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Un Secolo Di Cinema Firmato Bava – 2003
UN SECOLO DI CINEMA FIRMATO BAVA di Renato Venturelli La leggenda dei Bava, al cinema, dura ormai da quasi un secolo. Di padre in figlio, di figlio in nipote, è già arrivata alla quarta generazione: prima Eugenio (Francesco) Bava, eccentrica figura di inventore e mago degli effetti speciali fin dagli anni della Belle Epoque poi Mario, geniale direttore della fotografia e regista, oggetto di culto in tutto il mondo; quindi Lamberto, che cominciò lavorando al fianco del padre negli anni Sessanta diventando poi autore cinematografico e televisivo. E adesso Roy, che ha iniziato da qualche anno la sua carriera. Tutto era cominciato all’inizio del Novecento, quando nonno Eugenio (1886-1966) ricevette il primo incarico da parte del cinema: la costruzione di un caminetto per un film Pathé. All’epoca, aveva appena compiuto vent’anni, essendo nato a Sanremo nel 1886, e secondo il figlio Mario era il prototipo dell’artista bohémien. «Cravatta e fiocco rivoluzionario, basco alla Raffaello) era un artista - disse in un famoso intervento del 1976- era pittore, scultore,fotografo, chimico, elettricista, medium, inventore; perse anni a studiare il moto perpetuo. Verso il 1908 per una succosa storia, purtroppo troppo lunga da raccontare, conobbe il cinema. Si “incimiciò”, dette un calcio al passato, e si gettò a capofitto nella Nuova Arte, diventando operatore: all’epoca non si diceva direttore della fotografia.. «E non si chiamava nemmeno Eugenio — aggiunge Lamberto— ma Francesco: è il nome scritto anche sulla sua tomba». Negli anni Dieci, il capostipite dei Bava lavorò nella sua città, fondando anche la “San Remo Film”, poi passò all’Ambrosio di Torino, quindi si stabilì a Roma, responsabile del Reparto Animazione e Trucchi dell’istituto Luce, escogitando trucchi ed effetti speciali fin quasi alla morte, avvenuta nel 1966,quando aveva ottant’anni. -
Boxoffice Barometer (March 26, 1962)
“KING OF KINGS” (70mm Super Technirama Technicolor) Jeffrey Hunter, Siobhan McKenna, Hurt Hatfield, Ron Randell, Viveca Lindfors, Rita Gam, Carmen Sevilla, Brigid Bazlen, Harry Guardino, Rip Torn, Frank Thring, Guy Rolfe, with Maurice Marsac, Gregoire Aslan and Robert Ryan as John the Baptist, with thousands of extras. Presenting an epic story of the life and times of Jesus Christ. A Samuel Bronston Production. “THE FOUR HORSEMEN OF THE APOCALYPSE” ( CinemaScope-Color) Glenn Ford, Ingrid Thulin, Charles Boyer, Lee J. Cobb, Paul Henreid, Paul Lukas, Yvette Mimieux, Karl Boehm. Film ver- sion of the famed Vicente Blasco-Ibanez novel. A Julian Blaustein Production. V f “SWEET BIRD OF YOUTH” ( CinemaScope-Metrocolor) Paul Newman, Geraldine Page, Shirley Knight, Ed Begley, Rip Torn, Mildred “THE HORIZONTAL LIEUTENANT” Dunnock, Madeleine ( CinemaScope- Metrocolor) Sherwood. Film version of Jim Hutton, Paula Prentiss, Jack Carter, Jim the Tennessee Williams Backus, Charles McGraw, Myoshi Umeki. Comedy Broadway stage success. of a U.S. military “clean up” operation on a An Avon Production. Pacific island. A Euterpe Production. ' THROUGH IN 62 ! “MUTINY ON THE BOUNTY” ( Ultra Panavision- Metrocolor) Marlon Brando, Trevor Howard, Richard Harris, Hugh Griffith, Richard Hayden and Tarita. Spectacular sea adventure drama, based on trilogy of novels by Charles Nordoff and James Norman Hall. Filmed in the South Seas and on a replica of the great three masted sailing ship, HMS Bounty. An Areola Pictures Production. “A VERY PRIVATE AFFAIR” {Color) Brigitte Bardot and Marcello Mastroianni. Story of a French girl who achieves fame as a screen star. A Progefi- Cipra Production. “ALL FALL DOWN” Lva Marie Saint, Warren Beatty, Karl dalden, Lansbury, ! Angela Brandon deWilde. -
9781474458139 Vampires in It
VAMPIRES IN ITALIAN CINEMA, 1956–1975 66352_Guarneri.indd352_Guarneri.indd i 225/04/205/04/20 110:030:03 AAMM 66352_Guarneri.indd352_Guarneri.indd iiii 225/04/205/04/20 110:030:03 AAMM VAMPIRES IN ITALIAN CINEMA, 1956–1975 Michael Guarneri 66352_Guarneri.indd352_Guarneri.indd iiiiii 225/04/205/04/20 110:030:03 AAMM 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 cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © Michael Guarneri, 2020 Edinburgh University Press Ltd The Tun – Holyrood Road 12(2f) Jackson’s Entry Edinburgh EH8 8PJ Typeset in 10/12.5 pt Sabon by IDSUK (DataConnection) Ltd, and printed and bound in Great Britain A CIP record for this book is available from the British Library ISBN 978 1 4744 5811 5 (hardback) ISBN 978 1 4744 5813 9 (webready PDF) ISBN 978 1 4744 5814 6 (epub) The right of Michael Guarneri to be identifi ed as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988, and the Copyright and Related Rights Regulations 2003 (SI No. 2498). 66352_Guarneri.indd352_Guarneri.indd iivv 225/04/205/04/20 110:030:03 AAMM CONTENTS Figures and tables vi Acknowledgements viii Introduction 1 PART I THE INDUSTRIAL CONTEXT 1. The Italian fi lm industry (1945–1985) 23 2. Italian vampire cinema (1956–1975) 41 PART II VAMPIRE SEX AND VAMPIRE GENDER 3. -
Una Guía De Cine, Televisión, Literatura De Masas E Internet (1900-2012), Y Su Aprovechamiento En La Clase De
FACULTAD DE TRADUCCIÓN E INTERPRETACIÓN Programa de Doctorado: Español y su cultura: investigación, desarrollo e innovación. Hércules en la cultura popular contemporánea: una guía de cine, televisión, literatura de masas e internet (1900-2012), y su aprovechamiento en la clase de Español LE/L2 TESIS DOCTORAL Realizada por Dña. Mª Carmen Santana Alfonso V°B° Dr. D. Gregorio Rodríguez Herrera Las Palmas de Gran Canaria 2014 1 2 AGRADECIMIENTOS La realización de esta tesis me ha aportado un gran enriquecimiento cultural y, a pesar de que toda tesis conlleva una considerable dedicación, ha resultado ser una experiencia muy positiva. Es cierto que es un camino solitario, pero con la ayuda de las personas queridas se puede llevar a cabo. Es por ello que quiero mostrar mi agradecimiento a todas las personas de mi entorno que me han apoyado durante este difícil y largo proceso. Deseo agradecer a mi tutor y guía en esta tesis, el Dr. Gregorio Rodríguez Herrera, su atención, su apoyo y sus acertados consejos, pues sin su ayuda no habría sido posible la realización de este proyecto. Quiero expresar mi gratitud a mis familiares y, en especial, a mi pareja por su comprensión y su incondicional apoyo en los momentos más difíciles durante la elaboración de esta tesis. También transmito mi agradecimiento al personal de la Biblioteca Universitaria de esta universidad, a los profesores que se encargaron de repartir la encuesta a los estudiantes extranjeros de ERASMUS y a estos últimos por su participación y colaboración. 3 4 Índice 0. Introducción 11-13 1. Leyenda de Hércules 17-54 2. -
Harrison's Reports (1961)
. : at the post office at Tori:, the act of March 3, 1879. EnteredHarrison'sas second-class matter January 4, 1921, NewReportsYork, New under Yearly Subscription Rates: 1270 SIXTH AVENUE Published Weekly by Harrison's Reports, Inc., Unitedtt ^ Stateso» $15.00ik nn New York 20, N. Y. Publisher U. S. Insular Possessions. 17.00 p g HARRISON Canada and Mexico 17.00 A Motion Picture Reviewing Service Founder Great Britain, South Devoted Chiefly to the Interests of the Exhibitors WTNN LOEWBNTHA-L, America, Australia, Editor New Zealand, India, Europe, Asia 17.50 T ts Editorial Policy: No Problem Too Big for Its Editorial Establish ed July 1, 1919 35c a Copy Columns, if It is to Benefit the Exhibitor. Circle 7-4G22 A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM^ ADVERTISING Vol. XLIII SATURDAY, JANUARY 7, 1961 No. 1 EXHIBITORS STUDY THE 1960 Deborah Kerr captured the best-actress award for FAVORITES OF THE CRITICS her portrayal of the sheepherder's wife in "The Sun- The Committee on Exceptional Films of the downers." Burt Lancaster was named best-actor for National Board of Reviaw of Motion Pictures and his role as the revival preacher, "Elmer Gantry." the New York Film Critics are but two of various On the first best-picture ballot, "Elmer Gantry" re groups who recently announced their opinions of ceived two votes and "Sunrise at Campobello," "Exo- 1960s cinematic offerings. (Continued on Bac\ Page) The National Board's Committee selected "Sons and Lovers" (Twentieth Century-Fox) as the best JACK KIRSCH motion picture of 1960. The board also chose "The The motion picture industry suffered a great loss World of Apu" (Edward Harrison) as the best for' on December 30 when Jack Kirsch died after an ope- eign film shown here during the past year and voted ration for a critical illness. -
Dario Argento, 1970
Université Inter-âge | Cycle Cinéma italien | Séance du 14/01/2019 / Cyrielle VINCENT ([email protected]) L’Oiseau au plumage de cristal, Dario Argento, 1970 Générique technique Générique artistique Réalisation : Dario Argento Tony Musante : Sam Dalmas Scénario : Dario Argento, d’après le roman The Suzy Kendall : Julia Screaming Mimi de Fredric Brown Enrico Maria Salerno : Inspecteur Morosini Production : Salvatore Argento, Artur Brauner Eva Renzi : Monica Ranieri Sociétés de production: Central Cinema Umberto Raho : Alberto Ranieri Company Film, Glazier, Seda Spettacoli Renato Romano : professeur Carlo Dover Musique : Ennio Morricone Reggie Nalder : L’homme en jaune Photographie : Vittorio Storaro Giuseppe Castellano : Monti Montage : Franco Fraticelli Autres acteurs :Pino Patti (Faiena), Gildo Di Décors et costumes : Dario Micheli Marco (Garullo), Rosita Torosh (Quatrième Budget : 500 000 dollars victime), Omar Bonaro (inspecteur de po- lice), Fulvio Mingozzi (inspecteur de police), Werner Peters (l’antiquaire), Karen Valenti (Tina, la cinquième victime) Pays de production : Italie, Allemagne Sortie le 19 février 1970 (Italie) et le 20 juin 1971 (France) Couleurs / 2,35:1 / Mono / 35 mm Durée : 98 minutes Genre : horreur, policier, thriller Dans ce dossier, les images n’ayant pas de légende sont extraites du film L’Oiseau au plumage de cristal de Dario Argento 1 Université Inter-âge | Cycle Cinéma italien | Séance du 14/01/2019 / Cyrielle VINCENT ([email protected]) Le cinéma italien : grandeur du cinéma de genre Le renouveau du péplum précédé. Pour se rendre compte de l’ampleur En 1954, le cinéma italien fait face à une cri- du phénomène, il suffit de regarder l’introduc- se suite à la suspension de la loi Andreotti qui tion parodique de « La Tentation du Docteur An- laisse un vide législatif quant à l’importation du tonio » de Boccace 70 (Fellini, 1962) présentant cinéma étranger. -
University of Southampton Research Repository Eprints Soton
University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis 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 cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk University of Southampton Faculty of Humanities Film Heroic Masculinities: Evolution and Hybridisation in the Peplum Genre by Daniel O’Brien Thesis for the degree of Doctor of Philosophy May 2012 1 2 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES FILM Doctor of Philosophy HEROIC MASCULINITIES: EVOLUTION AND HYBRIDISATION IN THE PEPLUM GENRE by Daniel Patrick O’Brien My area of research is the peplum, a cycle of mythological action films produced in Italy from 1957 to 1965, and its influence on both contemporaneous and subsequent filmic depictions of mythical heroes. I argue that this genre is a significant cinematic form which has been marginalised in the fields of film and cultural studies. My thesis reassesses the peplum in terms of its representations of heroic masculinity and the ways in which these relate to wider debates on masculinity. -
Catalogo Fantafestival 2015
FANTA FESTIVAL 2015 FANTAFESTIVAL ROMA multisala Barberini 22|29 giugno Nel Blu Studios 7|9 luglio Chiostro di S. Pietro in Vincoli 20|24 luglio sala Trevi 8|11 settembre Ministero Per 35.FAntAFESTIVAL Catalogo a cura di Si ringrazia i Beni e Le Attività Alberto ravaglioli 20th Century Fox CuLturALi Direttori Dario Argento Ministro Adriano Pintaldi & Laura Argento Dario Franceschini Alberto ravaglioli Immagine 2015 Maria Armenia Maria teresa Pizzetti Marcello Avallone Barbara Bouchet Direzione Generale Comitato promotore Grafica resy Bruletti per il Cinema Dario Argento Benedetta Gavazzi Marco Capitelli Pupi Avati Marco Cocco Direttore Generale Lamberto Bava Stampa Armando Corridore nicola Borrelli Mel Brooks Page service Marcello Crescenzi [Darth roger Corman selegrafica 80 von trier] Lloyd Kaufman 4Graph Michele De Angelis George A.romero osvaldo De santis e il FAntAFESTIVAL è arrivato al trentacinquesimo anno. steve Della Casa vittorio storaro Sito www.fanta-festival.it a cura di Alberto Farina CENTRO sPeriMentALe Marcello rossi e Marcello Foti edizioni sono proprio tante, soprattutto se viste da chi organizza questa manifestazione dal suo inizio e che Di CineMATOGrAFiA Giuria del 35.Fantafestival Alberto ravaglioli tino Franco Premio PiPistrello d’oro Alba Gandolfo è cresciuto con lei. Fra alti e bassi, crisi e rifondazioni, ma sempre sforzandosi di mantenere quello standard Presidente Marcello Crescenzi Sviluppo web Massimo Gazzè stefano rulli (Diarth von trier) emiliano spada Marco Giusti qualitativo elevato, in linea con le maggiori manifestazioni analoghe a livello europeo e mondiale. Marta Montino simone Jacoella e questo sforzo ha premiato, vista la stima che il festival gode da parte delle istituzioni internazionali, i produttori, i filmakers Luca rea Social Media Manager Bruno Lo turco 35 Direttore Generale Marcello Foti Clarissa Diana Paolo Luciani e tutti coloro con i quali ci confrontiamo. -
SLAV-T230 Vampire F2018 Syllabus-Holdeman-Draft
The Vampire in European and American Culture Dr. Jeff Holdeman SLAV-T230 13119 (SLAV) (please call me Jeff) SLAV-T230 13807 (HHC section) GISB East 4041 Fall 2018 812-855-5891 (office) TR 4:00–5:15 pm Office hours (GA 4041): Classroom: HU 108 * Mon. and Tues. 2:15–3:15 pm in BH 008 carries CASE A&H, GCC; GenEd A&H, WC * and by appointment (just ask!!!) * e-mail me beforehand to reserve a time * It is always best to schedule an appointment. [email protected] 812-335-9868 (home) This syllabus is available in alternative formats upon request. Overview The vampire is one of the most popular and enduring images in the world, giving rise to hundreds of monster movies around the globe every year, not to mention novels, short stories, plays, TV shows, and commercial merchandise. Yet the Western vampire image that we know from the film, television, and literature of today is very different from its eastern European progenitor. Nina Auerbach has said that "every age creates the vampire that it needs." In this course we will explore the eastern European origins of the vampire, similar entities in other cultures that predate them, and how the vampire in its look, nature, vulnerabilities, and threat has changed over the centuries. This approach will provide us with the means to learn about the geography, village and urban cultures, traditional social structure, and religions of eastern Europe; the nature and manifestations of Evil and the concept of Limited Good; physical, temporal, and societal boundaries and ritual passage that accompany them; and major historical and intellectual periods (the settlement of Europe, the Age of Reason, Romanticism, Neo-classicism, the Enlightenment, the Victorian era, up to today). -
Scarica Il Catalogo 2013
Fondatori Paolo Ferrari Roma Capitale Presidente Regione Lazio Provincia di Roma Lamberto Mancini Camera di Commercio di Roma Direttore Generale Fondazione Musica per Roma Marco Müller Collegio dei Fondatori Direttore Artistico Giancarlo Cremonesi Presidente del Collegio Presidente della Camera di Commercio di Roma Ignazio Marino Comitato di selezione Sindaco di Roma Capitale Concorso, Fuori Concorso, CinemaXXI, Nicola Zingaretti Prospettive Doc Italia Presidente della Regione Lazio Laura Buffoni Riccardo Carpino Marie-Pierre Duhamel Commissario Straordinario Massimo Galimberti della Provincia di Roma Manlio Gomarasca Aurelio Regina Sandra Hebron Presidente della Fondazione Musica per Roma Giona A. Nazzaro Mario Sesti Consiglio di Amministrazione Responsabile Ufficio Cinema Paolo Ferrari, Presidente Alessandra Fontemaggi Leonardo Catarci Carlo Fuortes Consulenti Massimo Ghini Chen Zhiheng Michele Lo Foco Isa Cucinotta Andrea Mondello Deepti D’Cunha Elma Hadzirdezepovic Tataragic Collegio dei Revisori dei Conti Babak Karimi Roberto Mengoni, Presidente Diego Lerer Massimo Gentile, Revisore Effettivo Paolo Moretti Giovanni Sapia, Revisore Effettivo Aliona Shumakova Maurizio Branco, Revisore Supplente Tomita Mikiko Marco Buttarelli, Revisore Supplente Direttore Generale Lamberto Mancini mibac2.pdf 01/09/2009 16.36.02 Il Ministero dei Beni e delle Attività culturali e del Turismo è il dicastero del Governo Italiano preposto alla tutela della cultura e dello spettacolo, alla conservazione e valorizzazione del patrimonio artistico e culturale e allo sviluppo del Turismo, un insieme di aspetti che, oltre a rappresentare l’identità culturale italiana, sono fattori rilevanti di crescita e di competitività per il Paese. Per svolgere tali C attività, il MiBACT si fa garante di un’attenta azione di conservazione M e tutela, unitamente ad un’efficacia politica di valorizzazione e promozione. -
I Testi Della Paura E Dell'incubo
I testi della paura e dell’incubo. Il cinema horror italiano dal 1960 al 1980. by Carlo Coen A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Italian Studies University of Toronto © Copyright by Carlo Coen, 2013 I testi della paura e dell’incubo. Il cinema horror italiano dal 1960 al 1980. Carlo Coen Doctor of Philosophy Department of Italian Studies University of Toronto 2013 Abstract Between 1960 and 1970 Italy undergoes a major anthropological change, triggered by the mass migration to the industrialized cities of the North from the rural areas that had been the cradle of an old and profoundly rooted culture. In this historical frame, the Italian film industry becomes the most powerful and successful in Europe, starting a period of dominance and unparalleled growth that lasted almost twenty years. Genre films represent the backbone of the industry, and horror films, even though not the majority in numeric terms, become a significant section of the Italian production; Italian horror films establish and define new trends for the genre, largely imitated and admired. The thesis analyzes and discusses these films against the broader background of the years spanning from 1960 to 1980. The most important theoretical issues concerning the subject of the research are dealt with in Chapter one, where intertextuality is viewed as the most stimulating characteristic of the genre. Through the analysis of the Gothic tradition and the enumeration of several semantic elements linked to the genre, the thesis finds in the concepts of authorship and parody its essential critical tools for the following chapters.