Spaghetti Westerns

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Spaghetti Westerns - Week 2 Week 6 Week 10 Fall 2019 September 16 October 14 November 11 The Classic Western Thanksgiving Holiday The (Stylized) Italian Western and Professor: Yuri M. Sangalli September 18 October 16 (Genre) History November 13 ☎: 661.2111 ext-87390 (UC 4313) Yojimbo – Akira Kurosawa, 1961 Run Man, Run (Corri uomo corri) – Sergio Sollima, 1968 The Wild Bunch – Sam Peckinpah, ✉: Please use OWL for all course Week 3 1969 correspondence September 23 Week 11 Marking scheme: The Samurai Film and the Peplum November 18 Test - two hours, in class 15% Adventure Film After the Italian Western: The Group presentation + report September 25 Professional Plot (written/web-based) 15% Django – Sergio Corbucci, 1966 November 20 Essay - 2200 words max. 25% Django Unchained – Quentin Final exam – three hours 30% Week 4 Tarantino, 2012 Class participation and September 30 attendance* 15% Week 12 The Servant of 2 Masters Plot November 25 *attendance taken at each October 2 Quentin Tarantino’s “Southern screening and class The Good, the Bad and the Ugly (Il Western” buono, il brutto e il cattivo) – Sergio November 27 Group presentations Students are expected to view Leone, 1966 Week 7 films and complete readings October 21 before coming to class. Week 13 The Zapata Spaghetti Plot December 2 October 23* Group presentations Vengeance Plots and Urban December 4 Vigilantes: the Poliziesco Group presentations Revolver – Sergio Sollima, 1973 Friday December 6 Essay due Week 8 Week 5 October 28 October 7 Test (2 hours) The Transitional Plot October 30 October 9* Once Upon a Time in the West (C’era Week 1 The Meta Spaghetti Western: una volta il West) – S. Leone, 1968 September 9 Genre Parody - My Name Is Nobody Course Intro: Identifying Genres (Il mio nome è nessuno) – Tonino Week 9 September 11 Valerii, 1973 November 4-10 Reading Week Shane – George Stevens, 1958 .

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Spaghetti Westerns - Week 1 – January 5 Week 6 – February 8 Winter 2017 Course Intro: Identifying The Zapata Spaghetti Plot Genres Run Man, Run (Corri uomo corri) – Professor: Yuri M. Sangalli Sergio Sollima, 1968 Week 2 – January 11 ☎: 661.2111 ext. 86039 The Classic Western Week 7 – February 15 ✉: Please use OWL for all course Shane – George Stevens, 1958 The (Stylized) Italian Western correspondence and (Genre) History Once Upon a Time in the West (C’era Marking scheme: una volta il West) – S. Leone, 1968 Test - two hours, in class 15% Group presentation + report February 20-24 Reading Week (written/web-based) 15% Essay - 2500 words max. 25% Final exam – three hours 30% Class participation and attendance* 15% Week 9 – March 8 *attendance taken at each After the Italian Western: The screening and class Professional Plot The Wild Bunch – Sam Peckinpah, Students are expected to view 1969 films and complete readings Week 10 – March 15 before coming to class. Vengeance Plots and Urban Week 3 – January 18 Vigilantes: the Poliziesco The Samurai Film and the Revolver – Sergio Sollima, 1973 Peplum Adventure Film Yojimbo – Akira Kurosawa, 1961 Week 11 – March 22 Quentin Tarantino’s “Southern Week 4 – January 25 Western” The Servant of 2 Masters Plot Week 8 – March 1 Django Unchained – Quentin Django – Sergio Corbucci, 1966 The Meta Spaghetti Western: Tarantino, 2012 Genre Parody Week 12 – March 29 Week 5 – February 1 My Name Is Nobody (Il mio nome è Group presentations The Transitional Plot nessuno) – Tonino Valerii, 1973 The Good, the Bad and the Ugly (Il Week 13 – April 5 buono, il brutto e il cattivo) – Sergio March 2 – Test (2 hours) Group presentations Leone, 1966 Friday April 7 - Essay due .
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Quentin Tarantino Retro
ISSUE 59 AFI SILVER THEATRE AND CULTURAL CENTER FEBRUARY 1– APRIL 18, 2013 ISSUE 60 Reel Estate: The American Home on Film Loretta Young Centennial Environmental Film Festival in the Nation's Capital New African Films Festival Korean Film Festival DC Mr. & Mrs. Hitchcock Screen Valentines: Great Movie Romances Howard Hawks, Part 1 QUENTIN TARANTINO RETRO The Roots of Django AFI.com/Silver Contents Howard Hawks, Part 1 Howard Hawks, Part 1 ..............................2 February 1—April 18 Screen Valentines: Great Movie Romances ...5 Howard Hawks was one of Hollywood’s most consistently entertaining directors, and one of Quentin Tarantino Retro .............................6 the most versatile, directing exemplary comedies, melodramas, war pictures, gangster films, The Roots of Django ...................................7 films noir, Westerns, sci-fi thrillers and musicals, with several being landmark films in their genre. Reel Estate: The American Home on Film .....8 Korean Film Festival DC ............................9 Hawks never won an Oscar—in fact, he was nominated only once, as Best Director for 1941’s SERGEANT YORK (both he and Orson Welles lost to John Ford that year)—but his Mr. and Mrs. Hitchcock ..........................10 critical stature grew over the 1960s and '70s, even as his career was winding down, and in 1975 the Academy awarded him an honorary Oscar, declaring Hawks “a giant of the Environmental Film Festival ....................11 American cinema whose pictures, taken as a whole, represent one of the most consistent, Loretta Young Centennial .......................12 vivid and varied bodies of work in world cinema.” Howard Hawks, Part 2 continues in April. Special Engagements ....................13, 14 Courtesy of Everett Collection Calendar ...............................................15 “I consider Howard Hawks to be the greatest American director.
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Bodies of Desire and Bodies in Distress
Bodies of Desire and Bodies in Distress Bodies of Desire and Bodies in Distress: The Golden Age of Italian Cult Cinema 1970-1985 By Xavier Mendik Bodies of Desire and Bodies in Distress: The Golden Age of Italian Cult Cinema 1970-1985, By Xavier Mendik This book first published 2015 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2015 by Xavier Mendik All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-5954-0, ISBN (13): 978-1-4438-5954-7 This book is dedicated with much love to Caroline and Zena CONTENTS Acknowledgements .................................................................................... ix Foreword ................................................................................................... xii Enzo G. Castellari Introduction ................................................................................................ 1 Bodies of Desire and Bodies of Distress beyond the ‘Argento Effect’ Chapter One .............................................................................................. 21 “There is Something Wrong with that Scene”: The Return of the Repressed in 1970s Giallo Cinema Chapter Two ............................................................................................
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Westerns…All'italiana
Issue #70 Featuring: TURN I’ll KILL YOU, THE FAR SIDE OF JERICHO, Spaghetti Western Poster Art, Spaghetti Western Film Locations in the U.S.A., Tim Lucas interview, DVD reviews WAI! #70 The Swingin’ Doors Welcome to another on-line edition of Westerns…All’Italiana! kicking off 2008. Several things are happening for the fanzine. We have found a host or I should say two hosts for the zine. Jamie Edwards and his Drive-In Connection are hosting the zine for most of our U.S. readers (www.thedriveinconnection.com) and Sebastian Haselbeck is hosting it at his Spaghetti Westerns Database for the European readers (www.spaghetti- western.net). Our own Kim August is working on a new website (here’s her current blog site http://gunsmudblood.blogspot.com/ ) that will archive all editions of the zine starting with issue #1. This of course will take quite a while to complete with Kim still in college. Thankfully she’s very young as she’ll be working on this project until her retirement 60 years from now. Anyway you can visit these sites and read or download your copy of the fanzine whenever you feel the urge. Several new DVD and CD releases have been issued since the last edition of WAI! and co-editor Lee Broughton has covered the DVDs as always. The CDs will be featured on the last page of each issue so you will be made aware of what is available. We have completed several interviews of interest in recent months. One with author Tim Lucas, who has just recently released his huge volume on Mario Bava, appears in this issue.
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Two Scoops of Django: Best Practices for Django 1.5 First Edition, Final Version, 20130411 by Daniel Greenfeld and Audrey Roy
Two Scoops of Django Best Practices For Django 1.5 Daniel Greenfeld Audrey Roy Two Scoops of Django: Best Practices for Django 1.5 First Edition, Final Version, 20130411 by Daniel Greenfeld and Audrey Roy Copyright ⃝c 2013 Daniel Greenfeld, Audrey Roy, and Cartwheel Web. All rights reserved. is book may not be reproduced in any form, in whole or in part, without written permission from the authors, except in the case of brief quotations embodied in articles or reviews. Limit of Liability and Disclaimer of Warranty: e authors have used their best eﬀorts in preparing this book, and the information provided herein “as is.” e information provided is sold without warranty, either express or implied. Neither the authors nor Cartwheel Web will be held liable for any damages to be caused either directly or indirectly by the contents of this book. Trademarks: Rather than indicating every occurence of a trademarked name as such, this book uses the names only in an editorial fashion and to the benet of the trademark owner with no intention of infringement of the trademark. First printing, January 2013 For more information, visit https://django.2scoops.org. For Malcolm Tredinnick 1971-2013 We miss you. iii Contents List of Figures xv List of Tables xvii Authors’ Notes xix A Few Words From Daniel Greenfeld . xix A Few Words From Audrey Roy . xx Introduction xxi A Word About Our Recommendations . xxi Why Two Scoops of Django? . xxii Before You Begin . xxiii is book is intended for Django 1.5 and Python 2.7.x . xxiii Each Chapter Stands On Its Own .
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Introduction
Introduction Austin Fisher n many ways, the remit of this book revolves around an obvious Iproposition. The Spaghetti Western, as a transatlantic meeting place, is of necessity a cinematic category to be considered in international contexts, the hundreds of fi lms which the category comprises docu- menting shifts in Italy’s cultural outlook, as the reference points of American popular culture became ever more visible in the post-war years. Yet an Italo-American focus tells only a fraction of a story in which myriad strands of infl uence converged within, and continue to emanate from, this amorphous group of fi lms. Spaghetti Western is a classifi cation constantly in transit between cultures, genres and conceptions of taste, and its patterns of production, distribution and consumption display diverse acts of ‘border crossing’ and translation. By appraising a broad selection of fi lms – from the internationally famed works of Sergio Leone to the cult cachet of Sergio Corbucci and the more obscure outputs of such directors as Giuseppe Colizzi and Ferdinando Baldi – this volume seeks to reconsider the cultural signifi - cance of the Italian Western, its position within global cinema and its continuing trends of reception and appropriation around the globe. Scholarly volumes are always at pains to stress their timeliness in rela- tion to trends within their broader disciplines, and in this respect this one is no different. What Mette Hjort has termed Film Studies’ ‘transnational turn’ (2010: 13) highlights a desire to understand the ways in which cinema has offered a means to document the movement of peoples and identities across perceived cultural and spatial boundaries.
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Le Vautour Et La Proie Un Livre De Jean-François Giré
Le Vautour et la Proie un livre de Jean-François Giré Le Vautour et la proie un livre de Jean-François Giré Sergio Sollima sur le tournage de Le Corsaire noir. Et vint le western italien ! Sergio Leone est le premier à avoir ouvert, en 1964, le bal du western italien en imposant, non par la force, mais par un coup de génie et beaucoup de culot (mais pas trop de préméditation tout de même), les codes d’un nouveau genre alliant modernité et culture populaire, réalisant au passage une révolution des principes narratifs du western classique, bousculant sa morale, triturant l’espace et le temps, jusqu’au « maniérisme » souligneront ses détracteurs. Au risque de passer pour un laudateur invétéré, nous préférons le terme plus juste de stylisation, car Leone, qu’on le veuille ou non, était un grand styliste. L’un des plus grands, et pan, c’est dit ! Le réalisateur romain réfutait l’étiquette péjorative « western-spaghetti », formule à la fois méprisante et commode. Au final, avec le temps, l’expression est devenue synonyme de qualité. Pour preuve, aujourd’hui, Django Unchained de Quentin Tarantino, dont tout le monde ou presque salue l’exemplaire réussite, est présenté à la fois par son auteur et la presse comme un western spaghetti, du moins inspiré du chef- d’œuvre original de Sergio Corbucci, Django, le vrai, l’unique, l’authentique. Quant à ce pauvre western all’italiana, le vrai, l’authentique, tout a été dit sur lui, le pire comme le meilleur, suscitant débats et polémiques. D’un côté, laudateurs, de l’autre, détracteurs, tous animés par la passion ou une haine farouche, se sont envoyés par revues et articles interposés de cinglants échanges à son sujet.
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Bio.Babu Subramaniam.5.22
Lakshmi Films 816 South Genesee Avenue, Los Angeles, CA 90036 Phone: (213) 509-0468; Fax: (323) 933-1435 email: [email protected] Babu (T.R.) Subramaniam BIOGRAPHY Family Babu Subramaniam, has been married to his wife, Sylvia, for over thirty years, and has two daughters - Natasha, having finished her Master’s program in Film from Cal Arts, Leela, completing her graduate studies in Voice/Opera at the Manhattan School Of Music this summer and a Son - Tagore, who has recently graduated from Boston University Law School and now a practicing lawyer in Los Angeles, CA. Education Babu graduated from S.I.E.S. College in Bombay, India; advanced his studies in film at The New School in New York City. Film Career After finishing graduate school, Babu supported himself by working as a Production Assistant, Script Supervisor and Assistant Director in the Bombay film industry. His early initiation was on 8mm films working with his teenage writer/director/actor friend, Hyder Ali. He subsequently worked under one of India's leading filmmakers, Producer/Director, Mahesh Bhatt, on over six theatrical features films. One of these films, "The Two Shades Of Blood” (“lahu ke do rang,") produced by the late Shankar BC and Gul Anand took him to Hong Kong In the mid seventies, Babu went on to work for Rizzoli Films, Italy, with one of India's leading international star, Kabir Bedi, on films such as "Sandokan," filmed in Malaysia, and "The Black Pirate," shot on locations in Colombia, South America. He subsequently headed to New York City for advance film studies.
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The South According to Quentin Tarantino
University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 2015 The South According To Quentin Tarantino Michael Henley University of Mississippi Follow this and additional works at: https://egrove.olemiss.edu/etd Part of the American Studies Commons Recommended Citation Henley, Michael, "The South According To Quentin Tarantino" (2015). Electronic Theses and Dissertations. 887. https://egrove.olemiss.edu/etd/887 This Thesis is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. THE SOUTH ACCORDING TO QUENTIN TARANTINO A Thesis presented in partial fulfillment of requirements for the degree of Master of Arts in the Department of the Center for the Study of Southern Culture The University of Mississippi by MICHAEL LEE HENLEY August 2015 Copyright Michael Lee Henley 2015 ALL RIGHTS RESERVED ABSTRACT This thesis explores the filmmaker Quentin Tarantino’s portrayal of the South and southerners in his films Pulp Fiction (1994), Death Proof (2007), and Django Unchained (2012). In order to do so, it explores and explains Tarantino’s mixture of genres, influences, and filmmaking styles in which he places the South and its inhabitants into current trends in southern studies which aim to examine the South as a place that is defined by cultural reproductions, lacking authenticity, and cultural distinctiveness. Like Godard before him, Tarantino’s movies are commentaries on film history itself. In short, Tarantino’s films actively reimagine the South and southerners in a way that is not nostalgic for a “southern way of life,” nor meant to exploit lower class whites.
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Genre, Justice & Quentin Tarantino
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 11-6-2015 Genre, Justice & Quentin Tarantino Eric Michael Blake University of South Florida, [email protected] Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the Film and Media Studies Commons, and the Theory and Criticism Commons Scholar Commons Citation Blake, Eric Michael, "Genre, Justice & Quentin Tarantino" (2015). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/5911 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Genre, Justice, & Quentin Tarantino by Eric M. Blake A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Department of Humanities and Cultural Studies With a concentration in Film Studies College of Arts & Sciences University of South Florida Major Professor: Andrew Berish, Ph.D. Amy Rust, Ph.D. Daniel Belgrad, Ph.D. Date of Approval: October 23, 2015 Keywords: Cinema, Film, Film Studies, Realism, Postmodernism, Crime Film Copyright © 2015, Eric M. Blake TABLE OF CONTENTS Abstract ................................................................................................................................. ii Introduction ..................................................................................................................................1
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The University of Bradford Institutional Repository
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Bradford Scholars The University of Bradford Institutional Repository http://bradscholars.brad.ac.uk This work is made available online in accordance with publisher policies. Please refer to the repository record for this item and our Policy Document available from the repository home page for further information. To see the final version of this work please visit the publisher’s website. Access to the published online version may require a subscription. Citation: Goodall M (2016) Spaghetti savages: cinematic perversions of 'Django Kill'. In: Broughton L (Ed.) Critical perspectives on the Western: from A Fistful of Dollars to Django Unchained. Maryland: Rowman & Littlefield. 199-212. Copyright statement: © 2016. Rowman & Littlefield. All rights reserved. Reproduced in accordance with the publisher's self-archiving policy. ‘Spaghetti Savages’: the cinematic perversions of Django Kill Mark Goodall Introduction: the ‘Savage Western’ …The world of the Italian western is that of an insecure environment of grotesqueness, abounding in almost surrealistic dimensions, in which violence reigns1 The truth in stories always generates fear2 It is widely accepted that the ‘Spaghetti Western’, one of the most vivid genres in cinematic history, began with Sergio Leone’s 1964 film Per un pugno di dollari/A Fistful of Dollars. Although A Fistful of Dollars was not the first Italian Western per se, it was the first to present a set of individual and distinctive traits for which Latino versions of the myths of the West would subsequently become known. In short, Leone’s much imitated film served to introduce a sense of ‘separate generic identity’3 to the Italian Western The blank, amoral character of ‘The Man With No Name’, played by the American television actor Clint Eastwood, was something of a surprise initially but his cool manner under extreme provocation from all sides was an engaging and powerful attribute.
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Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room.
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