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Resavoring Cannibal Holocaust As a Mockumentary
hobbs Back to Issue 7 "Eat it alive and swallow it whole!": Resavoring Cannibal Holocaust as a Mockumentary by Carolina Gabriela Jauregui ©2004 "The worst returns to laughter" Shakespeare, King Lear We all have an appetite for seeing, an appétit de l'oeuil as Lacan explains it: it is through our eyes that we ingest the Other, the world.1 And in this sense, what better way to introduce a film on anthropophagy, Ruggero Deodato's 1979 film, Cannibal Holocaust, than through the different ways it has been seen.2 It seems mankind has forever been obsessed with the need to understand the world through the eyes, with the need for visual evidence. From Thomas the Apostle, to Othello's "ocular proof," to our television "reality shows," as the saying goes: "Seeing is believing." We have redefined ourselves as Homo Videns: breathers, consumers, dependants, and creators of images. Truth, in our society, now hinges on the visual; it is mediated by images. Thus it is from the necessity for ocular proof that Cinéma Vérité, Direct Cinema, documentary filmmaking and the mockumentary or mock-documentary genre stem. It is within this tradition that the Italian production Cannibal Holocaust inserts itself, as a hybrid trans-genre film. To better understand this film, I will not only look at it as a traditional horror film, but also as a contemporary mockumentary satire that presents itself as "reality" and highlights the spectator’s eye/I’s primal appetite. In the manner of Peter Watkins' film Culloden, Deodato's film is intended to confuse the audience's -
Complicated Views: Mainstream Cinema's Representation of Non
University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. Data: Author (Year) Title. URI [dataset] University of Southampton Faculty of Arts and Humanities Film Studies Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. DOI: by Eliot W. Blades Thesis for the degree of Doctor of Philosophy May 2020 University of Southampton Abstract Faculty of Arts and Humanities Department of Film Studies Thesis for the degree of Doctor of Philosophy Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. by Eliot W. Blades This thesis examines a number of mainstream fiction feature films which incorporate imagery from non-cinematic moving image technologies. The period examined ranges from the era of the widespread success of television (i.e. -
Africa Addio and the Ambiguities of Remembrance in Contemporary Zanzibar Marie-Aude Fouéré
Film as archive: Africa Addio and the ambiguities of remembrance in contemporary Zanzibar Marie-Aude Fouéré To cite this version: Marie-Aude Fouéré. Film as archive: Africa Addio and the ambiguities of remembrance in con- temporary Zanzibar. Social Anthropology, Wiley, 2016, 24 (1), 10.1111/1469-8676.12282. halshs- 01404568 HAL Id: halshs-01404568 https://halshs.archives-ouvertes.fr/halshs-01404568 Submitted on 3 Dec 2016 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. MARIE-AUDE FOUÉRÉ Film as archive: Africa Addio and the ambiguities of remembrance in contemporary Zanzibar The Italian shock documentary Africa Addio contains a sequence about massacres that occurred during the Zanzibar revolution of 1964. Perceived by some of its Zanzibari viewers as a container of factual evidence of the brutality of this epochal event, this sequence is contested by others who assert that it was staged or re-enacted. One critical aspect of these oppositional views concerns the very status of this documentary and the trust that can be placed in it as an archival record. Whether Africa Addio is seen as authentic or fabricated, it provides Zanzibaris with a medium through which to revisit the past and rethink Zanzibari society in the present. -
Percorsi Etruschi "In Verità È Impressionante Constatare Che Per Due Volte, Nel VII Secolo A
2 Prefazione "L’uomo che non è mai stato in Italia, è sempre cosciente di un’inferiorità." Samuel Johnson Perché possiamo parlare dell’Italia come Opera Unica? Certo è che in essa sono concentrati la maggior parte dei beni artistici esistenti sul pianeta Terra, questo senza tener conto delle enormi ricchezze che ci rappresentano in alcuni tra i musei più importanti del mondo come il Louvre a Parigi, l’Heritage a San Pietroburgo o la National Gallery a Londra, visto e considerato che, insieme all’Egitto e alla Grecia, siamo tra i paesi più depauperati da un punto di vista patrimoniale, oltre che, da sempre, l’Arte Italiana fa scuola a studenti e artisti provenienti da ogni dove, talvolta diventati celeberrimi come Balthus, Picas- so e Turner, e che hanno affrontato i viaggi più avventurosi per studiare i no- stri capolavori i quali hanno influenzato visibilmente le loro opere. La famosa "Sindrome di Stendhal" prende nome proprio dalla reazione emo- tiva ansiogena che colse il famoso scrittore Francese e che egli racconta nel suo libro "Roma, Napoli e Firenze" descrivendola come una sintomatologia paralizzante dovuta all’improvvisa bellezza di un monumento e che lo colse uscendo dalla chiesa di Santa Croce, nel capoluogo toscano. Nel solo territorio Italiano contiamo cinquantacinque siti UNESCO a cui va aggiunto il Vaticano e senza tener conto che luoghi come Ercolano e Pompei sono considerati un unico sito. Trattasi di un numero pari a quello che può vantare la Cina, ma l’estensione dell’Italia, come si sa, è ben più ridotta. In sostanza, ovunque ci si trovi, nel nostro bel paese, si rischia di essere colpiti dalla stessa Sindrome che colse Stendhal. -
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 ............................................................................................ -
Leggirazziali, Fini Chiede Perdono Leggivergogna,Saltanoiprocessi
l'Unità + libro "Per la ripresa del riformismo" € 4,00; l'Unità + libro "L'agente segreto" € 3,00 l'Unità + libro "Per la ripresa del riformismo" + libro "L'agente segreto" € 6,10 € ARRETRATI EURO 1,80 anno 79 n.249 venerdì 13 settembre 2002 euro 0,90 Puglia, Matera e provincia, non acquistabili separati: m/m/g/v/s/d l'Unità + Paese Nuovo 0,90 www.unita.it SPEDIZ. IN ABBON. POST. 45\% l'Unità + Paese Nuovo + CD "Pizzicato Nova Live" € 5,90 ART. 2 COMMA 20/B LEGGE 662/96 – FILIALE DI ROMA l'Unità + Paese Nuovo + CD "Pizzicato Nova Live" + libro "L'agente segreto"€ 8,00 l'Unità + Paese Nuovo + CD "Pizzicato Nova Live" + libro "L'agente segreto" + libro "Per la ripresa del riformismo € 11,10 Il pensiero fisso sui magistrati. e ha detto al Tg1: «Adesso «Consiglio di Sicurezza». Berlusconi stava commentando la decisione spetta al Consiglio Evidentemente la testa è a New il discorso di Bush sull’Iraq, Superiore». Voleva dire York ma il cuore rimane in Italia. Leggi razziali, Fini chiede perdono Bush, ultimatum all’Onu Difesa della razza, Bossi chiede purezza: Il presidente degli Usa minaccia: o fermate voi Saddam o lo fermo io con la guerra una pagina di «bimbi puliti» su La Padania Berlusconi s’è già arruolato. Annan: neanche i potenti possono fare come vogliono ROMA Fini fa il gran passo. Anche se in pronuncia queste parole, il suo ministro Il presidente americano Bush ha an- ritardo fa il gran passo. Come italiano Bossi fa pubblicare dalla «Padania» una nunciato ieri all’Onu che gli Usa chie- chiedo perdono, dice in un’intervista al pagina in difesa della razza lumbard. -
Pan-Africanism and Pan-African Trade Unions
69- 18,470 BUSCH, Gary Kenneth, 1940- PAN-AFRICANISM AND PAN-AFRICAN TRADE UNIONS. The American University, Ph.D., 1969 Political Science, international law and relations University Microfilms, Inc., Ann Arbor, Michigan (C)Copyright by GARY KENNETH BUSCH 1969 PAN-AFRICANISM AND. PAN-AFRICAN TRADE UNIONS by Gary Kenneth Busch Submitted to the Faculty of the School of International Service of The American University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in International Relations Signatures of Commj.^tee: Chairman: 7 7 T :---- 77 t U 't / u Deanrof the Schoo Date ■ f /U? 1969 AMERICAN (JNiVERS. i library The American University Washington, D.C. MAY 23 196» WASHINGTON. 0. C 3 IS? PREFACE * This paper will attempt to describe the genesis of Pan-African labor movements in their relationship to the wider, international, Pan- African political movements. The general format will be to first describe the development of the political institutions of Pan-Africanism in a chron ological survey and follow this with the chronology of Pan-African labor developments during the same period. There will be references to the early developments of labor movements in Africa, but the major emphasis of th*is study will be on the period following 1960. There will be little discussion of the development of the labor movements within African countries. Examples illustrative of general trends in the development of African trade unionism will be drawn from specific national movements when applicable. However, the scope of the paper is limited to the inter-African relations of political and labor groups. -
Hofstra University Film Library Holdings
Hofstra University Film Library Holdings TITLE PUBLICATION INFORMATION NUMBER DATE LANG 1-800-INDIA Mitra Films and Thirteen/WNET New York producer, Anna Cater director, Safina Uberoi. VD-1181 c2006. eng 1 giant leap Palm Pictures. VD-825 2001 und 1 on 1 V-5489 c2002. eng 3 films by Louis Malle Nouvelles Editions de Films written and directed by Louis Malle. VD-1340 2006 fre produced by Argosy Pictures Corporation, a Metro-Goldwyn-Mayer picture [presented by] 3 godfathers John Ford and Merian C. Cooper produced by John Ford and Merian C. Cooper screenplay VD-1348 [2006] eng by Laurence Stallings and Frank S. Nugent directed by John Ford. Lions Gate Films, Inc. producer, Robert Altman writer, Robert Altman director, Robert 3 women VD-1333 [2004] eng Altman. Filmocom Productions with participation of the Russian Federation Ministry of Culture and financial support of the Hubert Balls Fund of the International Filmfestival Rotterdam 4 VD-1704 2006 rus produced by Yelena Yatsura concept and story by Vladimir Sorokin, Ilya Khrzhanovsky screenplay by Vladimir Sorokin directed by Ilya Khrzhanovsky. a film by Kartemquin Educational Films CPB producer/director, Maria Finitzo co- 5 girls V-5767 2001 eng producer/editor, David E. Simpson. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987. ita Flaiano, Brunello Rondi. / una produzione Cineriz ideato e dirètto da Federico Fellini prodotto da Angelo Rizzoli 8 1/2 soggètto, Federico Fellini, Ennio Flaiano scenegiatura, Federico Fellini, Tullio Pinelli, Ennio V-554 c1987. -
Gualtiero Jacopetti Una Dolce Vita Da Cane
CULTURCINEMA 8 CINQUE ANNI FA SCOMPARIVA IL GIORNALISTA, CINEASTA E INTELLETTUALE ITALIANO PIÙ ATIPICO Gualtiero Jacopetti una dolce vita da cane LUCIANO LANNA Kamp e Lawrence Levi: «Nel il Manifesto, il secondo gestisce cui aggiungo il commento par- rivelazioni sul caso. Nel maggio 1962 anticipò di decenni gli anche un suo blog. Un libro che lato…». ’54, infatti, il giovane Gualtiero shock documentari del network è davvero uno studio completo: Ma qui vogliamo raccontare di assume la direzione di un nuo- inque anni fa ci lascia- Fox. In era pre-videoregistratore c’è la biografia di Jacopetti, le una delle disavventure giudizia- vo settimanale. Cronache della Cva, novantaduenne, l’etichetta Mondo divenne sino- sue idee, tutta la filmografia, i rie di Jacopetti, non di quelle politica e del costume, questo il Gualtiero Jacopetti, gior- nimo di trasgressione cinemato- manifesti e le locandine, il ge- per i suoi film (in particolare per nome della testata arrivata nelle nalista e cineasta, intellettuale grafica, determinando un pro- nere che quel cinema ispirò, in- le immagini di Africa addio), edicole il 18 maggio ’54 pubbli- non conformista e protagonista fluvio di imitazioni». Mondo terviste, testimonianze, materia- ma di quando nel marzo del ’55 cata dall’editore Tumminelli. La della vita mondana degli anni cane, uscendo nella sale nel ’62, li editi ed inediti, contributi ori- venne arrestato per una contro- redazione è formata da un grup- ’50 e ’60. Adesso riposa nel ci- balzò in testa ai botteghini di ginali e un corredo fotografico versa vicenda che gli costerà la po di giovani giornalisti che di- mitero degli inglesi di Testaccio, mezzo mondo e la colonna so- tratto da archivi pubblici e pri- fine anticipata della sua espe- verranno famosi: Fabrizio Den- accanto all’amata Belinda Lee, nora di Riz Ortolani, More, di- vati. -
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. -
Razza Cagna: Mondo Movies, the White Heterosexual Male Gaze, and the 1960S–1970S Imaginary of the Nation Gaia Giuliani*
Modern Italy, 2018 Vol. 23, No. 4, 429–444, doi:10.1017/mit.2018.32 Razza cagna: mondo movies, the white heterosexual male gaze, and the 1960s–1970s imaginary of the nation Gaia Giuliani* Centre of Social Studies, University of Coimbra, Portugal (Received 16 March 2018; final version accepted 23 July 2018) This article investigates the role, reception, and socio-cultural, political relevance of mondo movies in the context of late 1950s–early 1980s film and documentary. The mondo genre debuted with reportage films about sexuality in Europe and reached its pinnacle with Gualtiero Jacopetti’s assemblage films. The historical context in which this genre evolved, and white masculinity was rearticulated and positioned at the centre of the national imagined community, is mapped focusing both on gender and race constructions and on the gaze identifying, encoding and decoding the sensationalist presentation of postcolonial/ decolonising Otherness. A brief review of some of the author’s published work on 1962–1971 mondo movies introduces Cannibal Holocaust (1979) and director Ruggero Deodato’s controversial reflection on the white, capitalist, sexist, Western and neo-colonial anthropological gaze. Keywords: mondo movie; white male gaze; Italian imagined community; racism; postcoloniality Introduction This article aims to investigate the role, reception, and socio-cultural and political relevance of mondo movies in the context of Italian film and documentary from the late 1950s to the early 1980s. The mondo genre debuted with reportage films about sexuality in Europe and reached its pinnacle with the assemblage films of Gualtiero Jacopetti, Franco Prosperi and Dino Cavara. The historical context in which this genre evolved, and in which white masculinity was rearticulated and positioned at the centre of the national imagined community, will be mapped focusing both on gender and race constructions and on the gaze identifying, encoding and decoding the sensation- alist presentation of postcolonial/decolonising Otherness. -
Brochure of Alexandre Estrela
Pockets of Silence Alexandre Estrela December 16, 2015 to March 21, 2016 Sabatini Building Floor 1 Fisuras Program reina sofia_booklet_eng_01dez.indd 1 02/12/15 12:03 reina sofia_booklet_eng_01dez.indd 2 02/12/15 12:03 reina sofia_booklet_eng_01dez.indd 3 02/12/15 12:03 Previous pages: Pockets of Silence 2, 2015. Video still HD video, b/w, mono sound, video still in loop Synchronized video projected on metal screen (88 × 66 × 20 cm), motorized acrylic plate controlled by Arduino. reina sofia_booklet_eng_01dez.indd 4 02/12/15 12:03 Alexandre Estrela Gaps of Fear Alexandre Estrela (b. 1971, Lisbon) uses film and video as the core media of his artistic practice, which he describes as an exploration of “formal and conceptual issues aris- ing from the intersection of images and concrete matter.” Drawing on extensive technical and historical knowledge of his chosen media, Estrela explores issues that have a bearing not just on the nature of the image but also on the perception of the spectator. The interferences between physical and mental images, the things that exist and occur before and after a projection, synesthesia, the relationship between moving images and still images, and the relation- ships between images and sensations are some of the distinctive aspects of his research. Estrela questions the physicality of images, between their immateriality and the materiality of the devices that he uses to project them, in dialogue with a history of exper- imental film, video, and photography that includes among its symbolic benchmarks films by Marcel Duchamp, Man Ray’s photos of mathematical models, Gil J.