TL0396 A3 Programme Nono Rota V2
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
9 SETTIMANE E ½ ALLA CASA DEL CINEMA 11 Luglio – 12 Settembre Sala Deluxe E Teatro All’Aperto Ore 21
9 SETTIMANE e ½ ALLA CASA DEL CINEMA 11 luglio – 12 settembre Sala Deluxe e Teatro all’aperto ore 21 Ingresso gratuito consentito fino ad esaurimento posti Largo Marcello Mastroianni, 1 - 00197 Roma (a 50 metri da Porta Pinciana e da Via Veneto) Info tel. 060608 www.casadelcinema.it www.060608.it In caso di pioggia le proiezioni previste al Teatro all’aperto si terranno nella Sala Deluxe Il programma può subire variazioni LUNEDI 11 LUGLIO | SALA DELUXE Buon compleanno a…FRANCO GIRALDI ore 16.30 LA GIACCA VERDE Italia, 1969, 103’ ore 19 GLI ORDINI SONO ORDINI Italia, 1972, 110’ LUNEDI 11 LUGLIO ORE 21 | TEATRO ALL’APERTO Shakespeare al Cinema SHAKESPEARE IN LOVE di John Madden USA, 1998, 123’ (v.o. con sottotitoli) MARTEDI 12 LUGLIO ORE 21 | TEATRO ALL’APERTO Omaggio a Nino Rota ROMA di Federico Fellini Italia, 1972, 120’ MERCOLEDI 13 LUGLIO ORE 21 | TEATRO ALL’APERTO Omaggio a Nino Rota SOTTO IL SOLE DI ROMA di Renato Castellani Italia, 1948, 104’ GIOVEDI 14 LUGLIO ORE 21 | SALA DELUXE Omaggio a Nino Rota GIOVANI MARITI di Mauro Bolognini Italia, Francia, 1958, 98’ DOMENICA 17 LUGLIO ORE 21 | TEATRO ALL’APERTO Omaggio a Nino Rota ASSASSINIO SUL NILO di John Guillermin Death on the Nile GB, 1978, 140’ LUNEDI 18 LUGLIO ORE 21 | TEATRO ALL’APERTO Shakespeare al Cinema PROSPERO’S BOOK di Peter Greenaway L’ultima tempesta GB, Olanda, Fr, Giappone, Ita, 1991, 124’ (v.o. con sottotitoli) MERCOLEDI 20 LUGLIO ORE 21 | TEATRO ALL’APERTO Omaggio a Nino Rota VITA DA CANI di Steno e Mario Monicelli Italia, 1950, 90’ GIOVEDI 21 LUGLIO ORE 21 | SALA DELUXE Omaggio a Nino Rota MIO FIGLIO PROFESSORE di Renato Castellani Italia, 1946, 85’ DOMENICA 24 LUGLIO ORE 21 | TEATRO ALL’APERTO Buon compleanno a…ERMANNO OLMI IL MESTIERE DELLE ARMI Italia, Fr, Ge, 2000, 100’ LUNEDI 25 LUGLIO ORE 21 | TEATRO ALL’APERTO Shakespeare al Cinema LOVE’S LABOUR’S LOST di Kenneth Branagh Pene d’amor perdute GB, 1999, 95’ (v.o. -
Mary in Film
PONT~CALFACULTYOFTHEOLOGY "MARIANUM" INTERNATIONAL MARIAN RESEARCH INSTITUTE (UNIVERSITY OF DAYTON) MARY IN FILM AN ANALYSIS OF CINEMATIC PRESENTATIONS OF THE VIRGIN MARY FROM 1897- 1999: A THEOLOGICAL APPRAISAL OF A SOCIO-CULTURAL REALITY A thesis submitted to The International Marian Research Institute In Partial Fulfillment of the Requirements for the degree Licentiate of Sacred Theology (with Specialization in Mariology) By: Michael P. Durley Director: Rev. Johann G. Roten, S.M. IMRI Dayton, Ohio (USA) 45469-1390 2000 Table of Contents I) Purpose and Method 4-7 ll) Review of Literature on 'Mary in Film'- Stlltus Quaestionis 8-25 lli) Catholic Teaching on the Instruments of Social Communication Overview 26-28 Vigilanti Cura (1936) 29-32 Miranda Prorsus (1957) 33-35 Inter Miri.fica (1963) 36-40 Communio et Progressio (1971) 41-48 Aetatis Novae (1992) 49-52 Summary 53-54 IV) General Review of Trends in Film History and Mary's Place Therein Introduction 55-56 Actuality Films (1895-1915) 57 Early 'Life of Christ' films (1898-1929) 58-61 Melodramas (1910-1930) 62-64 Fantasy Epics and the Golden Age ofHollywood (1930-1950) 65-67 Realistic Movements (1946-1959) 68-70 Various 'New Waves' (1959-1990) 71-75 Religious and Marian Revival (1985-Present) 76-78 V) Thematic Survey of Mary in Films Classification Criteria 79-84 Lectures 85-92 Filmographies of Marian Lectures Catechetical 93-94 Apparitions 95 Miscellaneous 96 Documentaries 97-106 Filmographies of Marian Documentaries Marian Art 107-108 Apparitions 109-112 Miscellaneous 113-115 Dramas -
Shakespeare Cinema: Romeo & Juliet
SHAKESPEAREONFILM SHAKESPEARE CINEMA: ROMEO & JULIET PART ONE SHAKESPEARE IN PERFORMANCE - THEN AND NOW Act One, Scene One Enter Sampson and Gregory, with swords and bucklers, of the house of Capulet. The first instructions given in ROMEO AND JULIET to the actors are very brief: “Two actors enter’. But what do they enter? A house? A street? A tavern? Is it important for us to know? For Shakespeare’s audience it would not have been important. From what the Chorus has already said they would know that the play was set in Verona and so they would have an idea of the general location of the play. The two actors would have entered onto a stage. And that was all. No backdrops, no complicated scenery. Just a stage, probably bare. It is perhaps difficult for us to understand that audiences would accept this because we are so used to seeing television and film where directors try to make settings as realistic as possible. Our visual expectations when we go to see a play are very different from those of audiences 400 years ago. RESEARCH TASK Find a drawing of the original Globe Theatre. How is it different from a modern theatre? What sort of costumes did the actors in Shakespeare’s time use when they were performing? What sorts of people used to go to the theatre in Shakespeare’s time? Today, we expect ‘realistic’ performances of Shakespeare’s plays - if it says in the text that ROMEO AND JULIET takes place in Verona, then what do we expect? Probably Italian style town settings and carefully designed house interiors. -
THE MUSEUM of MODERN ART If WEST 53 STREET, NEW YORK 19, N
THE MUSEUM OF MODERN ART If WEST 53 STREET, NEW YORK 19, N. Y. TftfPHONI: CIRCLE 5-8900 FOR RELEASE: kl May 1, 1955 No SCHEDULE OF EXHIBITIONS AND EVENTS MUSEUM HOURS: ADMISSION: Weekdays 12 - 7 p.*.(») Adults 60fi Sundays 1 - 7 p.m. Children 20/£ Note: Full releases on each exhibition are available five days before the opening. Photographs are available on request, MAY OPENINGS AND EVENTS f May fc RODIN S MONUMENT TO BALZAC on view in the Museum garden. A gift to the Museum by friends of the late Curt Valentin. May 11 - Aug.7 THE NEW DECADE: 22 EUROPEAN PAINTERS AND SCULPTORS. 85 paintings and sculptures selected by Andrew Carnduff Ritchie, Director of the Museum's Department of Painting and Sculpture. The exhibition will open concurrently with the Whitney Museum's exhibition: The New Decade: 35 American Painters and Sculptors.(Press preview: May 10 '- 1-5 p.m.) (third floor) May 17 & 18 ** THE STORY OF APU AND DUTGA - World Premiere of a feature film of (sold out for Bengal village life, produced by Satyajit Ray of Calcutta, 1955. May 17th eve.) The last of "The Living Arts of India"series of evenings to be presented by the Museum's Junior Council in connection with the 8:30 p.m. in the exhibition, "Textiles and Ornamental Arts of India," currently Auditorium on view in the Museum's first floor galleries. Admission: Members and Students - $2.25, Non-members - $3.00 May 25 - Sept. 5 PAINTINGS FROM PRIVATE COLLECTIONS. An exhibition of approximately 100 important paintings from the collections of friends of the Museum, planned to complement the "Paintings from the Museum Collection" exhibition with which the Museum's 25th Anniversary celebration opened. -
La Bella Estate
Biblioteca civica U. Pozzoli – Lecco FILM vincitori del LEONE D’ORO alla Mostra d’Arte Cinematografica di Venezia (posseduti dalla biblioteca) - 1934: Robert Flaerthy, L’uomo di Aran (Coppa Mussolini). - 1935: Clarence Brown, Anna Karenina (Coppa Mussolini). - 1936: Augusto Genina, Lo squadrone bianco (Coppa Mussolini). - 1937: Carmine Gallone, Scipione l’Africano (Coppa Mussolini). - 1940: Augusto Genina, L’assedio dell’Alcazar (Coppa Mussolini). - 1946: Jean Renoir, L’uomo del Sud. - 1948: Laurence Oliver, Amleto. - 1951: Akira Kurosawa, Rashomon. - 1952: René Clément, Jeux interdix. - 1954: Renato Castellani, Giulietta e Romeo. - 1955: Carl Theodor Dreyer, Ordet. - 1957: Ray Satyajit, Aparajito. - 1959: Mario Monicelli, La grande guerra. Roberto Rossellini, Il generale Della Rovere. _______________________________________________________________________________________ Piazza Diaz, 1 - 23900 LECCO - C.F. e P.IVA 00623530136 - tel. centralino 0341 481111 - fax 0341 286874 - www.comune.lecco.it - 1961: Alain Resnais, L’anno scorso a Marienbad. - 1962: Valerio Zurlini, Cronaca familiare. Andrej Tarkovskji, L’infanzia di Ivan. - 1963: Francesco Rosi, Le mani sulla città. - 1964: Michelangelo Antonioni, Deserto rosso. - 1965: Luchino Visconti, Vaghe stelle dell’Orsa… - 1966: Gillo Pontecorvo, La battaglia di Algeri. - 1967: Luis Buñuel, Bella di giorno. - 1980: Loius Malle, Atlantic City. - 1981: Margarethe von Trotta, Anni di piombo. - 1982: Wim Wenders, Lo stato delle cose. - 1983: Jean-Luc Godard, Prénom Carmen. - 1985: Agnès Varda, Senza tetto né legge. - 1986: Éric Rohmer, Il raggio verde. - 1987: Louis Malle, Arrivederci ragazzi. - 1988: Ermanno Olmi, La leggenda del santo bevitore. - 1992: Zhang Yimou, La storia di Qiu Ju. - 1993: Robert Altman, America Oggi. Krzysztof Kieślowski, Tre Colori - Film Blu. - 1994: Milcho Manchevski, Befor the rain. - 1996: Neil Jordan, Michael Collins. -
Filmographie
347 Filmographie Abbasso la miseria! (Gennaro Righelli, 1945) Acciaio (Walter Ruttmann, 1933) Achtung! Banditi! (Carlo Lizzani, 1951) L’amore (Roberto Rossellini, 1948) Anna (Alberto Lattuada, 1951) I bambini ci guardano (Vittorio De Sica, 1943) Bambini in città (Luigi Comencini, 1946) Il bandito (Alberto Lattuada, 1946) Il bell’Antonio (Mauro Bolognini, 1960) Bellissima (Luchino Visconti, 1951) Berliner Ballade (Robert Adolf Stemmle, 1948) Cabiria (Giovanni Pastrone, 1914) Caccia tragica (Giuseppe De Santis, 1947) Camicia nera (Giovacchino Forzano, 1933) Campane a martello (Luigi Zampa, 1950) Campo de’ Fiori (Mario Bonnard, 1943) Catene (Raffaello Matarazzo, 1949) Cielo sulla palude (Augosto Genina, 1949) La Ciociara (Vittorio De Sica, 1960) Comacchio (Fernando Cerchio, 1942) La confessione di una donna (Amleto Palermi, 1928) Il delitto di Giovanni Episcopo (Alberto Lattuada, 1947) Desiderio (Roberto Rossellini, 1946) Due lettere anonime (Mario Camerini, 1945) Eins-zwei-drei Corona! (Hans Müller, 1948) I fi gli di nessuno (Raffaello Matarazzo, 1951) La fortuna di essere donna (Alessandro Blasetti, 1956) Gente del Po (Michelangelo Antonioni, 1943, veröffentlicht 1947) Germania anno zero (Roberto Rossellini, 1947) Gioventù perduta (Pietro Germi, 1947) Il grande appello (Mario Camerini, 1936) La grande bouffe (Marco Ferreri, 1973) In jenen Tagen (Helmut Käutner, 1947) Irgendwo in Berlin (Gerhard Lamprecht, 1946) Ladri di biciclette (Vittorio De Sica, 1949) Liebe 47 (Wolfgang Liebeneiner, 1949) Luci del varietà (Federico Fellini, 1950) Luciano -
Guests 2007 — 2018 Directors
WWW.LEFFEST.COM LEFFEST GUESTS 2007 — 2018 DIRECTORS Francis Ford Coppola David Lynch Bernardo Bertolucci Wim Wenders David Cronenberg Pedro Almodóvar Wes Anderson Abbas Kiarostami Raúl Ruiz Jonathan Demme Emir Kusturica Jim Jarmusch Nanni Moretti Aleksandr Sokurov James Gray Agnès Varda Philippe Garrel Stephen Frears Jerzy Skolimowski Monte Hellman Werner Schroeter Andrzej Zulawski Léos Carax Barbet Schroeder Abdellatif Kechiche Jean-Pierre Dardenne Luc Dardenne Edgar Reitz Benoît Jacquot Abel Ferrara Walter Salles Mario Martone Brady Corbet Júlio Bressane Jacques Audiard Otar Iosseliani Sharunas Bartas Julian Schnabel Bruno Dumont Claire Denis Ildikó Enyedi Mathieu Amalric Lucrecia Martel Robert Schwentke David Gordon Green LEFFEST WWW.LEFFEST.COM DIRECTORS Elia Suleiman Arnaud Desplechin Gianfranco Rosi Bertrand Bonello Pascal Bonitzer Fernando Lopes Victor Erice Ruben Östlund Jorge Silva Melo Yousry Nasrallah Jean Douchet Cristian Mungiu Kleber Mendonça Filho Joshua e Ben Safdie Fanny Ardant João Mário Grilo Franco Piavolli Alain Guiraudie Sara Driver Albert Serra Amos Gitai Anton Corbijn Agustín Diaz Yanes José Vieira Laura Poitras Bruno Wollheim Giada Colagrande Martín Rejtman Valeria Sarmiento Nabil Ayouch Pappi Corsicato João Pedro Rodrigues João Rui Guerra da Mata Bruno Monsaingeon Luca Guadagnino Roman Coppola Pierre Léon Adolpho Arrietta Daniel Rosenfeld Aleksey Fedorcenko Mariana Rondón Nadav Lapid Jessica Hausner Teresa Villaverde Bette Gordon LEFFEST WWW.LEFFEST.COM DIRECTORS Angela Ricci Lucchi Yervant Gianikian John Carroll -
With Comments About 2002)
Steve’s Film Festival Reviews for 2003 (With Comments About 2002) By Steve Munro Ratings !#%?$ An appalling piece of junk (new rating this year) 0 I walked out (rating unused in 2003) * I stayed to the bitter end (but probably shouldn’t have) ** Maybe worth seeing once *** Recommended **** First rate ***** Best of the festival The reviews are arranged in the order of viewing. Festival Main Title The main title gets more boring every year. All of the Festival posters this year have someone holding a film frame in front of them through which one can see the background. This image is transferred to the screen with a woman on a long wooden bridge whose rails and posts suggest/become frames on a film. By the second day, I was seriously bored with this, and astounded that the Festival has only prints of this with overexposed and out of focus titles. The only time I saw it properly was at digital projections. Universal Studios’ salute to the volunteers, on the other hand, was always warmly received even though it’s seen over and over again because the audience really appreciates the work the volunteers (and the Festival staff) do to make this whole thing possible. People’s Choice Trailer AGF has three trailers and one poster this year, all based on the concept that a character is trapped in a job other than his/her true desire. · The Poster: A teacher who would rather be in the movies has Dick, Jane and Spot in screenplay format on her blackboard. · A Private Eye really wants to be a director/cinematographer, and critiques his surveillance of a tryst while, presumably, the tearful husband watches on a camcorder’s monitor. -
UNIVERSITY of CALIFORNIA Los Angeles Misery Is the True Script For
UNIVERSITY OF CALIFORNIA Los Angeles Misery is the True Script for Comedy: A Study of Italian Film Comedy in the 1950s A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Italian by Christopher Burton White 2014 © Copyright by Christopher Burton White 2014 ABSTRACT OF THE DISSERTATION Misery is the True Script for Comedy: A Study of Italian Film Comedy in the 1950s by Christopher Burton White Doctor of Philosophy in Italian University of California, Los Angeles, 2014 Professor Thomas J. Harrison, Chair This dissertation fills a lacuna in the history of Italian cinema, formally analyzes a selection of significant film comedies from the 1950s, and challenges many of the assumptions that have been made about postWar Italian cinema. The conservative atmosphere of the fifties, the detrimental effects of censorship on Italian cinema, and the return of popular genres after the end of the widely-acclaimed neorealist period have led to assumptions about a limited engagement With contemporary Italian society in the motion pictures produced in Italy during the 1950s. While most critics and film historians vieW these years in Italian cinema as the disappointing aftermath of neorealism, a decade in Which conservative elements in Italian society pushed national cinema in the direction of facile optimism and escapism, this dissertation demonstrates that many comedies in fact engaged with Italian society, ii offering incisive critiques of contemporary Italy that pinpoint and satirize hypocrisy, inequality, and a host of other ills of the Italian republic in the 1950s. This study considers existing scholarship on Italian cinema and reevaluates films starring the popular Neapolitan actor Antonio De Curtis (Totò), Renato Castellani’s Due soldi di speranza (Two Cents Worth of Hope, 1952) and other examples of neorealismo rosa (rosy or pink neorealism), and the movies directed by Federico Fellini featuring Alberto Sordi, both in terms of aesthetics as well as subject matter. -
Italian Neorealism in NY. Life Lessons at the Lincoln Center's
Italian Neorealism in NY. Life Lessons at the Lincoln Center’s Walter Reade Theater Published on iItaly.org (http://www.iitaly.org) Italian Neorealism in NY. Life Lessons at the Lincoln Center’s Walter Reade Theater Natasha Lardera (November 06, 2009) When you hear the words Life Lessons, what do you think about? A self help book, a seminar held at your neighborhood church or the next topic of discussion on Oprah? Whichever you have picked, we are sorry to say, you’ll be luckier next time. This time around the phrase Life Lessons is going to take Page 1 of 6 Italian Neorealism in NY. Life Lessons at the Lincoln Center’s Walter Reade Theater Published on iItaly.org (http://www.iitaly.org) you to Lincoln Center’s Walter Reade Theater for the biggest ever collection of Italian Neorealism films ever put together. Interview with Richard Peña, Program Director at the Film Society The Film Society of Lincoln Center [2], in association with Cinecittà Luce [3], and the Fondazione Centro Sperimentale di Cinematografia-Cineteca Nazionale [4], are presenting the most complete series on Italian Neorealism ever screened in New York, "Life Lessons: Italian Neorealism and the Birth of Modern Cinema", a month-long (last day is November 25th) 40-film series on the film movement from postwar Italy. “Birthed from the ashes and rubble-strewn landscapes of 1940s Italy, Neorealist films were both unique stylistically and thematically. Shot on location, using available light, casting non-professional actors, these films were revolutionary also for their candid depictions of the working class. -
Italian Film Cylce to Be Shown at MOMA
_, FOB RELEASE: MONDAY THE MUSEUM OF MODERN ART March ,, 1955 „ WBT 33 STMET, NIW YORK •». N. Y. £^ ^^ No. lo ITALIAN FITJI CYCLE TO BE SHOWN AT MUSEUM OF MODERN ART 50 YEARS OF ITALIAN CINEMA, the first survey of the development of the film in Italy to be shown in the United States, will be presented by the Film Library of the Museum of Modern Art beginning March 21, in the Museum's Auditorium, 11 West 53 Street, The retrospect, consisting of some thirty films, more than a third of which have never before been shown in the United States, is part of the Museum's 25th Anniversary year-long celebration. It marks as well the occasion of the 50th Anni versary of Italian films, the first of which, THE TAKING OF ROME, was produced in 1905* Films are shown ttice daily at 3 and 5130 p.m. In the Museum Auditorium. Commenting on the retrospect, Richard Griffith, Curator of the Film Library, says: "Twice in the course of motion picture history, Italian films have achieved world-wide fame and influence. Before the first World War, such spectacles as QUO VADIS? and CABIRIA brought the growing film medium to a new level of artistry, helped to establish its prestige, and deeply affected production everywhere -- their great length and colossal scale, for example, inspired D. W. Griffith to produce his THE BIRTH OF A NATION and INTOLERANCE. After the second War, OPEN CITY, PAISAN, BICYCLE THIEF, and other electrifying documents of "neo-realism" startled the world with their vitality and challenged film-makers of all nations by raising all the issues inherent in film form. -
Hofstra University Film Library Holdings
Hofstra University Film Library Holdings TITLE PUBLICATION INFORMATION NUMBER DATE LANG 1-800-INDIA Mitra Films and Thirteen/WNET New York producer, Anna Cater director, Safina Uberoi. VD-1181 c2006. eng 1 giant leap Palm Pictures. VD-825 2001 und 1 on 1 V-5489 c2002. eng 3 films by Louis Malle Nouvelles Editions de Films written and directed by Louis Malle. VD-1340 2006 fre produced by Argosy Pictures Corporation, a Metro-Goldwyn-Mayer picture [presented by] 3 godfathers John Ford and Merian C. Cooper produced by John Ford and Merian C. Cooper screenplay VD-1348 [2006] eng by Laurence Stallings and Frank S. Nugent directed by John Ford. Lions Gate Films, Inc. producer, Robert Altman writer, Robert Altman director, Robert 3 women VD-1333 [2004] eng Altman. Filmocom Productions with participation of the Russian Federation Ministry of Culture and financial support of the Hubert Balls Fund of the International Filmfestival Rotterdam 4 VD-1704 2006 rus produced by Yelena Yatsura concept and story by Vladimir Sorokin, Ilya Khrzhanovsky screenplay by Vladimir Sorokin directed by Ilya Khrzhanovsky. a film by Kartemquin Educational Films CPB producer/director, Maria Finitzo co- 5 girls V-5767 2001 eng producer/editor, David E. Simpson. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987. ita Flaiano, Brunello Rondi. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987.