20210514092607 Amarcorden
Total Page:16
File Type:pdf, Size:1020Kb
Load more
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. -
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 .......................... -
THTR 433A/ '16 CD II/ Syllabus-9.Pages
USCSchool of Costume Design II: THTR 433A Thurs. 2:00-4:50 Dramatic Arts Fall 2016 Location: Light Lab/PDE Instructor: Terry Ann Gordon Office: [email protected]/ floating office Office Hours: Thurs. 1:00-2:00: by appt/24 hr notice Contact Info: [email protected], 818-636-2729 Course Description and Overview This course is designed to acquaint students with the requirements, process and expectations for Film/TV Costume Designers, supervisors and crew. Emphasis will be placed on all aspects of the Costume process; Design, Prep: script analysis,“scene breakdown”, continuity, research, and budgeting; Shooting schedules, and wrap. The supporting/ancillary Costume Arts and Crafts will also be discussed. Students will gain an historical overview, researching a variety of designers processes, aesthetics and philosophies. Viewing films and film clips will support critique and class discussion. Projects focused on specific design styles and varied media will further support an overview of techniques and concepts. Current production procedures, vocabulary and technology will be covered. We will highlight those Production departments interacting closely with the Costume Department. Time permitting, extra-curricular programs will include rendering/drawing instruction, select field trips, and visiting TV/Film professionals. Students will be required to design a variety of projects structured to enhance their understanding of Film/TV production, concept, style and technique . Learning Objectives The course goal is for students to become familiar with the fundamentals of costume design for TV/Film. They will gain insight into the protocol and expectations required to succeed in this fast paced industry. We will touch on the multiple variations of production formats: Music Video, Tv: 4 camera vs episodic, Film, Commercials, Styling vs Costume Design. -
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. -
Sandokan the Tigers of Mompracem
Sandokan The Tigers of Mompracem Sandokan The Tigers of Mompracem Emilio Salgari Translated by Nico Lorenzutti iUniverse, Inc. New York Lincoln Shanghai Sandokan The Tigers of Mompracem All Rights Reserved © 2003 by Nico Lorenzutti No part of this book may be reproduced or transmitted in any form or by any means, graphic, electronic, or mechanical, including photocopying, recording, taping, or by any information storage retrieval system, without the written permis- sion of the publisher. iUniverse, Inc. For information address: iUniverse, Inc. 2021 Pine Lake Road, Suite 100 Lincoln, NE 68512 www.iuniverse.com SANDOKAN: The Tigers of Mompracem By Emilio Salgari Translated from the Italian by Nico Lorenzutti Edited by Dan Tidsbury Special thanks to Felice Pozzo and Claudio Gallo for their invaluable assistance in the production of this novel. Original Title: Le Tigri di Mompracem First published in serial form in “La Nuova Arena” (1883/1884) ISBN: 0-595-29133-3 Printed in the United States of America “To read is to travel without all the hassles of luggage.” Emilio Salgari (1863-1911) Contents Chapter 1: Sandokan and Yanez ......................................1 Chapter 2: Ferocity and Generosity...................................8 Chapter 3: The Cruiser...................................................16 Chapter 4: Lions and Tigers............................................20 Chapter 5: Escape and Delirium.....................................32 Chapter 6: The Pearl of Labuan ......................................38 Chapter 7: Recovery -
International Civil Aviation Organization Report of The
INTERNATIONAL CIVIL AVIATION ORGANIZATION REPORT OF THE EUROPE – ASIA TRANS-REGIONAL SPECIAL COORDINATION MEETING BEIJING, CHINA, 23 – 25 SEPTEMBER 2013 The views expressed in this Report should be taken as those of the Meeting and not the Organization Approved by the Meeting and published by the ICAO Asia and Pacific Office, Bangkok and ICAO European and North Atlantic Office, Paris Europe-Asia Trans-regional Special Coordination Meeting Table of Contents CONTENTS INTRODUCTION.................................................................................................................................... i Meeting .................................................................................................................................................... i Attendance ............................................................................................................................................... i Officer and Secretariat .............................................................................................................................. i Language and Documentation .................................................................................................................. i Opening of the Meeting ............................................................................................................................ i REPORT ON AGENDA ITEMS ............................................................................................................ 1 Agenda Item 1: Adoption of Provisional Agenda -
Homage to Piero Tosi (Costume Designer)
The Scenographer presents Homage to Piero Tosi (costume designer) When I arrive at the Gino Carlo Sensani costume department accompanied by a student of the National School of Cinema, it does not in the least surprise me that Tosi receives me whilst keeping his back to me, intent on making some adjustment to a student’s problematic sketch. He pronounces a rapid greeting then lets pass a perfect lapse of time, neither too extended nor too brief, before turning to face me. Thoroughbred of the stage and screen, director of himself and in part an incorrigible actor, with an acknowledged debt to Norma Desmond and to those who still know how to descend a staircase with an outstretched arm on the banister, prompting those in attendance to take off their hat. I have known Pierino for many years, less in person, more through the words and the verbal accounts of Fellini, which almost never coincided with those of Tosi, yet traced a portrait with indelible colours. There is also a vague suggestion of witchcraft, from the moment in which the man ceased to change, neither from within nor from without. No sign of ageing, of the passing of time, preserved in a bubble of glass. Immutable, this is how Pierino Tosi appears to me, though he has no need of these compliments, neither does he fish for them, with always a foot placed on that shadowy line beyond which it is so easy to vanish, to fade away. Our mutual long-term acquaintance with Fellini draws us inevitably back to that climate. -
Line Producer
0 INDEX Pag. 2 - DIRECTOR’S NOTE Pag. 4 - SINOPSYS Pag. 5 - TECNICAL DATA Pag. 6 - PRODUCTION PROFILE Pag. 7 - DIRECTOR Pag. 11 - SCREENWRITER Pag. 12 - CAST WISH LIST Pag. 15 - LOCATIONS Pag. 18 - SKETCHES GOLETTA AND PRAHO 1 DIRECTOR’S NOTE Many years have passed since the last Theatrical or Television production narrating the achievements of the most fascinating and exotic hero born from the imagination of a novelist and this is where our story starts, from the casual meeting between the young Emilio Salgari in a tavern at the port of Trieste and a mysterious sailor who will tell him a story, a story rich of adventure and courage, of battles and love : the story of the Tiger of Mompracem. The old sailor is Yanez De Gomera, a Portuguese pirate and Sandokan’s companion in many adventures. The idea to narrate Salgari’s character at the beginning and at the end of the story, will also give a hypothetical reading of a mystery that has always intrigued thousands of readers worldwide: how Emilio Salgari was able to describe so well and with such abundance of exciting details, lands and countries that in reality he had never seen, having never been able to travel if not with his imagination. Another innovation in comparison to the previous versions of Sandokan will be the story of the genesis of the character, the creation of its myth by the English themselves, that he will fight against for his whole life. In fact we will narrate Sandokan as a child, son of a Malayan Rajah who fights against the control of his country by the English and for this reason he is killed together with all his family by some hired assassins Dayakis paid by James Brooke the white rajah of Sarawak, a man without scruples at the service of the Crown. -
October 5, 2010 (XXI:6) Federico Fellini, 8½ (1963, 138 Min)
October 5, 2010 (XXI:6) Federico Fellini, 8½ (1963, 138 min) Directed by Federico Fellini Story by Federico Fellini & Ennio Flaiano Screenplay by Ennio Flaiano, Tullio Pinelli, Federico Fellini & Brunello Rondi Produced by Angelo Rizzoli Original Music by Nino Rota Cinematography by Gianni Di Venanzo Film Editing by Leo Cattozzo Production Design by Piero Gherardi Art Direction by Piero Gherardi Costume Design by Piero Gherardi and Leonor Fini Third assistant director…Lina Wertmüller Academy Awards for Best Foreign Picture, Costume Design Marcello Mastroianni...Guido Anselmi Claudia Cardinale...Claudia Anouk Aimée...Luisa Anselmi Sandra Milo...Carla Hazel Rogers...La negretta Rossella Falk...Rossella Gilda Dahlberg...La moglie del giornalista americano Barbara Steele...Gloria Morin Mario Tarchetti...L'ufficio di stampa di Claudia Madeleine Lebeau...Madeleine, l'attrice francese Mary Indovino...La telepata Caterina Boratto...La signora misteriosa Frazier Rippy...Il segretario laico Eddra Gale...La Saraghina Francesco Rigamonti...Un'amico di Luisa Guido Alberti...Pace, il produttore Giulio Paradisi...Un'amico Mario Conocchia...Conocchia, il direttore di produzione Marco Gemini...Guido da ragazzo Bruno Agostini...Bruno - il secundo segretario di produzione Giuditta Rissone...La madre di Guido Cesarino Miceli Picardi...Cesarino, l'ispettore di produzione Annibale Ninchi...Il padre di Guido Jean Rougeul...Carini, il critico cinematografico Nino Rota...Bit Part Mario Pisu...Mario Mezzabotta Yvonne Casadei...Jacqueline Bonbon FEDERICO FELLINI -
Sandokan: the Pirates of Malaysia
SANDOKAN The Pirates of Malaysia SANDOKAN The Pirates of Malaysia Emilio Salgari Translated by Nico Lorenzutti Sandokan: The Pirates of Malaysia By Emilio Salgari Original Title: I pirati della Malesia First published in Italian in 1896 Translated from the Italian by Nico Lorenzutti ROH Press First paperback edition Copyright © 2007 by Nico Lorenzutti All Rights Reserved No part of this book may be reproduced or transmitted in any form or by any means, graphic, electronic, or mechanical, including photocopying, recording, taping, or by any information storage retrieval system, without the written permission of the publisher. For information address: [email protected] Visit our website at www.rohpress.com Cover design: Nico Lorenzutti Special thanks to Felice Pozzo and Hanna Ahtonen for their invaluable advice. ISBN: 978-0-9782707-3-5 Printed in the United States of America Contents Part I: The Tiger of Malaysia Chapter 1: The Young India....................................................................1 Chapter 2: The Pirates of Malaysia .........................................................8 Chapter 3: The Tiger of Malaysia ..........................................................14 Chapter 4: Kammamuri’s Tale..............................................................21 Chapter 5: In pursuit of the Helgoland .................................................29 Chapter 6: From Mompracem to Sarawak ............................................36 Chapter 7: The Helgoland.....................................................................45 -
Film Appreciation Wednesdays 6-10Pm in the Carole L
Mike Traina, professor Petaluma office #674, (707) 778-3687 Hours: Tues 3-5pm, Wed 2-5pm [email protected] Additional days by appointment Media 10: Film Appreciation Wednesdays 6-10pm in the Carole L. Ellis Auditorium Course Syllabus, Spring 2017 READ THIS DOCUMENT CAREFULLY! Welcome to the Spring Cinema Series… a unique opportunity to learn about cinema in an interdisciplinary, cinematheque-style environment open to the general public! Throughout the term we will invite a variety of special guests to enrich your understanding of the films in the series. The films will be preceded by formal introductions and followed by public discussions. You are welcome and encouraged to bring guests throughout the term! This is not a traditional class, therefore it is important for you to review the course assignments and due dates carefully to ensure that you fulfill all the requirements to earn the grade you desire. We want the Cinema Series to be both entertaining and enlightening for students and community alike. Welcome to our college film club! COURSE DESCRIPTION This course will introduce students to one of the most powerful cultural and social communications media of our time: cinema. The successful student will become more aware of the complexity of film art, more sensitive to its nuances, textures, and rhythms, and more perceptive in “reading” its multilayered blend of image, sound, and motion. The films, texts, and classroom materials will cover a broad range of domestic, independent, and international cinema, making students aware of the culture, politics, and social history of the periods in which the films were produced. -
50Annidolcevita.Compressed.Pdf
1 Questo volume nasce dal convegno “Mezzo secolo da La dolce vita”, tenuto a Rimini, al Teatro degli Atti, nei giorni 14 e 15 novembre 2008 Cura editoriale Giuseppe Ricci Traduzioni in inglese Robin Ambrosi Progetto grafico Lorenzo Osti, Mattia Di Leva per D-sign Fotografie Pierluigi (© Reporters Associati / Cineteca di Bologna) © 2009 Edizioni Cineteca di Bologna via Riva di Reno 72 40122 Bologna www.cinetecadibologna.it © 2009 Fondazione Federico Fellini via Nigra 26 47923 Rimini www.federicofellini.it 2 MEZZO SECOLO DI DOLCE VITA a cura di Vittorio Boarini e Tullio Kezich Texts in English and Italian 3 4 INDICE Tullio Kezich Testimone oculare 13 Eyewitness 17 Sergio Zavoli La dolce vita compie cinquant’anni 21 La dolce vita celebrates fifty years 27 Gianfranco Mingozzi Sul set con Fellini 33 On set with Fellini 41 Gianni Rondolino La dolce vita e il cinema degli anni sessanta 49 La dolce vita and the cinema of the sixties 57 Francesco Lombardi Il paesaggio sonoro della Dolce vita e le sue molteplici colonne sonore 65 The sound landscape of La dolce vita and its multiple soundtracks 71 John Francis Lane Fellini e il doppiaggio. L’amara fatica di doppiare in inglese La dolce vita 77 Fellini and dubbing. The bitter struggle to dub La dolce vita in English 83 Irene Bignardi La moda e il costume 89 Fashion and customs 93 Virgilio Fantuzzi L’atteggiamento della Chiesa nei confronti della Dolce vita 97 The Church’s position on La dolce vita 103 5 Maurizio Giammusso Il teatro negli anni della Dolce vita 109 Theatre during the Dolce vita years 113 Gino Zucchini Fellini “psicoanalista”? 117 Fellini a “psychoanalyst”? 123 Fabio Rossi La partitura acustica della Dolce vita.