Le Quattro Giornate Di Napoli" Rosa Maria Celeste Pace University
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The Rough Guide to Naples & the Amalfi Coast
HEK=> =K?:;I J>;HEK=>=K?:;je CVeaZh i]Z6bVaÒ8dVhi D7FB;IJ>;7C7B<?9E7IJ 7ZcZkZcid BdcYgV\dcZ 8{ejV HVc<^dg\^d 8VhZgiV HVciÉ6\ViV YZaHVcc^d YZ^<di^ HVciVBVg^V 8{ejVKiZgZ 8VhiZaKdaijgcd 8VhVaY^ Eg^cX^eZ 6g^Zcod / AV\dY^EVig^V BVg^\a^Vcd 6kZaa^cd 9WfeZ_Y^_de CdaV 8jbV CVeaZh AV\dY^;jhVgd Edoojda^ BiKZhjk^jh BZgXVidHVcHZkZg^cd EgX^YV :gXdaVcd Fecf[__ >hX]^V EdbeZ^ >hX]^V IdggZ6ccjco^ViV 8VhiZaaVbbVgZY^HiVW^V 7Vnd[CVeaZh GVkZaad HdggZcid Edh^iVcd HVaZgcd 6bVa[^ 8{eg^ <ja[d[HVaZgcd 6cVX{eg^ 8{eg^ CVeaZh I]Z8Vbe^;aZ\gZ^ Hdji]d[CVeaZh I]Z6bVa[^8dVhi I]Z^haVcYh LN Cdgi]d[CVeaZh FW[ijkc About this book Rough Guides are designed to be good to read and easy to use. The book is divided into the following sections, and you should be able to find whatever you need in one of them. The introductory colour section is designed to give you a feel for Naples and the Amalfi Coast, suggesting when to go and what not to miss, and includes a full list of contents. Then comes basics, for pre-departure information and other practicalities. The guide chapters cover the region in depth, each starting with a highlights panel, introduction and a map to help you plan your route. Contexts fills you in on history, books and film while individual colour sections introduce Neapolitan cuisine and performance. Language gives you an extensive menu reader and enough Italian to get by. 9 781843 537144 ISBN 978-1-84353-714-4 The book concludes with all the small print, including details of how to send in updates and corrections, and a comprehensive index. -
ME,YOUBY BILLE AUGUST a Film Based on the Novel “Tu, Mio” by ERRI DE LUCA SYNOPSIS
ME,YOUBY BILLE AUGUST A Film based On The Novel “Tu, Mio” by ERRI DE LUCA SYNOPSIS Ischia, 1955. In the waters of the island in the bay of Naples, Marco (16) Caia is Jewish. Marco does not have these prejudices, on the contrary, spends his days sailing with Nicola (52), a hardened fisherman who tells this discovery pushes him to delve into the girl’s life even more. A stories about the sea and the war, that is still very fresh in his memory. beautiful complicity is established between the two in which Caia reveals Marco is different from the other boys, he prefers spending his time her painful past, with a childhood stolen by the SS and a father who in the company of the hermetic Nicola rather than going to the beach, preferred to throw his daughter out of a train in Yugoslavia, rather having courting girls or bathing in the ocean like his peers. Shy and curious, he her to experience the horrors of a concentration camp. takes advantage of his holidays on the Italian island to fill his eyes with Marco’s gestures remind Caia of her father: his protective attitudes, the images of a world that is so distant from his native London or from the way he kisses her on the forehead, the sound of his voice when he the gloomy boarding school in Scotland where his family sheltered Marco pronounces her name in Romanian, Chaiele. Next to him she feels the to protect him from the bombings. presence of her father, even though Marco is just a slender boy 4 years On vacation with his parents at his maternal uncle’s house, he will live younger than her. -
Onlus 10Anni
Report on 10 years of activity anni onlus 10 2009 > 2019 INDEX 1. Introduction .........................................pag. 6 2. Maurizio Valenzi .................................................pag. 9 3. Places of the Foundation ...................... pag. 15 THE OFFICES .........................................................pag. 15 THE ARCHIVE .......................................................pag. 15 ART COLLECTION .................................................pag. 16 4. Activities ........................................... pag. 19 FOR MEMORY .......................................................pag. 21 FOR EDUCatION ..................................................pag. 24 FOR ART ................................................................pag. 26 FOR THE SOCIAL ..................................................pag. 30 FOR DEVELOPMENT ............................................pag. 33 5. Our next 10 years ............................... pag. 36 APPENDIX GOVERNANCE AND CONtaCTS .........................pag. 39 HONORARY COMMITTEE ....................................pag. 40 STEERING COMMITTEE .......................................pag. 40 SCIENTIFIC COMMITTEE .....................................pag. 40 BIBLIOGRAPHY ON MAURIZIO VaLENZI ..........pag. 41 PUBLICatIONS .....................................................pag. 42 AGREEMENTS AND PaRTNERSHIPS..................pag. 43 TO SUPPORT THE FOUNDatION ........................pag. 44 THE NUMBERS OF THE FOUNDatION ..............pag. 45 THE FOUNDatION ON SOCIAL MEDIA ..............pag. -
(Dis)Figuring White Template Vision Through Passione Stefania Capogreco
(Dis)figuring white template vision through Passione Stefania Capogreco To cite this version: Stefania Capogreco. (Dis)figuring white template vision through Passione. Muiraquitã, Nepan Edi- tora, 2017, South-Verting Italian Studies, 5 (2). hprints-03049743 HAL Id: hprints-03049743 https://hal-hprints.archives-ouvertes.fr/hprints-03049743 Submitted on 10 Dec 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. (DIS)FIGURING WHITE TEMPLATE VISION THROUGH PASSIONE: UN’AVVENTURA MUSICALE Stefania Capogreco Macquarie University Introduction This paper suggests that north-normative thought in Italian Studies must be disrupted by recovering the various Souths haunting and inhabiting white template vision. I propose to usefully disrupt north-normative colonial cartographies of vision by disclosing the “fleshy folds” of John Turturro’s complex audio-visual work Passione: Un’Avventura Musicale (2010). Passione is a documentary film which draws on, as it narrates the story of, a broad assemblage of Neapolitan music and theatricalities. Neapolitan music is often conflated with Italian traditional song or confined to the realm of regional music, in both popular interpretations and scholarly analyses (PLASTINO, 2007). This widespread conflation of Neapolitan and Italian traditional song, resulted in the porous Neapolitan voice (always allowing itself to be interpenetrated by an indeterminate other; PLASTINO, 2007) and its embodied performance manifestations (PLASTINO & SCIORRA, 2016) being largely overlooked. -
Paolo Sorrentino
Pyramide, le Studio Canal and Babe Films present Domenico Procacci and Nicola Giuliano present TTHHEE FFAAMMIILLYY FFRRIIEENNDD a Paolo Sorrentino film An Italo-French co-production Fandango and Indigo Film with Medusa Film In co-production with Babe Films and Studio Canal In Collaboration with CANAL + running time: 1h50 FrenchDistribution: Pyramide 5 rue du Chevalier de Saint-George, 75008 Paris Tel: (33) 1 42 96 01 01 – Fax: (33) 1 40 20 02 21 – www.pyramidefilms.com In Cannes: 6 la Croisette, 06400 Cannes (3rd floor) Tel/Fax: (33) 4 92 59 32 01 – [email protected] World Sales : Wild Bunch 99 RUE DE LA VERRERIE 75004 PARIS France tel +33 1 53 01 50 30 fax +33 1 53 01 50 49 email [email protected] www.wildbunch.biz Wild Bunch Cannes office : 23 rue Macé , 4th floor Phone: +33 4 93 99 31 68 Fax: +33 4 93 99 64 77 VINCENT MARAVAL, cell +33 6 11 91 23 93 [email protected] GAEL NOUAILLE,cell +33 6 21 23 04 72 [email protected] CAROLE BARATON, cell +33 6 20 36 77 72 [email protected] SILVIA SIMONUTTI, cell +33 6 20 74 95 08 [email protected] INTERNATIONAL PRESS LE PUBLIC SYSTEME CINEMA Alexis Delage-Toriel Tel: 33 6 80 21 49 88 - [email protected] IN PARIS IN CANNES 40 rue Anatole France – 92594 Levallois Perret 13, rue d’Antibes – 06400 Cannes - top floor Direct lines: 01 41 34 20 32 / 2201 Fax: 01 41 34 20 Direct lines: 04 93 68 62 70/ 04 93 68 62 18 Directfax: 04 93 68 61 95 Stills from the film can be downloaded from: www.lepublicsystemecinema.com CREDITS NON CONTRACTUELS -
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. -
Elenco Titoli Videoteca (N. 306 Dvd)
CONSOLATO D'ITALIA DETROIT - STATI UNITI: ELENCO TITOLI VIDEOTECA (N. 306 DVD) LIBERATORIE LUCKY TITOLO REGIA RED/QUADRO FILM/DGPC II-RAI 8 1/2 Federico Fellini A ruota libera Vincenzo Salemme Accadde al commissariato Giorgio Simonelli Agata e la tempesta Silvio Soldini Al di là delle nuvole Michelangelo Antonioni, Wim Wenders Almost blue Alex Infascelli Amore è eterno finché dura (L') Carlo Verdone Amore molesto (L') Mario Martone LUCKY RED Anima gemella (L') Sergio Rubini Arcobaleno 1 Arcobaleno 2 Arcobaleno 3 Arcobaleno 4 Arcobaleno 5 Arcobaleno 6 Armata Brancaleone (L') Mario Monicelli Audace colpo dei soliti ignoti (L') Nanni Loy Avventura (L') Michelangelo Antonioni Baci e Abbracci Paolo Virzì Ballo a tre passi Salvatore Mereu LUCKY RED Brancaleone alle crociate Mario Monicelli Camerieri Leone Pompucci Camorrista (Il) Giuseppe Tornatore Canone Inverso Ricky Tognazzi Caravaggio Derek Jarman Cari fottutissimi amici Mario Monicelli Caso Moro (Il) Giuseppe Ferrara Cento passi (I) Marco Tullio Giordana CONSOLATO D'ITALIA DETROIT - STATI UNITI: ELENCO TITOLI VIDEOTECA (N. 306 DVD) C'era un cinese in coma Carlo Verdone Certi bambini Andrea e Antonio Frazzi Che fine ha fatto Totò baby? Ottavio Alessi Che ora è Ettore Scola Chi si ferma è perduto Sergio Corbucci Chiedo asilo nido Andrea Bruno Savelli Ciociara (La) Vittorio De Sica Cofanetto "Autori Italiani" (3 DVD): Il partigiano Johnny Guido Chiesa Cofanetto "Autori Italiani" (3 DVD): L'imbalsamatore Matteo Garrone Cofanetto "Autori Italiani" (3 DVD): Nemmeno il destino Daniele Gaglianone -
Depliant Stampa Ingl
Matera, Murgia Timone The Passion of the Christ Mel Gibson Photo credits Concept Cover, Philippe Antonello Mariateresa Cascino www.mtcom.info p. 1 - Domenico Notarangelo APT BASILICATA REGIONE BASILICATA UNIONE EUROPEA Archivio Blu Video AZIENDA DI PROMOZIONE TURISTICA p. 2 - Francesco Foschino Graphic design DI BASILICATA Sassi Web Antonio Andrisani p. 3 - Philippe Antonello www.antonioandrisani.com p. 5 - Tonino Capena p. 6 - Domenico Notarangelo Printing Archivio Blu Video Antezza Tipografi p. 7 - Archivio APT Matera P. 9 - Philippe Antonello P. 11 - Archivio APT Translation PP. 12-13 - Philippe Antonello Elizabeth Jennings Inside Cover, Blu Video APT BASILICATA AZIENDA DI PROMOZIONE TURISTICA DI BASILICATA BASILI via del Gallitello, 89 via Spine Bianche, 22 85100 Potenza 75100 Matera Tel. 0971 507611 - Fax 0971 507600 Tel. 0835 331817 - Fax 0835 345402 CATA A FILM [email protected] [email protected] www.aptbasilicata.it www.basilicata.travel SET APT BASILICATA AZIENDA DI PROMOZIONE TURISTICA DI BASILICATA BASILI CATA A FILM SET FERRANDINA MATERA MOVIES FILMED IN 1998 DEL PERDUTO AMORE Michele Placido 2007 LO STALLO Silvia Ferreri (Coming soon) CRACO 2006 THE NATIVITY STORY Catherine Hardwicke BASILICATA THE OMEN John Moore 2006 THE NATIVITY STORY Catherine Hardwicke 2005 IL RABDOMANTE Fabrizio Cattani 2004 TERRA BRUCIATA Fabio Segatori 2004 THE PASSION OF THE CHRIST Mel Gibson THE PASSION OF THE CHRIST Mel Gibson 1995 THE STAR MAKER Giuseppe Tornatore 1979 CHRIST STOPPED AT EBOLI Francesco Rosi 1990 IL SOLE ANCHE DI NOTTE -
Cinema in Basilicata: Impatti Su Economia E Turismo
Le produzioni cinematografiche determinano un impatto economico considerevole nei luoghi in cui i film vengono girati, a cui si aggiunge la possibilità di diventare strumenti di promozione territoriale, attraverso la distribuzione nelle sale e in tv, incrementando i flussi turistici. Con il termine film-induced tourism o cineturismo, infatti, si indica il fenomeno di visita delle destinazioni utilizzate come location dei film. Dal 2011 la Fondazione Eni Enrico Mattei ha realizzato una serie di studi sull’impatto economico e turistico del cinema in Basilicata che trovano in questo volume una sistematizzazione complessiva. Tale pubblicazione vuol offrire una ricognizione generale sul tema e l’analisi specifica in Basilicata di alcuni casi studio di cineturismo, del ruolo dell’immagine cinematografica nella costruzione della destination image e delle ricadute in termini economici e occupazionali dei recenti film prodotti in regione. Infine, viene presentata la realizzazione di percorsi cinematografici, a cui FEEM Percorsi FEEM ha collaborato attivamente, all’interno di un progetto nazionale per la costruzione di itinerari culturali del Sud: “Basilicata Movie Tourism”. Cinema in Basilicata: impatti su economia e turismo A cura di Delio Colangelo 2/2018 Cinema in Basilicata: impatti su economia e turismo Fondata nel 1989, la Fondazione Eni Enrico Mattei (FEEM) è un centro di ricerca internazionale, no profit, orientato alla policy e un think tank che produce ricerca di alta qualità, innovativa, interdisciplinare e scientificamente rigorosa nell’ambito dello sviluppo sostenibile. La Fondazione contribuisce alla qualità del processo decisionale nelle sfere del pubblico e del privato attraverso studi analitici, consulenza alla policy, divulgazione scientifica e formazione di alto livello. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Misery is the True Script for Comedy: A Study of Italian Film Comedy in the 1950s Permalink https://escholarship.org/uc/item/52s6f970 Author White, Christopher Burton Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California 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. -
Socio-Economic Critique, Cognitive Engagement and Gender Roles in Carlo Lizzani’S La Celestina P
Socio-economic critique, cognitive engagement and gender roles in Carlo Lizzani’s La Celestina P.. R..1 Marco Paoli Carlo Lizzani (1922-2013) was one of Italy’s most prolific film directors but he has rarely attracted the degree of critical attention that has been afforded to his contemporaries. However, Lizzani’s films are fascinating visual documents of the stylistic influences absorbed by Italian cinema in the post-war period, and they contain unorthodox and sometimes controversial social critiques which merit greater critical attention as various recent publications on the diverse cinematic oeuvre of the director demonstrates.2 Most notably, Lizzani’s films provide a range of portrayals of the evolving criminal scene in the post-war period, depictions which are closely connected to different manifestations of Italian cinematic genres or filoni.3 In particular, his comedies including Il carabiniere a cavallo (1961), La vita agra (1964), La Celestina P.. R.. (1964) and L’autostrada del sole, Lizzani’s episode in Thrilling (1965), reflect Italian style comedy’s capacity to draw attention to topical subjects and to the most recent social transformations by exploring the implications of emerging forms of criminality and gendered tensions in the early-mid 1960s and by engaging viewers from an emotional and intellectual perspective.4 This article discusses the director’s capacity to exploit the potential of comedy at the peak of the 1960s to elaborate a detailed portrayal of contemporary Italy and, at the same time, to highlight the contradictions and deleterious effects of the changing nature of society as a consequence of the economic miracle. -
Appunti Per Un Progetto Di Ricerca Sul Cinema in Sardegna
Appunti per un progetto di ricerca sul cinema in Sardegna A chi parte a chi arriva a chi ritorna1 1 Da Tutto torna (Enrico Pitzianti, Italia, 2008). “La Sardegna non fa una lira” Nanni Loy All'attuale momento lo stato di salute del cinema italiano non è facilmente comprensibile. A parte lo profonda crisi finanziaria del Paese, di cui è inutile occuparsi in questa sede, la produzione di nuove pellicole si divincola tra uscite di nomi già affermati e fin troppo sponsorizzati, e una proliferazione di titoli di giovani filmakers, aiutati dalla facile accessibilità delle nuove tecnologie, prodotti che però rimangono incastrati tra l'immensità dell'archivio della Rete e una distribuzione fisica ormai inesistente. In questo panorama, è difficile individuare nuove tendenze del cinema contemporaneo italiano, tra i suoi perpetui riferimenti, citazioni e ciechi “occhiolini” ai grandi del Neorealismo e al solito Fellini (Sorrentino), le commedie urlate senza voce (Muccino) e opere prime che rimangono esercizi di stile e prive di profondità2. Restano ancora originali invece le vecchie firme provenienti dagli anni Settanta e Ottanta (Moretti, Bertolucci). Se da una parte vige ancora una produzione romanocentrista, dall'altra o si cerca di internazionalizzare e quindi disitalianizzare il testo filmico oppure, all'opposto, di estremizzare caricaturalmente l'appartenenza regionale e locale. Tra questi ultimi casi di film dalla forte identità territoriale, da qualche anno abbiamo assistito a una sorta di rinascita del cinema sardo, una “Nouvelle Vague”, come definita da molti, che ha riportato all'attenzione una storia audio-visiva travagliata, povera ma sempre solidissima, sofferta nelle sue tematiche, soprattutto dallo stesso popolo sardo.