits to Sonia that it doesn’t always work. Yet later on, things suddenly take a dark turn during a romantic getaway. Wednesday, October 21, 2015, 6 PM @ Language Center (THH 309) MATRIMONIO All’ITALIANA / MARRIAGE, ITALIAN STYLE Directed by Vittorio De Sica, 1964 (102 min) Domenico, a successful businessman, begins an affair with Filumena, a prostitute with three secret children. When Domenico plans to marry a young employee, Filumena tricks him into marriage by pretending to be dying. Domenico annuls the marriage, but then Filumena tells him that one of the three children is his, but will not say which one. Domenico will stop at nothing to find out which teenager might be his son. Monday, November 9, 2015, 6 PM @ Language Center (THH 309) BENVENUTI AL SUD / WELCOME TO THE SOUTH Directed by Luca Miniero, 2011 (102 min) Overwhelmed by his wife, a Northern postal worker feigns a disability to request a transfer to Milan but is sent for two years to a tiny village near Naples instead. He moves there alone, scared and full of the typical prejudices about the south, but he meets lovely people who make him feel at home. Now the challenge is to explain this to his wife, so he tries to make her believe that all the stereotypes about the south are true and that his life there is hell. Wednesday, December 2, 2015, 6 PM @ Language Center (THH 309) PRANZO DI FERRAGOstO / MID-AUGUst LUNCH Directed by Gianni Di Gregorio, 2008 (75 min) Gianni, a broken man with mounting debt, is forced to entertain his 93-year-old mother and three other feisty women during Italy’s biggest summer holiday, Ferragosto. The other women are the mothers of his landlord and doctor, who will forgive his debts in exchange for his service. Pizza and refreshments will be served! All film summaries from Imdb.com. The Italian Film Club offers an opportunity for students to discover a selection of Italian movies and to explore Italian culture and language. Movies are shown in Italian with English subtitles free of charge and all students enrolled in Italian language are welcome..
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  • 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)
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  • Italian Cinema As Literary Art UNO Rome Summer Study Abroad 2019 Dr
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  • 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 ..........................
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  • COM 221: Introduction to Film Dr. Neuendorf Sample Final Exam #1 PRINT NAME: SS
    1 COM 221: Introduction to Film Dr. Neuendorf Sample Final Exam #1 PRINT NAME:_____________________________ SS#:______________________________________ CSU ID#:__________________________________ Multiple Choice/T-F--Indicate one letter on your opscan/scantron answer sheet: 1. The annual Cleveland Film Festival features American films not produced by major commercial studios, as well as films made in such countries as Poland, New Zealand, and Zimbabwe. Most of the Festival films, then, could be considered: a. Bollywood films b. Second City Cinema c. indies and Third Cinema d. New Wave Cinema and Race Movies 2. Our ability to use the auteur theory, as well as to analyze genre and conduct formalistic analyses of the mise-en- scene, is largely due to the work of six young men writing in a film journal in the 1950's. They all studied films of all types at their local cinematheque before trying to make films themselves. When they finally did make films, the works were heralded as being inventive and eclectic. These men have been called: a. the German Expressionists b. the French Dadaists c. the Italian Neorealists d. the French New Wave 3. In films such as Contact, What Dreams May Come, and Mighty Joe Young, some of the special visual effects include images that have been created electronically, without hand drawings, and without models constructed. That would indicate what type of animation? a. computer animation b. stop-motion animation c. cel animation d. multiplane animation 4. The 1994 film The Crow (D: Alex Proyas), starring the late Brandon Lee, a young rock musician rises from the grave and seeks vengeance with the aid of a spectral crow.
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  • Persons Nominated for Foreign Language (Non-English) Performances
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  • Johnny Stecchino with Roberto Benigni and Nicoletta Braschi Selected Filmography
    Johnny Stecchino with Roberto Benigni and Nicoletta Braschi Selected Filmography The Higher Learning staff curate digital resource packages to complement and offer further context to the topics and themes discussed during the various Higher Learning events held at TIFF Bell Lightbox. These filmographies, bibliographies, and additional resources include works directly related to guest speakers’ work and careers, and provide additional inspirations and topics to consider; these materials are meant to serve as a jumping-off point for further research. Please refer to the event video to see how topics and themes relate to the Higher Learning event. Film Works Discussed During the Event Life Is Beautiful (La vita è bella). Dir. Roberto Benigni, 1997, Italy. 116 mins. Production Co.: Cecchi Cori Group Tiger Cinematografica / Melampo Cinematografica. The Monster (Il mostro). Dir. Roberto Benigni, 1994, Italy, France. 112 mins. Production Co.: Canal Plus / IRIS Films / La Sept Cinéma / Melampo Cinematografica / Union Générale Cinématographique. Johnny Stecchino. Dir. Roberto Benigni, 1991, Italy. 102 mins. Production Co.: Cecchi Cori Group Tiger Cinematografica / Penta Film / Silvio Berlusconi Communications. The Little Devil (Il piccolo diavolo). Dir. Roberto Benigni, 1988, Italy. 101 mins. Production Co.: Yarno Cinematografica / Cecchi Gori Group Tiger Cinematografica / Reteitalia. The Great Dictator. Dir. Charles Chaplin, 1940, U.S.A. 125 mins. Production Co.: Charles Chaplin Productions. The Kid. Dir. Charles Chaplin, 1921, U.S.A. 68 mins. Production Co.: Charles Chaplin Productions. Roberto Benigni Filmography To Rome with Love. Dir. Woody Allen, 2012, U.S.A, Italy, Spain. 112 mins. Production Co.: Medusa Film / Gravier Productions / Perdido Productions / Mediapro. Amos Poe’s Divine Comedy (La commedia di Amos Poe).
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  • The Shoah on Screen – Representing Crimes Against Humanity Big Screen, Film-Makers Generally Have to Address the Key Question of Realism
    Mémoi In attempting to portray the Holocaust and crimes against humanity on the The Shoah on screen – representing crimes against humanity big screen, film-makers generally have to address the key question of realism. This is both an ethical and an artistic issue. The full range of approaches has emember been adopted, covering documentaries and fiction, historical reconstructions such as Steven Spielberg’s Schindler’s List, depicting reality in all its details, and more symbolic films such as Roberto Benigni’s Life is beautiful. Some films have been very controversial, and it is important to understand why. Is cinema the best way of informing the younger generations about what moire took place, or should this perhaps be left, for example, to CD-Roms, videos Memoi or archive collections? What is the difference between these and the cinema as an art form? Is it possible to inform and appeal to the emotions without being explicit? Is emotion itself, though often very intense, not ambivalent? These are the questions addressed by this book which sets out to show that the cinema, a major art form today, cannot merely depict the horrors of concentration camps but must also nurture greater sensitivity among increas- Mémoire ingly younger audiences, inured by the many images of violence conveyed in the media. ireRemem moireRem The Shoah on screen – www.coe.int Representing crimes The Council of Europe has 47 member states, covering virtually the entire continent of Europe. It seeks to develop common democratic and legal princi- against humanity ples based on the European Convention on Human Rights and other reference texts on the protection of individuals.
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  • LS 180.01: Introduction to Film
    University of Montana ScholarWorks at University of Montana Syllabi Course Syllabi Fall 9-1-2000 LS 180.01: Introduction to Film Lynn Purl University of Montana, Missoula Follow this and additional works at: https://scholarworks.umt.edu/syllabi Let us know how access to this document benefits ou.y Recommended Citation Purl, Lynn, "LS 180.01: Introduction to Film" (2000). Syllabi. 5178. https://scholarworks.umt.edu/syllabi/5178 This Syllabus is brought to you for free and open access by the Course Syllabi at ScholarWorks at University of Montana. It has been accepted for inclusion in Syllabi by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Autumn 2000 Lynn Purl Liberal Studies 180 [email protected] Intro to Film Office: LA 155 M 1:10-4:00, UC Theatre 243 -5314 W 1:10-3:00, GBB L09 Home: 721-0517 Mailbox: Liberal Studies office, LA 101 Office hours: W 12:00-1:00,Th 2:00-3:30, and by appointment Course description:This course will serve as an introduction to basic concepts of film and film theory. The goal is to encourage you to become more sophisticated viewers and consumers of movies, with an ability to view films as art, as marketplace commodities, as technology, as historical documents, and as cultural and ideological forces. I also hope you will increase your ability to organize and articulate your insights, both in class discussions and in writing. Required text:Understanding Movies, eighth edition, by Louis Giannetti Course requirements:Quizzes, final, term paper, and discussion paragraphs, as well as regular attendance and participation.
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  • 20210514092607 Amarcorden
    in collaborazione con: The main places linked to Fellini in Rimini Our location 12 31 Cimitero Monumentale Trento vialeTiberio 28 via Marecchia Matteotti viale Milano Venezia Torino 13 via Sinistra del Porto 27 Bologna Bastioni Settentrionali Genova Ravenna via Ducale via Destra del Porto Rimini Piacenza Firenze Ancona via Dario Campana Perugia Ferrara Circonvallazione Occidentale 1 Parma 26 Reggio Emilia viale Principe piazzale Modena via dei Mille dei via Amedeo Fellini Roma corso d’Augusto via Cavalieri via via L. Toninivia L. corso Giovanni XXIII Bari Bologna viale Valturio 14 Ravenna largo 11 piazza 19 21 Napoli Valturio Malatesta 15piazza piazza Cavour via GambalungaFerrari Forlì 3via Gambalunga Cesena via Cairoli 9 Cagliari Rimini via G. Bruno Catanzaro Repubblica di San Marino 2 7 20 22 Tintori lungomare Palermo via Sigismondo via Mentana Battisti Cesare piazzale i via Garibaldi via Saffi l a piazza Roma via n 5 o Tre Martiri 6 i 17 viaTempio Malatestiano d i via IV Novembre via Dante 23 r e 18 4 piazzale Covignano M via Clementini i Kennedy n o i t s a 16 B via Castelfidardo corso d’Augusto via Brighenti piazzale The main places linked to Fellini near Rimini 10 8 Gramsci via Roma Anfiteatro Arco e lungomare Murri lungomare l d’Augusto Bellaria a Bastioni Orientali n Igea Marina o Gambettola i viale Amerigo Vespucci Amerigo viale 33 d i r 25 e M e via S. Brancaleoni n o i z a l l a via Calatafimi Santarcangelo v n via XX Settembre o di Romagna c r piazza i 24 Ospedale 30Aeroporto viale Tripoli C Marvelli 32 Rimini via della Fiera viale Tripoli 29 Poggio Berni Rimini 18 Piazza Tre Martiri (formerly Piazza G.
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  • Cent'anni Del Sogno
    Happyend “Felliniano” è ormai entrato nel gergo cinematografico, e non solo, in tutto il mondo, tanto il suo cinema è stato così personale e una fonte FEDERICO FELLINI di ispirazione costante. Il 20 gennaio 2020 CENT’ANNI il miglior regista italiano di sempre compie un secolo DEL SOGNO di Paolo Mereghetti ICONA DEL CINEMA Federico Fellini ha conquistato quattro premi Oscar per La Strada (1957), Le notti di Cabiria (1958), 8 ½ (1964) e Amarcord (1975). Nel 1993 gli fu conferito l’Oscar alla carriera. Fu candidato 12 volte. Federico Fellini won four Oscar awards for La Strada GETTY COLLECTION/CORBIS/ SPRINGER JOHN IMAGES (1957), The Nights of Cabiria (1958), 8 ½ (1964) and Amarcord (1975). In 1993 he was awarded the Oscar for Lifetime Achievement. Fellini got 12 Oscar nominations. 124 _ ULISSE _ gennaio 2020 ULISSE _ gennaio 2020 _ 125 Happyend FILM NELLA STORIA La dolce vita, premiato con AEROPORTIARCHIVIO ROMA DI la Palma d’oro a Cannes nel AGF / ARCHIVE HOLLYWOOD THE 1960, accanto; Amarcord, in cui, in una scena, c’è una giovane comparsa, Eros Ramazzotti sotto. La Dolce Vita, won the Palme d’Or at Cannes in 1960, next; as a kid, Italian singer Eros QUANDO ULISSE Ramazzotti appeared as an extra INCONTRÒ FELLINI in a scene of Amarcord, below. Nel 1985, Federico Fellini concesse un’intervista a Ulisse, fi rmata da Ennio Cavalli. Eccone un estratto. iciamo la verità: c’è solo un nome che sta sopra a tutto il cinema «L’Italia? Come si fa a parlare italiano, applaudito e conosciuto da tutti e d’ovunque, quello di obiettivamente, con distacco, del Federico Fellini.
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  • After the Rain
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  • Life Is Beautiful 30-2
    English 30-2: Film Study Life is Beautiful "Life is Beautiful" has been characterized by some as making light of the Holocaust. In it, a man, his wife, and son in Italy find themselves deported to a death camp run by Germany (though we are not sure which camp or where it is). In this picture, the father, Guido, must somehow find a way to explain what is happening to his five-year-old son. Obviously, he cannot find a normal and "accurate" way to do so--to realistically describe and make sense of the horror that surrounds them. What he does do is utilize humor to help his son cope and to try to save his son's life. Yes, comedic elements are ever-present in this film, and yes, you may (and I think I can say "will") laugh. However, I can't call this film a comedy. Instead, I consider it an exploration of the human capacity to use whatever a parent has available to construct some sort of sense out of madness and chaos for their children and, further, to shield innocence from horror and hopelessness. Guido's strength is incredible. He has the gift of humor and quick-thinking. This gift helps the father to do what he can to save what is most important in life, and to go to that well of life inside him to protect his child when he has nothing but his mind and spirit to offer. Guido rallies every remnant of goodness in his heart and soul to create a legacy of love for his child.
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