DOCSLIB.ORG

Sergio Leone: Once Upon a Time in Italy Pdf, Epub, Ebook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sergio Leone: Once Upon a Time in Italy Pdf, Epub, Ebook SERGIO LEONE: ONCE UPON A TIME IN ITALY PDF, EPUB, EBOOK Christopher Frayling | 240 pages | 21 Apr 2008 | Thames & Hudson Ltd | 9780500287439 | English | London, United Kingdom Sergio Leone: Once Upon a Time in Italy PDF Book Even in the digital era, the process of making a movie can be quite exhausting, and creating a masterpiece can take its toll. There is as usual a great deal of violence,but it's less personal and graphic and instead is shown to have more consequence. Use the HTML below. Leone was famous for filming stories of the American West in Italy. Be on the lookout for your Britannica newsletter to get trusted stories delivered right to your inbox. A Fistful of Dollars Writer. How Much Have You Seen? But the writer comes second. Hey, amigo. User icon An illustration of a person's head and chest. Yankee, Stagecoach Driver : Straight down the road, about fifty miles. Internet Archive Books. Books by Christopher Frayling. The change in tone may jar to some people,but one can see the mature,contemplative Leone of Once Upon A Time In America reveal himself before our eyes. However,about a third of the way through the film becomes more and more serious. Be the first one to write a review. Accept Read More. Check out our picks for family friendly movies movies that transcend all ages. The Evolution of Armie Hammer. For even more, visit our Family Entertainment Guide. Back to School Picks. Sergio Leone: Once Upon a Time in Italy Writer EMBED for wordpress. Yankee, Stagecoach Driver : Straight down the road, about fifty miles. Alexander rated it liked it Jul 19, Leone also started writing a screenplay based on Lee Falk 's The Phantom , and scouted locations for the project. Parents Guide. External Sites. January 27, Retrieved August 4, Vincenzo Leone , one of Italy's cinema pioneers, and actress Bice Valerian. Share this page:. As Juan,thanks to Sean,becomes more and more involved in the Mexican Revolution,the tone becomes darker as more and more scenes take place at night and there is serious tragedy. Edit Details Country: Italy Spain. Full Cast and Crew. It has come to be regarded by many as Leone's best film. Readers also enjoyed. Print Cite. The favourite actress. According to the documentary Once Upon a Time, Sergio Leone , the film opened in medias res as the camera goes from focusing on a Russian hiding from the Nazis' artillery fire to panning hundreds of feet away to show the German Panzer divisions approaching the walls of the city. Books Video icon An illustration of two cells of a film strip. A Fistful of Dollars. No trivia or quizzes yet. Rate This. Welcome back. Back to School Picks. Archived from the original on October 4, Alan rated it it was amazing Oct 01, October Streaming Picks. Michael J. January 3, Sergio Leone: Once Upon a Time in Italy Reviews Getty Images. It starts in humorous vein,right from the opening sequence of the dirty,very poor Rod Steiger character Juan being taunted by some rich folk aboard a lavish carriage,the camera showing lots of close ups of mouths and eyes in what almost seems a parody of Leone's style. Visit our What to Watch page. Frank turns against Morton, who wants to make a deal with Mrs. Namespaces Article Talk. Leone was an early choice to direct Flash Gordon Be the first one to write a review. The English-language version was restored to approximately minutes for a re-release in , and for its video release the following year. Leone was also an avid fan of Margaret Mitchell 's novel Gone with the Wind and the film adaptation. Nominated for 1 Golden Globe. Full Cast and Crew. Fara Music Festival — Fara in Sabina. First Policeman on Train. Color: Color. The film portrays two conflicts that take place around Flagstone, a fictional town in the American Old West : a land battle related to the construction of a railroad, and a mission of vengeance against a cold-blooded killer. November 15, Library of Congress, Washington, D. In the mids, historical epics fell out of favor with audiences, but Leone had shifted his attention to a subgenre which came to be known as the " Spaghetti Western ", owing its origin to the American Western. Sign up here to see what happened On This Day , every day in your inbox! Mallory Romolo Valli But there is also the silent cinema. Leone was very conscious of the length of Once Upon a Time in the West during filming and later commissioned Sergio Donati , who had worked on several of Leone's other films, to help him refine the screenplay, largely to curb the length of the film towards the end of production. Archived from the original on 21 October Ennio Morricone. Archived from the original on 5 July January 27, Leone liked to tell the story of a cinema in Paris where the film ran uninterrupted for two years. October 3, Archived from the original on 22 January Once Upon a Time in America Writer. Per un pugno di dollari ; A Fistful of Dollars , his second film, was the first of his stylized violent westerns. They are not quite as defined and, unusual for Leone characters up to this point, they begin to change or at least attempt to over the course of the story. This version suffered heavy criticism and flopped. I must go to San Felipe The Numbers. Scanned in China. Images Donate icon An illustration of a heart shape Donate Ellipses icon An illustration of text ellipses. Although no formal script had been completed or leaked, Leone came up with the opening scene and basic plot. This website uses cookies to improve your experience. A restored 4K version has been published by Cineteca Bologna in , with improved colors and image quality. Known For. Sergio Leone: Once Upon a Time in Italy Read Online Main article: Sergio Leone filmography. Cheyenne arrives at Sweetwater soon after and both men seem attracted to Mrs. The son of a film industry pioneer and an actress, Leone became involved in Italian filmmaking at an early age. Add it to your IMDbPage. Archived from the original on 11 July Archived from the original on June 2, Retrieved 5 February A struggle exists for Sweetwater, a piece of land in the desert outside Flagstone which contains the region's only other water source. Please help improve this article by adding citations to reliable sources. After years of public requests, Paramount released a 2-Disc "Special Collector's Edition" of Once Upon a Time in the West on 18 November , with a running time of minutes minutes in some regions. Plot Keywords. Donati indicated that Leone was interested in a more revisionist take on the genre than his earlier works, wanting to show the Old West "like it really was. Archived from the original on 21 October See what's new with book lending at the Internet Archive. Ennio Morricone. Leone was very conscious of the length of Once Upon a Time in the West during filming and later commissioned Sergio Donati , who had worked on several of Leone's other films, to help him refine the screenplay, largely to curb the length of the film towards the end of production. Learn More in these related Britannica articles:. The original version by the director was minutes 2 hours and 46 minutes when it was first released on 21 December Yes No Report this. Retrieved 15 March From " Veronica Mars " to Rebecca take a look back at the career of Armie Hammer on and off the screen. Instead, Mrs. Archived from the original on 22 January Publication date Topics Leone, Sergio, -- Criticism and interpretation. Namespaces Article Talk. https://files8.webydo.com/9582824/UploadedFiles/96175168-A56C-ECB3-0E7D-24822047D87C.pdf https://files8.webydo.com/9583135/UploadedFiles/587F70E4-1EB0-7276-A09A-9CB9599CE6E0.pdf https://files8.webydo.com/9583870/UploadedFiles/A73EBF08-DC2A-9D39-A02D-B6F9E741604E.pdf https://files8.webydo.com/9582837/UploadedFiles/5BFD4555-73FC-89E5-DC7B-29B1D0DBE2B9.pdf.
Load more

Recommended publications
  • In Nanni Moretti's La Stanza Del Figlio
    09-Mary Ann_0Syrimis 2/10/14 10:31 AM Page 113 MORETTI ’S CHILDREN : T HE NEXT GENERATION ? MARY ANN MCDONALD CAROLAN Summary : Nanni Moretti’s La stanza del figlio/The Son’s Room (2001) reveals the effects of a child’s death on the protagonist Giovanni (a psy - coanalyst played by Moretti) and his family. This film appears after Aprile/April (1998), which narrates both the birth of the director’s son Pietro as well as the Italian electoral campaign in 1996 in the month of the title. The arrival of a biological son followed by the death of a fic - tional one in Moretti’s oeuvre suggests greater implications for the par - ent-child relationship in Italy. This phenomenon also comments on the relationship between generations of Italian directors. An examination of Moretti’s earlier autobiographical film Caro diario/Dear Diary (1994) gives insight into this director’s relationship to other artists and also sug - gests implications for the future of Italian filmmaking. In Nanni Moretti’s La stanza del figlio /The Son’s Room (2001), the death of a child allows the narrative to explore the highly personal realm of grief. The title of Moretti’s film refers to a now uninhabited space that serves as a metaphor for the void in the family created by Andrea’s (Giuseppe Sanfelice) accidental drowning while scuba diving. The son’s death devas - tates his father Giovanni (Nanni Moretti), mother Paola (Laura Morante), and sister Irene (Jasmine Trinca). Moretti examines the family members’ reactions to this unimaginable loss that leads ultimately to a redefinition of self.
    [Show full text]
  • Widescreen Weekend 2014 Brochure
    WIDESCREEN WEEKEND 10-13 APRIL 2014 2OTH BRADFORD INTERNATIONAL FILM FESTIVAL IN PARTNERSHIP WITH NATIONAL MEDIA MUSEUM Bradford BD1 1NQ Box Office 0844 856 3797 www.nationalmediamuseum.org.uk www.bradfordfilmfestival.org.uk 20TH BRADFORD INTERNATIONAL FILM FESTIVAL 27 MARCH - 6 APRIL 2014 WIDESCREEN WEEKEND 1 ................................................................................................................. INTRODUCTION TH TICKETS 2O In 1954 the movie industry was facing fierce competition from television, and investing heavily in offering the best possible experience in the cinema. Quality counted, and that year Tickets for individual screenings and events can be a new widescreen process was launched. The words “Paramount proudly presents the first purchased from the National Media Museum Box picture in VistaVision” appeared on screen and the letter V came flying towards the audience, Office (open 10am-9pm during the festival), on the BRADFORD creating a startling 3D effect. And with this introduction yet another widescreen process was phone 0844 856 3797 (8.30am-8.30pm), or via the presented to the public, the third in as many years. Each was designed to ensure that the only website www.bradfordfilmfestival.org.uk INTERNATIONAL place you could witness vivid, exciting, detailed imagery, was in cinemas. For details of how to book a widescreen FILM FESTIVAL Hollywood had to strive continually in the 1950s to offer something which could not be weekend pass, please see the festival website 27 MARCH - 6 APRIL 2O14 rivalled in the home. Television had started gaining a foothold in American homes from 1948 www.bradfordfilmfestival.org.uk and just like today – with large screen HD TVs, home cinema and uncompressed audio – the battle between the two media was intense.
    [Show full text]
  • The Annual Rachael Low Lecture: the Secrets of Percy Smith’S Life – Making Science Films in Surburban London
    The Annual Rachael Low Lecture: The Secrets of Percy Smith’s Life – Making Science Films in Surburban London. Saturday 17th April, 4pm Presented by Tim Boon, Chief Curator at The Caption: ‘Synchronising a Secret’. Commentator Science Museum, London and orchestra (probably led by Jack Beaver) recording the sound track for one of the Secrets of Nature, c.1933. Cinema is well known to have a mixed parentage; on one side the worlds of science and invention; on Tim Boon is Chief Curator at the Science Museum, the other, that of spectacular entertainments. where he is responsible for the team of specialist Nature films are the oldest science film genre; the subject curators and is a member of the Museum’s first examples made for the general public were senior management team. He has been active as shown at the Alhambra Music Hall, London, in an exhibition curator; displays include Health August 1903. After the ballet and the conjuror came Matters (1994), Making the Modern World (2000), the scientific films. Over the ensuing 20 years, Treat Yourself (2003) and Films of Fact: The science and nature filmmaking grew up with the rest Origins of Science on Screen (2008). He is a of cinema, and non-fiction films became part of the member of the Council of the British Society for the regular staple of the first purpose-built cinemas. By History of Science. After studying History and the 1920s, especially in British Instructional’s History of Science at Leeds University (1979-82), Secrets of Nature series, nature filmmaking was he completed an MSc in History of Science at settling down into the stable form that, in many University College in 1986.
    [Show full text]
  • FS 300 from CINECITTÀ STUDIOS to REAL LOCATIONS: a JOURNEY THROUGH ITALIAN CINEMA MADE in ROME IES Abroad Rome – Language & Area Studies
    FS 300 FROM CINECITTÀ STUDIOS TO REAL LOCATIONS: A JOURNEY THROUGH ITALIAN CINEMA MADE IN ROME IES Abroad Rome – Language & Area Studies DESCRIPTION: The course offers the unique opportunity to study Italian Cinema from the birth of Cinecittà Studios in 1937 to the present, visiting the settings, studios and real locations where some landmark films were shot. The selected movies share the characteristic of having being all filmed in Rome, which can be considered the capital of the Italian film industry. Therefore, Rome will be explored through the eyes of some of the most influential film directors and revealed as a source of inspiration for directors such as De Sica, Rossellini, Fellini, Scola, Monicelli, Pasolini, Leone, Moretti, Virzì and Sorrentino. The selected films will be discussed in class through an extensive historical analysis and a critical approach in order to understand the contribution of Italian cinema to the development of world cinema and the role of cinema in shaping of Italian society and culture. Students will visit the locations used to shoot the movies analyzed in class in order to understand how they were filmed and to learn the specific elements of film language and film techniques utilized by the different directors. CREDITS: 3 CONTACT HOURS: 45 LANGUAGE OF INSTRUCTION: English PREREQUISITES: None METHOD OF PRESENTATION: Lectures, screenings, individual or group film watching at IES multimedia lab after class, course- related trips, use of multimedia and Internet resources for research purposes, film analysis and class debates on main Italian film directors and their work. REQUIRED WORK AND FORM OF ASSESSMENT: • Class participation - 10% • Film review – 20% • Oral presentation of film review – 10% • Midterm exam – 30% • Final exam – 35% Film Review on movie chosen by the student Students will analyze a chosen film from a technical and critical point of view and will contextualize the movie in its director’s life and artistic career.
    [Show full text]
  • Una Biografia Per Immagini
    Una biografia per immagini Book or Report Section Published Version Medioli, F. (2015) Una biografia per immagini. In: Medioli, F. and Mancini, R. (eds.) Il costruttore di immagini: Enrico Medioli sceneggiatore. Aska, Florence, pp. 27-42. ISBN 97888775422448 Available at http://centaur.reading.ac.uk/40622/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Publisher: Aska All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online UNA BIOGRAFIA PER IMMAGINI FRANCESCA MEDIOLI 1. Parma, 1925-1945 Enrico Medioli nasce il 17 marzo 1925 alle 11.15 della mattina1 a Parma, a Palazzo Bocchi, allora strada Farini, 93, dove la sua famiglia ha in affitto un grande appartamento al piano nobile. Viene battezzato il 30 aprile 1925 in Battistero con i secondi nomi Guido Maria - forse in onore del vescovo di Parma, Guido Maria Conforti, 1865-1931, di cui il padre era amico personale - padrino un fratello del padre, Ennio (1898-1928), e madrina sua moglie, Ines Del Soldato (1896-1986)2. Suo padre è Luigi Medioli (1890-1973), di Emilio (1861-1934) e di Ugolina Schiaretti (1866-1947), la madre è Ester Cattivelli (1888-1978), di Vittorio e di Teresita Giovanardi. I genitori si erano sposati il 20 aprile 1913 a Noceto3: Ester portava in dote la tenuta di San Pancrazio, presso Parma, e il giorno del matrimonio indossava un paio di scarpe che erano costate la somma astronomica di 100 lire (di solito ne costavano 15).
    [Show full text]
  • Ennio Morricone
    ENNIO MORRICONE AWARDS & NOMINATIONS *selected ACADEMY AWARD NOMINATION (2015) THE HATEFUL EIGHT Best Original Score GOLDEN GLOBE AWARD (2016) THE HATEFUL EIGHT Best Original Score BAFTA AWARD (2016) THE HATEFUL EIGHT Original Music CRITICS’ CHOICE AWARD (2016) THE HATEFUL EIGHT Best Score ACADEMY AWARD (2007) For magnificent and multifaceted contributions to the HONORARY AWARD art of film music ACADEMY AWARD NOMINATION (2000) MALENA Best Original Score GOLDEN GLOBE NOMINATION (2000) MALENA Best O riginal Score GOLDEN GLOBE AWARD (1999) THE LEGEND OF 1900 Best Original Score GRAMMY AWARD NOMINATION (1998) BULWORTH Best Instrumental Composition Written for a Motion Picture or Television GRAMMY AWARD NOMINATION (1996) THE STAR MAKER Best Instrumental Composition Written for a Motion Picture or Television GRAMMY AWARD NOMINATION (1994) WOLF Best Instrumental Composition Written for a Motion Picture or Television ACADEMY AWARD NOMINATION (1991) BUGSY Best Original Score GOLDEN GLOBE NOMINATION (1991) BUGSY Best Original Score BAFTA AWARD (1991) CINEMA PARADISO Best Original Score GOLDEN GLOBE NOMINATION (1990) CASUALTIES OF WAR Best Original Score 1 The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 ENNIO MORRICONE ACADEMY AWARD NOMINATION (1987) THE UNTOUCHABLES Best Original Score BAFTA AWARD (1988) THE UNTOUCHABLES Best Original Score GOLDEN GLOBE NOMINATION (1988) THE UNTOUCHABLES Best Original Score BAFTA AWARD (1987) THE MISSION Best Original Score ACADEMY AWARD NOMINATION (1986) THE MISSION Best Original Score GOLDEN GLOBE AWARD (1986) THE MISSION Best Original Score BAFTA AWARD (1985) ONCE UPON A TIME IN AMERICA Best Original Score GOLDEN GLOBE NOMINATION (1985) ONCE UPON A TIME IN AMERICA Best Original Score BAFTA AWARD (1980) DAYS OF HEAVEN Anthony Asquith Award fo r Film Music ACADEMY AWARD NOMINATION (1979) DAYS OF HEAVEN Best Original Score MOTION PICTURES THE HATEFUL EIGHT Richard N.
    [Show full text]
  • 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.
    [Show full text]
  • 101 Films for Filmmakers
    101 (OR SO) FILMS FOR FILMMAKERS The purpose of this list is not to create an exhaustive list of every important film ever made or filmmaker who ever lived. That task would be impossible. The purpose is to create a succinct list of films and filmmakers that have had a major impact on filmmaking. A second purpose is to help contextualize films and filmmakers within the various film movements with which they are associated. The list is organized chronologically, with important film movements (e.g. Italian Neorealism, The French New Wave) inserted at the appropriate time. AFI (American Film Institute) Top 100 films are in blue (green if they were on the original 1998 list but were removed for the 10th anniversary list). Guidelines: 1. The majority of filmmakers will be represented by a single film (or two), often their first or first significant one. This does not mean that they made no other worthy films; rather the films listed tend to be monumental films that helped define a genre or period. For example, Arthur Penn made numerous notable films, but his 1967 Bonnie and Clyde ushered in the New Hollywood and changed filmmaking for the next two decades (or more). 2. Some filmmakers do have multiple films listed, but this tends to be reserved for filmmakers who are truly masters of the craft (e.g. Alfred Hitchcock, Stanley Kubrick) or filmmakers whose careers have had a long span (e.g. Luis Buñuel, 1928-1977). A few filmmakers who re-invented themselves later in their careers (e.g. David Cronenberg–his early body horror and later psychological dramas) will have multiple films listed, representing each period of their careers.
    [Show full text]
  • The British Film Industry
    House of Commons Culture, Media and Sport Committee The British Film Industry Sixth Report of Session 2002–03 Volume I HC 667-I House of Commons Culture, Media and Sport Committee The British Film Industry Sixth Report of Session 2002–03 Volume I Report, together with formal minutes Ordered by The House of Commons to be printed 9 September 2003 HC 667-I Published on 18 September 2003 by authority of the House of Commons London: The Stationery Office Limited £0.00 The Culture Media and Sport Committee The Culture, Media and Sport Committee is appointed by the House of Commons to examine the expenditure, administration, and policy of the Department for Culture, Media and Sport and its associated public bodies. Current membership Mr Gerald Kaufman MP (Labour, Manchester Gorton) (Chairman) Mr Chris Bryant MP (Labour, Rhondda) Mr Frank Doran MP (Labour, Aberdeen) Michael Fabricant MP (Conservative, Lichfield) Mr Adrian Flook MP (Conservative, Taunton) Alan Keen MP (Labour, Feltham and Heston) Miss Julie Kirkbride MP (Conservative, Bromsgrove) Rosemary McKenna MP (Labour, Cumbernauld and Kilsyth) Ms Debra Shipley (Labour, Stourbridge) John Thurso MP (Liberal Democrat, Caithness, Sutherland and Easter Ross) Derek Wyatt MP (Labour, Sittingbourne and Sheppey) Powers The Committee is one of the departmental select committees, the powers of which are set out in House of Commons Standing Orders, principally in SO No 152. These are available on the Internet via www.parliament.uk. Publications The Reports and evidence of the Committee are published by The Stationery Office by Order of the House. All publications of the Committee (including press notices) are on the Internet at http://www.parliament.uk/parliamentary_committees/culture__media_and_sport.
    [Show full text]
  • History of Italian Cinema 560:345 Fall 2008
    CLASSICS OF ITALIAN CINEMA Rutgers University, Italian Department, Fall 2017 01:560:345 TTh 11:30-12:50 Instructor: Paola Gambarota Office Hours: T, 3-4pm, Th 2-3pm 15 Seminary Place, Fifth Floor Email: [email protected] This course provides a historical introduction to Italian cinema, concentrating on examples of classical genres and movements, such as the early silent epic, the classics of neorealism, auteurs of the 50’s, 60’s and 70’s, the commedia all’italiana (comedy, Italian style), and the spaghetti Western. We will examine issues of representation and production of societal values, e.g., gender, family relations, and national identity vs. local cultures. No knowledge of Italian is required. Learning Goals: By the end of the semester, students will be familiar with some of the canonical works of Italian cinema, will be able to critically analyze films according to their textual typologies (e.g., generic codes and conventions), to relate them to the specific socio-historical context and processes of production (e.g. film industry, audience expectations), and to communicate their ideas effectively, both orally and in written form, in modes appropriate to the discipline. Departmental Goals II and III: Cultural Proficiency and Professional Preparation. This course satisfies the Core Curriculum Learning Goal: AH (o and p). Area of Inquiry C: Arts and Humanities Goals o and p: o. Examine critically theoretical issues concerning the nature of reality, human experience, knowledge, value, and the cultural production related to the topics addressed. p. Analyze arts and literatures in themselves and in relation to specific histories, values, languages, cultures, and technologies.
    [Show full text]
  • The Proto-Filmic Monstrosity of Late Victorian Literary Figures
    Bamberger Studien zu Literatur, 14 Kultur und Medien “Like some damned Juggernaut” The proto-filmic monstrosity of late Victorian literary figures Johannes Weber 14 Bamberger Studien zu Literatur, Kultur und Medien Bamberger Studien zu Literatur, Kultur und Medien hg. von Andrea Bartl, Hans-Peter Ecker, Jörn Glasenapp, Iris Hermann, Christoph Houswitschka, Friedhelm Marx Band 14 2015 “Like some damned Juggernaut” The proto-filmic monstrosity of late Victorian literary figures Johannes Weber 2015 Bibliographische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliographie; detaillierte bibliographische Informationen sind im Internet über http://dnb.d-nb.de/ abrufbar. Diese Arbeit hat der Fakultät Geistes- und Kulturwissenschaften der Otto-Friedrich- Universität Bamberg als Dissertation vorgelegen. 1. Gutachter: Prof. Dr. Christoph Houswitschka 2. Gutachter: Prof. Dr. Jörn Glasenapp Tag der mündlichen Prüfung: 28. Januar 2015 Dieses Werk ist als freie Onlineversion über den Hochschulschriften-Server (OPUS; http://www.opus-bayern.de/uni-bamberg/) der Universitätsbibliothek Bamberg erreichbar. Kopien und Ausdrucke dürfen nur zum privaten und sons- tigen eigenen Gebrauch angefertigt werden. Herstellung und Druck: Docupoint, Magdeburg Umschlaggestaltung: University of Bamberg Press, Anna Hitthaler Umschlagbild: Screenshot aus Vampyr (1932) © University of Bamberg Press Bamberg 2015 http://www.uni-bamberg.de/ubp/ ISSN: 2192-7901 ISBN: 978-3-86309-348-8 (Druckausgabe) eISBN: 978-3-86309-349-5 (Online-Ausgabe) URN: urn:nbn:de:bvb:473-opus4-267683 Danksagung Mein besonderer Dank gilt meinem Bruder Christian für seinen fachkundigen Rat und die tatkräftige Unterstützung in allen Phasen dieser Arbeit. Ich danke meinem Doktorvater Prof. Dr. Christoph Houswitschka für viele wichtige Denkanstöße und Freiräume.
    [Show full text]
  • 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.
    [Show full text]