Giulia Cassini-Rizzotto
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BORSALINO » 1970, De Jacques Deray, Avec Alain Delon, Jean-Paul 1 Belmondo
« BORSALINO » 1970, de Jacques Deray, avec Alain Delon, Jean-paul 1 Belmondo. Affiche de Ferracci. 60/90 « LA VACHE ET LE PRISONNIER » 1962, de Henri Verneuil, avec Fernandel 2 Affichette de M.Gourdon. 40/70 « DEMAIN EST UN AUTRE JOUR » 1951, de Leonide Moguy, avec Pier Angeli 3 Affichette de A.Ciriello. 40/70 « L’ARDENTE GITANE» 1956, de Nicholas Ray, avec Cornel Wilde, Jane Russel 4 Affiche de Bertrand -Columbia Films- 80/120 «UNE ESPECE DE GARCE » 1960, de Sidney Lumet, avec Sophia Loren, Tab Hunter. Affiche 5 de Roger Soubie 60/90 « DEUX OU TROIS CHOSES QUE JE SAIS D’ELLE» 1967, de Jean Luc Godard, avec Marina Vlady. Affichette de 6 Ferracci 120/160 «SANS PITIE» 1948, de Alberto Lattuada, avec Carla Del Poggio, John Kitzmille 7 Affiche de A.Ciriello - Lux Films- 80/120 « FERNANDEL » 1947, film de A.Toe Dessin de G.Eric 8 Les Films Roger Richebé 80/120 «LE RETOUR DE MONTE-CRISTO» 1946, de Henry Levin, avec Louis Hayward, Barbara Britton 9 Affiche de H.F. -Columbia Films- 140/180 «BOAT PEOPLE » (Passeport pour l’Enfer) 1982, de Ann Hui 10 Affichette de Roland Topor 60/90 «UN HOMME ET UNE FEMME» 1966, de Claude Lelouch, avec Anouk Aimée, Jean-Louis Trintignant 11 Affichette les Films13 80/120 «LE BOSSU DE ROME » 1960, de Carlo Lizzani, avec Gérard Blain, Pier Paolo Pasolini, Anna Maria Ferrero 12 Affiche de Grinsson 60/90 «LES CHEVALIERS TEUTONIQUES » 1961, de Alexandre Ford 13 Affiche de Jean Mascii -Athos Films- 40/70 «A TOUT CASSER» 1968, de John Berry, avec Eddie Constantine, Johnny Halliday, 14 Catherine Allegret. -
Jean Harlow ~ 20 Films
Jean Harlow ~ 20 Films Harlean Harlow Carpenter - later Jean Harlow - was born in Kansas City, Missouri on 3 March 1911. After being signed by director Howard Hughes, Harlow's first major appearance was in Hell's Angels (1930), followed by a series of critically unsuccessful films, before signing with Metro-Goldwyn- Mayer in 1932. Harlow became a leading lady for MGM, starring in a string of hit films including Red Dust (1932), Dinner At Eight (1933), Reckless (1935) and Suzy (1936). Among her frequent co-stars were William Powell, Spencer Tracy and, in six films, Clark Gable. Harlow's popularity rivalled and soon surpassed that of her MGM colleagues Joan Crawford and Norma Shearer. By the late 1930s she had become one of the biggest movie stars in the world, often nicknamed "The Blonde Bombshell" and "The Platinum Blonde" and popular for her "Laughing Vamp" movie persona. She died of uraemic poisoning on 7 June 1937, at the age of 26, during the filming of Saratoga. The film was completed using doubles and released a little over a month after Harlow's death. In her brief life she married and lost three husbands (two divorces, one suicide) and chalked up 22 feature film credits (plus another 21 short / bit-part non-credits, including Chaplin's City Lights). The American Film Institute (damning with faint praise?) ranked her the 22nd greatest female star in Hollywood history. LIBERTY, BACON GRABBERS and NEW YORK NIGHTS (all 1929) (1) Liberty (2) Bacon Grabbers (3) New York Nights (Harlow left-screen) A lucky few aspiring actresses seem to take the giant step from obscurity to the big time in a single bound - Lauren Bacall may be the best example of that - but for many more the road to recognition and riches is long and grinding. -
Film Film Film Film
City of Darkness, City of Light is the first ever book-length study of the cinematic represen- tation of Paris in the films of the émigré film- PHILLIPS CITY OF LIGHT ALASTAIR CITY OF DARKNESS, makers, who found the capital a first refuge from FILM FILMFILM Hitler. In coming to Paris – a privileged site in terms of production, exhibition and the cine- CULTURE CULTURE matic imaginary of French film culture – these IN TRANSITION IN TRANSITION experienced film professionals also encounter- ed a darker side: hostility towards Germans, anti-Semitism and boycotts from French indus- try personnel, afraid of losing their jobs to for- eigners. The book juxtaposes the cinematic por- trayal of Paris in the films of Robert Siodmak, Billy Wilder, Fritz Lang, Anatole Litvak and others with wider social and cultural debates about the city in cinema. Alastair Phillips lectures in Film Stud- ies in the Department of Film, Theatre & Television at the University of Reading, UK. CITY OF Darkness CITY OF ISBN 90-5356-634-1 Light ÉMIGRÉ FILMMAKERS IN PARIS 1929-1939 9 789053 566343 ALASTAIR PHILLIPS Amsterdam University Press Amsterdam University Press WWW.AUP.NL City of Darkness, City of Light City of Darkness, City of Light Émigré Filmmakers in Paris 1929-1939 Alastair Phillips Amsterdam University Press For my mother and father, and in memory of my auntie and uncle Cover design: Kok Korpershoek, Amsterdam Lay-out: japes, Amsterdam isbn 90 5356 633 3 (hardback) isbn 90 5356 634 1 (paperback) nur 674 © Amsterdam University Press, Amsterdam, 2004 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, me- chanical, photocopying, recording or otherwise) without the written permis- sion of both the copyright owner and the author of the book. -
Film Vocabulary
Film Vocabulary Film-making terms are not always so easy to grasp. Here are some words that you might want to incorporate in your review. 3D. A film that has a three-dimensional, stereoscopic form or appearance, giving the life- like illusion of depth; often achieved by viewers donning special red/blue (or green) or polarized lens glasses; when 3-D images are made interactive so that users feel involved with the scene, the experience is called virtual reality. ADAPTATION. the presentation of one art form through another medium; a film based upon, derived from a stage play, short story, book, article, history, novel, video game, comic strip or similar, which basically preserves both the setting and dialogue of the original. ANIMATION. Animation is the technique in which each frame of a film is produced individually, whether generated as a computer graphic, or by photographing a drawn image, or by repeatedly making small changes to a model unit and then photographing the result with a special animation camera. When the frames are strung together and the resulting film is viewed at a speed of 16 or more frames per second, there is an illusion of continuous movement . Generating such a film is very labor intensive and tedious, though the development of computer animation has greatly sped up the process. ANTAGONIST. An antagonist is a character, group of characters, or an institution, that represents the opposition against which the protagonist must contend. In the classic style of story wherein the action consists of a hero fighting a villain, the two can be regarded as protagonist and antagonist, respectively. -
Transgressive Masculinities in Selected Sword and Sandal Films Merle Kenneth Peirce Rhode Island College
Rhode Island College Digital Commons @ RIC Master's Theses, Dissertations, Graduate Research Master's Theses, Dissertations, Graduate Research and Major Papers Overview and Major Papers 4-2009 Transgressive Masculinities in Selected Sword and Sandal Films Merle Kenneth Peirce Rhode Island College Follow this and additional works at: https://digitalcommons.ric.edu/etd Part of the Film and Media Studies Commons, Gender and Sexuality Commons, and the Lesbian, Gay, Bisexual, and Transgender Studies Commons Recommended Citation Peirce, Merle Kenneth, "Transgressive Masculinities in Selected Sword and Sandal Films" (2009). Master's Theses, Dissertations, Graduate Research and Major Papers Overview. 19. https://digitalcommons.ric.edu/etd/19 This Thesis is brought to you for free and open access by the Master's Theses, Dissertations, Graduate Research and Major Papers at Digital Commons @ RIC. It has been accepted for inclusion in Master's Theses, Dissertations, Graduate Research and Major Papers Overview by an authorized administrator of Digital Commons @ RIC. For more information, please contact [email protected]. TRANSGRESSIVE MASCULINITIES IN SELECTED SWORD AND SANDAL FILMS By Merle Kenneth Peirce A Thesis Submitted in Partial Fulfillment of the Requirements for the Individualised Masters' Programme In the Departments of Modern Languages, English and Film Studies Rhode Island College 2009 Abstract In the ancient film epic, even in incarnations which were conceived as patriarchal and hetero-normative works, small and sometimes large bits of transgressive gender formations appear. Many overtly hegemonic films still reveal the existence of resistive structures buried within the narrative. Film criticism has generally avoided serious examination of this genre, and left it open to the purview of classical studies professionals, whose view and value systems are significantly different to those of film scholars. -
FILM CENSORSHIP in 1943-1946 by Roberto Gulì
FILM CENSORSHIP IN 1943-1946 by Roberto Gulì In the historical era in Italy between 1943 and the immediate post-war period, the so-called temporary constitutional period, the Second World War was proceeding towards its dramatic conclusion, generating upheavals and clamorous coalition changes. The intensifying war on Italian territory had, of course, repercussions on the cinema industry: films were increasingly difficult to distribute, and cinema revision proceeded at a slow pace. Following the Allies’ offensive, Italy was broken in two: the South went to the Anglo- Americans, who dictated their propaganda, while Fascist censorship was restored in the Republic of Salò. Even before the end of the war, the movie revision system in Italy gradually got back into the swing of operations, but it had to face a past which was still too close for comfort, as troublesome as it was difficult to cleanse. The PWB The positive outcome of the “Italy campaign”, started by the Allies with the landing in Sicily on 10 July 1943 (preceded by operations in the Pelagie Isles and in Pantelleria in June), couldn’t depend entirely on military action, which however lead to a fast death for the already moribund Mussolini government on 25 July 1943. For the Anglo-Americans’ ambition of a progressive “defascistisation” of Italy (and of the whole Europe) to be realised, war using arms had to be flanked by ideas, a so-called “psychological war”. And in order to implement effective war propaganda, the Allies had to take control of the Italian media. Even before the start of military operations, the Anglo-American government created for this purpose the Psychological Warfare Branch (PWB), that was aimed to manage the Italian media. -
Notes on Sound Recording
The Kino-Eye.com handout collection Some notes on sound recording v.3 David Tamés, March 6, 2015 This document is in perpetual beta, please send suggestions and/or corrections to the author at [email protected] What is sound? Characteristics of sound Sound is vibrations in air. A movement, like those of Te unique pattern of air pressure variations or sound human vocal cords, or perhaps hitting the head of a refections produced by a particular disturbance are nail with a hammer, creates waves in the air, much known as waveforms. Below is a perfect sine wave, like the waves caused by a rock throw into water or a however, actual sounds actually have much more duck swimming in a pond. Tese waves go in all complex waveforms that are made up of a directions, bounce off walls, travel around corners, combination of the fundamental frequency and a it’s very messy. It’s not like camera and light. Tere is series of overtones (a.k.a. harmonics). More on this no edge of the frame. Sound from all over mixes in later in this handout. with the specifc sound you want to record. Sound is often measured and described using two Acoustic energy travels from the source of distinct reference points: 1. our psychophysical disturbance outward as a wave, the air molecules perception of sound (as perceived by our ear and vibrate, yet, the air itself is not moving from the brain), and 2. quantifcation of sound phenomena source to our ears or to the microphone, instead the with measuring devices. -
L'opera LIRICA NEL CINEMA ITALIANO 1943-1954 I PAGLIACCI Di G
CITTA- 01 TORINO UNIVERSITÀ DI TORINO TEATRO REGIO Torino dal 16 al 23 giugno 1977 al Piccolo Regio e al Cineocchio L'OPERA LIRICA NEL CINEMA ITALIANO 1943-1954 I PAGLIACCI di G. Fatigati LUCIA DI LAMMERMOOR di P Ballerini LA SONNAMBULA di C. Berlacchi LA FAVORITA di C. Berlacchi FIGARO BARBIERE DI SIVIGLIA di C. Mastrocinque AMAMI ALFREDO di C Gallone I PAGLIACCI di M. Costa CASA RICORDI di C. Gallone MADAMA BUTTERFLY di C. Gallone PUCCINI di C. Gallone CASTA DIVA di C. Gallone IL RIGOLETTO di C. Gallone GIOVANNA D'ARCO AL ROGO di R Rossellini COMUNE DI TORINO Assessorato per la Cultura TEATRO REGIO UNIVERSITÀ DI TORINO Facoltà di Lettere - Istituto di Storia dell'Arte in collaborazione con Cineocchio e Movie Club L'OPERA LIRICA NEL CINEMA ITALIANO a cura di Sergio Toffetti Stefano Della Casa Tipolitografia F.lli Scaravaglio & C. - V. Card. Massaia, 106 - TO PREMESSA Il riesame critico del cinema « operistico », cioè di quel genere cinema- tografico che unisce opere filmate, biografie di compositori e di cantanti, ridu- zioni ed adattamenti di melodrammi, è già stato, alcuni mesi or sono, al centro degli « Incontri cinematografici » di Monticelli Terme e verso Patrizia Pista- gnesi, Adriano Aprà e Gianni Menon, curatori della rassegna, ovviamente siamo (e volentieri ci riconosciamo) debitori. Per scongiurare dunque il peri- colo di lavorare ad una semplice ripetizione divulgativa degli « Incontri », abbiamo cercato di « arricchire » il dibattito con alcune riflessioni sul film- opera e più in generale sul cinema popolare italiano nell'immediato -
Stage Terminology 1. Character / Role -The Imaginary Person the Actor Pretends to Be 2. Actor / Performer -The “Real”
Stage Terminology 1. character / role -the imaginary person the actor pretends to be 2. actor / performer -the “real” person on stage 3. set -actual furniture or lack of on stage 4. cue -a signal to begin 5. sight cue -a visual signal to begin 6. sound cue -an auditory signal to begin 7. stage properties or props -an item used on stage 8. hand prop -an easily handled item used on stage 9. set prop -large prop, not easily moved 10. exposition -information explaining events 11. setting -time and place the story takes place 12. gesture -movement expressing emotions 13. dialogue -spoken words with another actor on stage 14. soliloquy -an actor speaking to oneself on stage, usually stating emotions and/or thoughts 15. monologue -scene for one actor 16. duet -scene for two actors 17. improvisation or improv -a scene performed with little or no rehearsal 18. pantomime -a scene performed with no dialogue or sound 19. stage business -any specific action other than movement performed on the stage such as picking up a book or turning on a TV. 20. stage right -movement on the actor’s right when facing the audience 21. stage left -movement on the actor’s left when facing the audience 22. downstage -moving towards the audience 23. upstage -moving away from the audience, or the improperly taking attention from an actor who should be the focus of interest. 24. actor position -how the actor is facing 25. full front -facing fully towards the audience 26. full back -actor’s back is to the audience 27. -
Lettera Da San G Iorgio
Lettera da San Giorgio Lettera da San Year XIX, number 37. Six-monthly publication. September 2017 – February 2018 Spedizione in A.P. Art. 2 Comma 20/c Legge 662/96 DCB VE. Tassa pagata / Taxe perçue PROGRAMMES (SEPTEMBER – FEBRUARY 2017) 12 MAY 2017 – VENICE, ISLAND OF SAN GIORGIO MAGGIORE 30 NOV 2018 Le Stanze del Vetro Installation Qwalala by Pae White 1 SEP – 15 NOV 2017 VENICE, PALAZZO CINI GALLERY AT SAN VIO Exhibition Lyda Borelli: A Leading Lady of the 20th Century 4 SEP VENICE, TEATRO LA FENICE 19, 21, 22 SEP VENICE, LA CASA DEL CINEMA – VIDEOTECA PASINETTI 8 NOV 2017 VENICE, ISLAND OF SAN GIORGIO MAGGIORE Cinema Series Lyda Borelli: Film Diva 9 SEP – 16 DEC 2017 VENICE, ISLAND OF SAN GIORGIO MAGGIORE Lo Squero Auditorium Concert Season 2017 10–17 SEP 2017 VENICE, VARIOUS VENUES The Venice Glass Week 11 SEP 2017 – VENICE, ISLAND OF SAN GIORGIO MAGGIORE 7 JAN 2018 Le Stanze del Vetro Exhibition Vittorio Zecchin: Transparent Glass for Cappellin and Venini 12–15 SEP 2017 VENICE, ISLAND OF SAN GIORGIO MAGGIORE Dialoghi di San Giorgio What’s the Body of the Body Politic? Sovereignty, Identity, Ecology 21–22 SEP 2017 VENICE, ISLAND OF SAN GIORGIO MAGGIORE Thirteenth World Conference on the Future of Science The Lives to Come 4, 10, 18 OCT 2017 VENICE, ISLAND OF SAN GIORGIO MAGGIORE Books at San Giorgio 9–13 OCT 2017 VENICE, ISLAND OF SAN GIORGIO MAGGIORE The Egida Sartori and Laura Alvini Early Music Seminars Roman de Fauvel. Music and Corruption in the Paris of Philip the Fair. -
Tyrone Power
Tyrone Power 66638_Kelly.indd638_Kelly.indd i 227/11/207/11/20 11:15:15 PPMM International Film Stars Series Editor: Homer B. Pett ey and R. Barton Palmer Th is series is devoted to the artistic and commercial infl uence of performers who shaped major genres and movements in international fi lm history. Books in the series will: • Reveal performative features that defi ned signature cinematic styles • Demonstrate how the global market relied upon performers’ generic contributions • Analyse specifi c fi lm productions as casetudies s that transformed cinema acting • Construct models for redefi ning international star studies that emphasise materialist approaches • Provide accounts of stars’ infl uences in the international cinema marketplace Titles available: Close-Up: Great Cinematic Performances Volume 1: America edited by Murray Pomerance and Kyle Stevens Close-Up: Great Cinematic Performances Volume 2: International edited by Murray Pomerance and Kyle Stevens Chinese Stardom in Participatory Cyberculture by Dorothy Wai Sim Lau Geraldine Chaplin: Th e Gift of Film Performance by Steven Rybin Tyrone Power: Gender, Genre and Image in Classical Hollywood Cinema by Gillian Kelly www.euppublishing.com/series/ifs 66638_Kelly.indd638_Kelly.indd iiii 227/11/207/11/20 11:15:15 PPMM Tyrone Power Gender, Genre and Image in Classical Hollywood Cinema Gillian Kelly 66638_Kelly.indd638_Kelly.indd iiiiii 227/11/207/11/20 11:15:15 PPMM Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutt ing-edge scholarship with high editorial and production values to produce academic works of lasting importance. -
John Cassavetes
Cassavetes on Cassavetes Ray Carney is Professor of Film and American Studies and Director of the undergraduate and graduate Film Studies programs at Boston Uni- versity. He is the author or editor of more than ten books, including the critically acclaimed John Cassavetes: The Adventure of Insecurity; The Films of Mike Leigh: Embracing the World; The Films of John Cas- savetes: Pragmatism, Modernism, and the Movies; American Vision: The Films of Frank Capra; Speaking the Language of Desire: The Films of Carl Dreyer; American Dreaming; and the BFI monograph on Cas- savetes’ Shadows. He is an acknowledged expert on William James and pragmatic philosophy, having contributed major essays on pragmatist aesthetics to Morris Dickstein’s The Revival of Pragmatism: New Essays on Social Thought, Law, and Culture and Townsend Ludington’s A Modern Mosaic: Art and Modernism in the United States. He co- curated the Beat Culture and the New America show for the Whitney Museum of American Art in New York, is General Editor of the Cam- bridge Film Classics series, and is a frequent speaker at film festivals around the world. He is regarded as one of the world’s leading authori- ties on independent film and American art and culture, and has a web site with more information at www.Cassavetes.com. in the same series woody allen on woody allen edited by Stig Björkman almodóvar on almodóvar edited by Frédéric Strauss burton on burton edited by Mark Salisbury cronenberg on cronenberg edited by Chris Rodley de toth on de toth edited by Anthony Slide fellini on