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It 2.007 Vc Italian Films On
1 UW-Madison Learning Support Services Van Hise Hall - Room 274 rev. May 3, 2019 SET CALL NUMBER: IT 2.007 VC ITALIAN FILMS ON VIDEO, (Various distributors, 1986-1989) TYPE OF PROGRAM: Italian culture and civilization; Films DESCRIPTION: A series of classic Italian films either produced in Italy, directed by Italian directors, or on Italian subjects. Most are subtitled in English. Individual times are given for each videocassette. VIDEOTAPES ARE FOR RESERVE USE IN THE MEDIA LIBRARY ONLY -- Instructors may check them out for up to 24 hours for previewing purposes or to show them in class. See the Media Catalog for film series in other languages. AUDIENCE: Students of Italian, Italian literature, Italian film FORMAT: VHS; NTSC; DVD CONTENTS CALL NUMBER Il 7 e l’8 IT2.007.151 Italy. 90 min. DVD, requires region free player. In Italian. Ficarra & Picone. 8 1/2 IT2.007.013 1963. Italian with English subtitles. 138 min. B/W. VHS or DVD.Directed by Frederico Fellini, with Marcello Mastroianni. Fellini's semi- autobiographical masterpiece. Portrayal of a film director during the course of making a film and finding himself trapped by his fears and insecurities. 1900 (Novocento) IT2.007.131 1977. Italy. DVD. In Italian w/English subtitles. 315 min. Directed by Bernardo Bertolucci. With Robert De niro, Gerard Depardieu, Burt Lancaster and Donald Sutherland. Epic about friendship and war in Italy. Accattone IT2.007.053 Italy. 1961. Italian with English subtitles. 100 min. B/W. VHS or DVD. Directed by Pier Paolo Pasolini. Pasolini's first feature film. In the slums of Rome, Accattone "The Sponger" lives off the earnings of a prostitute. -
FILM POSTER CENSORSHIP by Maurizio Cesare Graziosi
FILM POSTER CENSORSHIP by Maurizio Cesare Graziosi The first decade of the twentieth century was the golden age of Italian cinema: more than 500 cinema theatres in the country, with revenues of 18 million lire. However, the nascent Italian “seventh art” had to immediately contend with morality, which protested against the “obsolete vulgarity of the cinema”. Thus, in 1913 the Giolitti government set up the Ufficio della Revisione Cinematografica (Film Revision Office). Censorship rhymes with dictatorship. However, during the twenty years of Italian Fascism, censorship was not particularly vigorous. Not out of any indulgence on the part of the black-shirted regime, but more because self-censorship is much more powerful than censorship. Therefore, in addition to the existing legislation, the Testo Unico delle Leggi di Pubblica Sicurezza (Consolidation Act on Public Safety Laws - R.D. 18 June 1931, n° 773) was sufficient. And so, as far as film poster censorship is concerned, the first record dates from the period immediately after the Second World War, in spring 1946, due to the censors’ intervention in posters for the re-release of La cena delle beffe (1942) by Alessandro Blasetti, and Harlem (1943) by Carmine Gallone. In both cases, it was ordered that the name of actor Osvaldo Valenti be removed, and for La cena delle beffe, the name of actress Luisa Ferida too. Osvaldo Valenti had taken part in the Social Republic of Salò and, along with Luisa Ferida, he was sentenced to death and executed on 30 April 1945. This, then, was a case which could be defined as a “censorship of purgation”. -
CENTRAL PAVILION, GIARDINI DELLA BIENNALE 29.08 — 8.12.2020 La Biennale Di Venezia La Biennale Di Venezia President Presents Roberto Cicutto
LE MUSE INQUIETE WHEN LA BIENNALE DI VENEZIA MEETS HISTORY CENTRAL PAVILION, GIARDINI DELLA BIENNALE 29.08 — 8.12.2020 La Biennale di Venezia La Biennale di Venezia President presents Roberto Cicutto Board The Disquieted Muses. Luigi Brugnaro Vicepresidente When La Biennale di Venezia Meets History Claudia Ferrazzi Luca Zaia Auditors’ Committee Jair Lorenco Presidente Stefania Bortoletti Anna Maria Como in collaboration with Director General Istituto Luce-Cinecittà e Rai Teche Andrea Del Mercato and with AAMOD-Fondazione Archivio Audiovisivo del Movimento Operaio e Democratico Archivio Centrale dello Stato Archivio Ugo Mulas Bianconero Archivio Cameraphoto Epoche Fondazione Modena Arti Visive Galleria Nazionale d’Arte Moderna e Contemporanea IVESER Istituto Veneziano per la Storia della Resistenza e della Società Contemporanea LIMA Amsterdam Peggy Guggenheim Collection Tate Modern THE DISQUIETED MUSES… The title of the exhibition The Disquieted Muses. When La Biennale di Venezia Meets History does not just convey the content that visitors to the Central Pavilion in the Giardini della Biennale will encounter, but also a vision. Disquiet serves as a driving force behind research, which requires dialogue to verify its theories and needs history to absorb knowledge. This is what La Biennale does and will continue to do as it seeks to reinforce a methodology that creates even stronger bonds between its own disciplines. There are six Muses at the Biennale: Art, Architecture, Cinema, Theatre, Music and Dance, given a voice through the great events that fill Venice and the world every year. There are the places that serve as venues for all of La Biennale’s activities: the Giardini, the Arsenale, the Palazzo del Cinema and other cinemas on the Lido, the theatres, the city of Venice itself. -
FILM CENSORSHIP in 1943-1946 by Roberto Gulì
FILM CENSORSHIP IN 1943-1946 by Roberto Gulì In the historical era in Italy between 1943 and the immediate post-war period, the so-called temporary constitutional period, the Second World War was proceeding towards its dramatic conclusion, generating upheavals and clamorous coalition changes. The intensifying war on Italian territory had, of course, repercussions on the cinema industry: films were increasingly difficult to distribute, and cinema revision proceeded at a slow pace. Following the Allies’ offensive, Italy was broken in two: the South went to the Anglo- Americans, who dictated their propaganda, while Fascist censorship was restored in the Republic of Salò. Even before the end of the war, the movie revision system in Italy gradually got back into the swing of operations, but it had to face a past which was still too close for comfort, as troublesome as it was difficult to cleanse. The PWB The positive outcome of the “Italy campaign”, started by the Allies with the landing in Sicily on 10 July 1943 (preceded by operations in the Pelagie Isles and in Pantelleria in June), couldn’t depend entirely on military action, which however lead to a fast death for the already moribund Mussolini government on 25 July 1943. For the Anglo-Americans’ ambition of a progressive “defascistisation” of Italy (and of the whole Europe) to be realised, war using arms had to be flanked by ideas, a so-called “psychological war”. And in order to implement effective war propaganda, the Allies had to take control of the Italian media. Even before the start of military operations, the Anglo-American government created for this purpose the Psychological Warfare Branch (PWB), that was aimed to manage the Italian media. -
November-December 1978 Bimonthly for the Press
AU\« ccV^ November-December 1978 Bimonthly for the Press &** The Museum of Modern Art 11 West 53 Street, New York, N.Y. 10019 & Luisa Kreisberg, Director, Department of Public Information, (212)956-2648 ATTENTION: THIS IS A BI-MONTHLY SCHEDULE PLEASE RETAIN UNTIL THE JANUARY-FEBRUARY ISSUE FURTHER INFORMATION ON INDIVIDUAL EXHIBITIONS IS AVAILABLE ON REQUEST What's Opening Paqe 1 What's Coming Up Page 3 Current Exhibitions Page 4 Gallery Talks Page 5 Symposia, Lectures and Courses Page 6 Events for Children, Museum Hours, Admission Fees Page 8 Films (monthly calendar) Page 9 WHAT'S OPENING DRAWINGS Recent Acquisitions: Gifts in Honor of Myron Orlofsky Dec 1--Jan 9 This exhibition includes drawings recently acquired by the Museum with funds provided by Friends of Myron Orlofsky. Several relate to international aspects of the Symbolist movement in Europe- early works by Kupka and Kokoschka as well as sheets bv Lacombe, Mellery, Minne, Byam Shaw, and Wildt. The collection also contains British caricatures by Beerbohm, Nicholson, and Roberts, as well as drawings by the American artists Davies, Madelman, and Russell. Drawings by Brodzky (Australia), Dix (Germany), and Stenberq (U.S.S.R.) are also on view. (Northeast Gallery, 1st floor) PHOTOGRAPHY Grain Elevators: Photographs by Frank Gohlke Nov 6--Feb 4 Gohlke's photographs of grain elevators at once idealize and accurately describe a Midwestern landscape he knows well. Born in 1942, Gohlke lives and teaches photography in Minneapolis, Minnesota. The photographs in the exhibition appear courtesy of Light Gallery, New York. Directed by John Szarkowski, Director, Department of Photography. -
Are There Any Children in Early Italian Cinema? in the Early Days of Italian
02-Bettella_0Syrimis 2/10/14 10:21 AM Page 11 CHILDREN IN FASCIST REGIME CINEMA : T HE CASE OF LUIGI BALLERINI ’S LA FUGGITIVA (1941) PATRIZIA BETTELLA Summary: After a sustained presence in silent movies, children almost van - ish in Fascist cinema, which was dominated by the light comedies of the white telephones—a fact that clashes with the regime’s promotion of large families, population increase and the valorization of motherhood. Children begin to reappear in the melodramas of the early Forties mainly as a complement to the figure of the mother, who is depicted in senti - mental stories about single parenthood, illegitimate children, hard negoti - ations between traditional motherhood and self-realization. Piero Ballerini’s film La Fuggitiva (1941) offers an interesting and problematic story of the mother-child relation, where, in the absence of the biological mother, too busy pursuing her theatrical career, we see the glorification of the maternal surrogate, a woman who is a paragon of sacrifice and self- abnegation. La Fuggitiva is also a film in which a child actress takes a prominent role. In this sentimental drama, the little girl suffers for and rebels against the loneliness and neglect stemming from the lack of a moth - er and a loving family setting. The film stages the crisis of the patriarchal family and the suffering of the child in ways that anticipate De Sica’s I bambini ci guardano . Are there any children in early Italian cinema? In the early days of Italian cinema (1901-18), children play an important role in dramatic and comic genres. -
This Is an Accepted Manuscript of an Article Published in Revue D'histoire De La Shoah
“This is an accepted manuscript of an article published in Revue d'histoire de la Shoah. It is not the copy of record.” After “Holocaust”. The Shoah in televised fiction in Italy and in France: a compared reading of public memory and representation (1979-2011) Emiliano Perra University of Winchester In the vast and ever expanding body of scholarly works exploring Holocaust memory and representation, television is a relatively late and largely overdue addition. This relatively small, but steadily growing body of work shows that if we want to understand the place of this event in popular memory culture, we need to look at television. Much of the existing literature in this field centres on the analysis of single countries such as the United States, Germany, Israel, Britain, or the two discussed in this article, France and Italy.1 However, only a handful of studies have developed a comparative approach,2 and most of this body of work is about documentaries, while works of fiction such as made-for-TV films, miniseries and series are still relatively understudied.3 And yet, TV fictions are important. As the then Fiction Manager for France Télévisions (and currently Project Manager for ARTE France) Vincent Meslet stated in 2010, ‘la fiction, c'est une 1 See at least Jeffrey SHANDLER, While America Watches: Televising the Holocaust, New York (NY), Oxford University Press, 1999 on the United States; Wulf KANSTEINER, In Pursuit of German Memory: History, Television, and Politics after Auschwitz, Athens (OH), Ohio University Press, 2006 on Germany; Oren MEYERS, Eyal ZANDBERG, and Motti NEIGER, «Prime Time Commemoration: An Analysis of Television Broadcasts on Israel’s Memorial Day for the Holocaust and the Heroism», in Journal of Communication, 59, 2009, p. -
Visual Motifs in Cinematic Eroticism Under Fascism: Spain
NOTEBOOK · DESIRE AND EROTICISM IN DICTATORIAL TIMES VISUAL MOTIFS IN CINEMATIC EROTICISM UNDER FASCISM: SPAIN JORDI BALLÓ MARGA CARNICÉ NARRATIVE VEHICLES AND FICTIONAL of the actor by the industry, which attempts to BODIES shape the actor with a single nature with which the audience can identify. Along these discur- In spite of their sporadic presence in the historiog- sive lines, based on the idea of the adaptation of raphy of cinema, actors’ bodies constitute an in- the performer as a cultural emblem, it may prove triguing object of study. Throughout the history of useful to analyse certain actresses of Spanish and classical cinema, the star system tended to create Italian fascist cinema as objects of study of this centripetal models of representation, based on the process. According to Nicole Brenez (2013), in the malleability of the star to sublimate the features analysis of the cultural and anthropological chal- of certain human archetypes (MORIN, 1972). Rath- lenges of the cinema of a particular era, the action er than disseminate ideas that were alien to the of the performer can be observed on the basis of canon, this process of mythical identity construc- the dichotomy of porosity versus resistance of tion was based on an imposition of homogeneous his/her body to the embodiment of the symbol, models on the specific qualities or charisma of the an extremely useful hypothesis for the analysis actor (DYER, 1979). Contrary to the diversity of the proposed here. Contrary to other star models of theatre, classical cinema sought to -
Centro Di Documentazione Materiali Audiovisivi Sulla Resistenza E L’Antifascismo
Materiali Resistenti. Centro di documentazione materiali audiovisivi sulla resistenza e l’antifascismo. “ Vi chiedo solo una cosa: se sopravvivete a quest’epoca, non dimenticate. Non dimenticate né i buoni né i cattivi. Raccogliete con pazienza le testimonianze di quanti sono caduti per loro e per voi. Un bel giorno oggi sarà il passato, e si parlerà di una grande epoca e degli eroi anonimi che hanno creato la storia. Vorrei che tutti sapessero che non esistono eroi anonimi. Erano persone con un nome, un volto, desideri e speranze e il dolore dell’ultimo fra gli ultimi non era meno grande di quello del primo il cui nome resterà. Vorrei che tutti costoro vi fossero sempre vicini come persone che abbiate conosciuto, come membri della Vostra famiglia, come voi stessi.” Julius Fucik , eroe e dirigente della resistenza Cecoslovacca impiccato a Berlino 8 settembre 1943. Nella foto: barricata davanti all’azienda “L’Aquila” il 25 aprile 1945 in via Palanzone 7 a Niguarda (Milano) Per info e contatti: [email protected] F A S C I S M O A N T I F A S C I S M O R E S I S T E N Z A V1 Dvd “Giorni di Regia di Luchino Visconti con Marcello Pagliero, Giuseppe De Santis, Mario gloria”. Serandrei. Documentario che fu distribuito a cura dell’Ufficio Stampa della presidenza 25 minuti del consiglio. Le immagini quelle del 1945 con la resistenza, la fine della guerra, 1945 l’inizio della ricostruzione. Sono riportate per esteso le immagini di P.le Loreto, con la Archivio Audiovisivo del movimento operaio e grande folla accorsa per vedere i corpi del Duce e dei gerarchi giustiziati. -
Il Cinema È L'arma Più Forte
“Il Cinema è l’Arma Più Forte” Attraverso il cinema del ventennio fascista di Martina Biscarini Prima del fascismo: ascesa poi declino poi grande ascesa poi lento declino. Il primo film a soggetto italiano la dice lunga su come si orienterà la futura produzione: si chiama La Presa di Roma, è del 1905, il regista è Filoteo Alberini ed è una pellicola capostipite del filone storico monumentale, che assieme al melodramma e al dramma realistico e alla commedia (che pure si diffonde dal ’05) costituiranno i generi in voga. Il cinema italiano “muove i primi passi pensando in grande e puntando, senza alcun complesso di inferiorità, al mercato internazionale ”1 . L’Italia è all’epoca un paese definibile come proto‐industriale, lo sviluppo economico non è omogeneo, la lingua parlata dagli italiani non è ancora una sola. Di conseguenza, il cinema italiano non nasce Roma‐centrico: uno dei massimi studiosi di storia del cinema italiano, Gian Piero Brunetta, nota con un certo stupore come nel 1907 è piuttosto Torino ad essere la capitale del cinema italiano2. Dal ’12 al ’15 sono gli anni migliori del cinema italiano delle origini. Lo stile italiano piace e viene esportato fin negli Stati Uniti, dove dive comici e i cosiddetti pepla a soggetto storico‐romano3 vanno a ruba, tipo Quo Vadis? di Enrico Guazzoni (1912), il primo kolossal della storia del cinema. L’Italia cinematografica chiama poi a raccolta le dive del teatro, come Eleonora Duse (con un solo titolo, Cenere, 1916) o soprattutto Francesca Bertini, resa famosa dal ruolo partenopeo di Assunta Spina (1915), e la spezina Lyda Borelli, la divina di Ma L’Amore Mio Non Muore! (Caserini, 1913), Rapsodia Satanica (1915, musicato da Mascagni) e successivamente di Malombra (1917 di Carmine Gallone). -
Beyond Neorealism: Cinema, Biopolitics, and Fascism
BEYOND NEOREALISM: CINEMA, BIOPOLITICS, AND FASCISM A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Lorenzo Fabbri January 2014 © 2014 Lorenzo Fabbri BEYOND NEOREALISM: CINEMA, BIOPOLITICS, AND FASCISM Lorenzo Fabbri, Ph. D. Cornell University 2014 My dissertation “Beyond Neorealism. Cinema, Biopolitics, and Fascism,” stems from a dissatisfaction with “neorealism” as the category that undergirds all approaches to Italian cinema. I argue that aligning Italian national cinema with neorealism introduces a prescriptive outlook on film history, and reduces all Italian films either to anticipations, prolongations, or betrayals of neorealism. The limits of this approach are particularly evident in the existing scholarship on cinema under Fascism. In the wake of Bazin’s ethical opposition between “location” and “studio” films, cinematic realism during the regime has been retrospectively awarded a progressive thrust. I challenge this conclusion, and discuss Fascism’s investment in realism for the creation of a shared national identity in 1930s Italy. I also show that a critical visualization of Fascism’s identity politics is most often found in literary adaptations and genre films. My contribution to the study of Fascist culture starts from a cue by Philip Cannistraro: Italian liberalism and film industry underwent a simultaneous crisis in the 1910s. Accordingly, I analyze Pirandello’s 1916 Quaderni di Serafino Gubbio operatore as an indictment of both Giolitti’s Italy and its film culture. Underneath Pirandello’s exposure of the distraction industry, I detect the roadmap for the transformation of cinema into a means of socio-political reclamation. -
Fluchtlinien Des Neorealismus
Massimo Perinelli Fluchtlinien des Neorealismus Histoire | Band 6 Massimo Perinelli (Dr. phil.) lehrt US-amerikanische Geschichte und Film geschichte an der Universität zu Köln. Er arbeitet zur Geschichte der Geschlechter, des Rassismus, der Sexualität und der Tier- Mensch- Beziehung. Massimo Perinelli Fluchtlinien des Neorealismus Der organlose Körper der italienischen Nachkriegszeit, 1943-1949 Dissertation, Philosophische Fakultät, Universität zu Köln Bibliografi sche Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografi e; detaillierte bibliografi sche Daten sind im Internet über http://dnb.d-nb.de abrufbar. © 2009 transcript Verlag, Bielefeld This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Umschlaggestaltung: Büro Bildwechsel / www.image-shift.net, Berlin Umschlagabbildung: Ladri di biciclette, 1949, British Film Archive Lektorat: Ulf Heidel, Berlin Satz & Layout: Büro Bildwechsel / www.image-shift.net, Berlin Druck: Majuskel Medienproduktion GmbH, Wetzlar ISBN 978-3-8376-1088-8 Gedruckt auf alterungsbeständigem Papier mit chlorfrei gebleichtem Zellstoff. Besuchen Sie uns im Internet: http://www.transcript-verlag.de Bitte fordern Sie unser Gesamtverzeichnis und andere Broschüren an unter: [email protected] Inhalt EINLEITUNG 11 FILME ALS QUELLE EINER MATERIELLEN GESCHLECHTERGESCHICHTE 31 Das Kino als Ort der Subjektbildung 33 Die Filme im Italien der Nachkriegszeit: der Neorealismus 43 PROGRAMMATIK