Erri De Luca & Edoardo Ponti
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It 2.007 Vc Italian Films On
1 UW-Madison Learning Support Services Van Hise Hall - Room 274 rev. May 3, 2019 SET CALL NUMBER: IT 2.007 VC ITALIAN FILMS ON VIDEO, (Various distributors, 1986-1989) TYPE OF PROGRAM: Italian culture and civilization; Films DESCRIPTION: A series of classic Italian films either produced in Italy, directed by Italian directors, or on Italian subjects. Most are subtitled in English. Individual times are given for each videocassette. VIDEOTAPES ARE FOR RESERVE USE IN THE MEDIA LIBRARY ONLY -- Instructors may check them out for up to 24 hours for previewing purposes or to show them in class. See the Media Catalog for film series in other languages. AUDIENCE: Students of Italian, Italian literature, Italian film FORMAT: VHS; NTSC; DVD CONTENTS CALL NUMBER Il 7 e l’8 IT2.007.151 Italy. 90 min. DVD, requires region free player. In Italian. Ficarra & Picone. 8 1/2 IT2.007.013 1963. Italian with English subtitles. 138 min. B/W. VHS or DVD.Directed by Frederico Fellini, with Marcello Mastroianni. Fellini's semi- autobiographical masterpiece. Portrayal of a film director during the course of making a film and finding himself trapped by his fears and insecurities. 1900 (Novocento) IT2.007.131 1977. Italy. DVD. In Italian w/English subtitles. 315 min. Directed by Bernardo Bertolucci. With Robert De niro, Gerard Depardieu, Burt Lancaster and Donald Sutherland. Epic about friendship and war in Italy. Accattone IT2.007.053 Italy. 1961. Italian with English subtitles. 100 min. B/W. VHS or DVD. Directed by Pier Paolo Pasolini. Pasolini's first feature film. In the slums of Rome, Accattone "The Sponger" lives off the earnings of a prostitute. -
Presentazione Standard Di Powerpoint
Agnus Dei Tiziana Rocca Production WHO , WHAT AND WHEN: The 60th Taormina Film Festival will be held June 14 - 21, 2014. The prestigious event takes place in Taormina's 2,300 year old Greco-Roman amphitheater on the east coast of the island of Sicily, Italy, overlooking the Mediterranean Sea. As Italy's oldest festival, the Taormina Film Festival has been host to many legendary stars such as Russell Crowe, Meg Ryan, Sophia Loren and Robert De Niro. In 2013, this charming and exclusive event found new leadership in Director, Mario Sesti, formerly part of the direction of Rome Film Festival and General Manager, Tiziana Rocca, one of the most important and well-known public relations specialists in Italy. GRANDE CINEMA AT THE THEATRO ANTICO: Highlights of the festival that attracts tourists as well as festival-goers are screenings of major first-run films in Taormina's 2,300 year old Greco-Roman amphitheater, capable of hosting up to 5,000 spectators. The programming is eclectic, entertaining and aimed at attracting large audiences. Classic genres such as comedy and horror, represent the old style of productions that were once held at Theatro Antico so many years ago. MASTER CLASS: Some of the festival's most exciting moments occur during Taormina's renowned Master Classes. Held every day at Palazzo dei Congressi of Taormina, elite actors and directors in the world of cinema share their experience and expertise with the audience of festival attendees and journalists. Russell Crowe, Meg Ryan, Jeremy Irons, Oliver Stone, Terry Gilliam, Sophia Loren and Marisa Tomei are only a few names of previous participants who have made this an unforgettable event. -
La Voix Humaine: a Technology Time Warp
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2016 La Voix humaine: A Technology Time Warp Whitney Myers University of Kentucky, [email protected] Digital Object Identifier: http://dx.doi.org/10.13023/ETD.2016.332 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Myers, Whitney, "La Voix humaine: A Technology Time Warp" (2016). Theses and Dissertations--Music. 70. https://uknowledge.uky.edu/music_etds/70 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. -
The Inventory of the Richard Roud Collection #1117
The Inventory of the Richard Roud Collection #1117 Howard Gotlieb Archival Research Center ROOD, RICHARD #1117 September 1989 - June 1997 Biography: Richard Roud ( 1929-1989), as director of both the New York and London Film Festivals, was responsible for both discovering and introducing to a wider audience many of the important directors of the latter half th of the 20 - century (many of whom he knew personally) including Bernardo Bertolucci, Robert Bresson, Luis Buiiuel, R.W. Fassbinder, Jean-Luc Godard, Werner Herzog, Terry Malick, Ermanno Ohni, Jacques Rivette and Martin Scorsese. He was an author of books on Jean-Marie Straub, Jean-Luc Godard, Max Ophuls, and Henri Langlois, as well as the editor of CINEMA: A CRITICAL DICTIONARY. In addition, Mr. Roud wrote extensive criticism on film, the theater and other visual arts for The Manchester Guardian and Sight and Sound and was an occasional contributor to many other publications. At his death he was working on an authorized biography of Fran9ois Truffaut and a book on New Wave film. Richard Roud was a Fulbright recipient and a Chevalier in the Legion of Honor. Scope and contents: The Roud Collection (9 Paige boxes, 2 Manuscript boxes and 3 Packages) consists primarily of book research, articles by RR and printed matter related to the New York Film Festival and prominent directors. Material on Jean-Luc Godard, Francois Truffaut and Henri Langlois is particularly extensive. Though considerably smaller, the Correspondence file contains personal letters from many important directors (see List ofNotable Correspondents). The Photographs file contains an eclectic group of movie stills. -
Festival Centerpiece Films
50 Years! Since 1965, the Chicago International Film Festival has brought you thousands of groundbreaking, highly acclaimed and thought-provoking films from around the globe. In 2014, our mission remains the same: to bring Chicago the unique opportunity to see world- class cinema, from new discoveries to international prizewinners, and hear directly from the talented people who’ve brought them to us. This year is no different, with filmmakers from Scandinavia to Mexico and Hollywood to our backyard, joining us for what is Chicago’s most thrilling movie event of the year. And watch out for this year’s festival guests, including Oliver Stone, Isabelle Huppert, Michael Moore, Taylor Hackford, Denys Arcand, Liv Ullmann, Kathleen Turner, Margarethe von Trotta, Krzysztof Zanussi and many others you will be excited to discover. To all of our guests, past, present and future—we thank you for your continued support, excitement, and most importantly, your love for movies! Happy Anniversary to us! Michael Kutza, Founder & Artistic Director When OCTOBEr 9 – 23, 2014 Now in our 50th year, the Chicago International Film Festival is North America’s oldest What competitive international film festival. Where AMC RIVER EaST 21* (322 E. Illinois St.) *unless otherwise noted Easy access via public transportation! CTA Red Line: Grand Ave. station, walk five blocks east to the theater. CTA Buses: #29 (State St. to Navy Pier), #66 (Chicago Red Line to Navy Pier), #65 (Grand Red Line to Navy Pier). For CTA information, visit transitchicago.com or call 1-888-YOUR-CTA. Festival Parking: Discounted parking available at River East Center Self Park (lower level of AMC River East 21, 300 E. -
La Scorta Dear Moviegoer, Are You Tired of the Explosions and Broken
La Scorta Dear Moviegoer, are you tired of the explosions and broken glass of True Lies , Speed, Blown Away, and Clear and Present Danger ? Weary of the cartoon characters and cartoon plots of movies like Maverick,The Mask, or Baby’s Day Out ? Ready for some real adult (no, I don’t mean that kind of “adult”) entertainment with real tension, pace and motivation which is modeled carefully on actual events? Then try La Scorta (“The Escort”), an outstanding Italian film from a director who is one to watch. La Scorta, directed by Ricky Tognazzi, is as fresh and vivid as the Italian crime headlines of the last few years, due in great part to its being based on the real experiences of one Francesco Taurisano as an investigating magistrate (called a “judge” in the sub-titles) in Sicily during the late 1980’s. It is such judges, at least the honorable ones, who have become the target of Mafia hit men as they plumbed closer and closer to the heart of Cosa Nostra operations. The most infamous of these assassinations was that of the anti-Mafia Judge Giovanni Falcone, killed in a car bomb in May 1992. This is not, then, a world of facile and meaningless blow-’em-ups where Schwarzenegger or Stallone dwell, but the real, nasty thing, happening in one of Europe’s established democracies. The film follows four policemen who find themselves assigned as the protective escort for one of these investigating magistrates working in the town of Trapani, in the far northwest corner of Sicily. -
« Le Théâtre Libéré De Prague. V. & W. »
Document generated on 09/26/2021 5:03 a.m. Jeu Revue de théâtre « Le Théâtre Libéré de Prague. V. & W. » Michel Vaïs Théâtre-femmes Number 66, 1993 URI: https://id.erudit.org/iderudit/29529ac See table of contents Publisher(s) Cahiers de théâtre Jeu inc. ISSN 0382-0335 (print) 1923-2578 (digital) Explore this journal Cite this article Vaïs, M. (1993). « Le Théâtre Libéré de Prague. V. & W. ». Jeu, (66), 110–112. Tous droits réservés © Cahiers de théâtre Jeu inc., 1993 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Michel Vaïs «Le Théâtre Libéré de Prague. V. & W. » Essai de Danièle Monmarte. Préface de Vâclav Havel; postface de Denis Bablet. Paris, Institut d'études slaves, 1991, 288 p., ill. De 1925 à 1938 a existé à Prague un regroupement de joyeux lurons qui a pris le nom de Osvobozené divadlo, ou Théâtre Libéré. Ses principales sources d'inspiration furent Vsevolod Meyerhold et la biomécanique, l'autre metteur en scène russe important de la même époque, Alexandre Taïrov1, mais aussi des courants dérivés ou rattachés d'une manière ou d'une autre à ces personnages : poétisme et constructivisme, futurisme et surréalisme première manière (celle d'Apollinaire), sans oublier Dada, bien évidemment (Tristan Tzara faisait publier des traductions tchèques de ses ouvrages à Prague, avant même qu'ils paraissent en France). -
43E Festival International Du Film De La Rochelle Du 26 Juin Au 5 Juillet 2015 Le Puzzle Des Cinémas Du Monde
43e Festival International du Film de La Rochelle du 26 juin au 5 juillet 2015 LE PUZZLE DES CINÉMAS DU MONDE Une fois de plus nous revient l’impossible tâche de synthétiser une édition multiforme, tant par le nombre de films présentés que par les contextes dans lesquels ils ont été conçus. Nous ne pouvons nous résoudre à en sélectionner beaucoup moins, ce n’est pas faute d’essayer, et de toutes manières, un contexte économique plutôt inquiétant nous y contraint ; mais qu’une ou plusieurs pièces essentielles viennent à manquer au puzzle mental dont nous tentons, à l’année, de joindre les pièces irrégulières, et le Festival nous paraîtrait bancal. Finalement, ce qui rassemble tous ces films, qu’ils soient encore matériels ou virtuels (50/50), c’est nous, sélectionneuses au long cours. Nous souhaitons proposer aux spectateurs un panorama généreux de la chose filmique, cohérent, harmonieux, digne, sincère, quoique, la sincérité… Ambitieux aussi car nous aimons plus que tout les cinéastes qui prennent des risques et notre devise secrète pourrait bien être : mieux vaut un bon film raté qu’un mauvais film réussi. Et enfin, il nous plaît que les films se parlent, se rencontrent, s’éclairent les uns les autres et entrent en résonance dans l’esprit du festivalier. En 2015, nous avons procédé à un rééquilibrage géographique vers l’Asie, absente depuis plusieurs éditions de la programmation. Tout d’abord, avec le grand Hou Hsiao-hsien qui en est un digne représentant puisqu’il a tourné non seulement à Taïwan, son île natale mais aussi au Japon, à Hongkong et en Chine. -
Walt Disney and Animation
Name: _________________________ Walt Disney and Animation Directions: Read the passage and answer the questions. Fascinating facts about Walt Disney, Inventor of the Multiplane Camera in 1936. From http://www.ideafinder.com/history/inventors/disney.htm AT A GLANCE: Walt Disney, inventor of the multiplane camera in 1936, is a legend and a folk hero of the 20th century. His worldwide popularity is based upon the ideas his name represents: imagination, optimism, and self-made success in the American tradition. Through his work he brought joy, happiness, and a universal means of communication. Inventor: Walter Elias Disney Criteria: First to invent. First to patent. Entrepreneur.. Birth: December 5, 1901 in Chicago, Illinois. Death: December 16, 1966 Nationality: American Invention: Multiplane Camera in 1936 Function: noun / still frame motion picture camera Definition: Disney’s invention of the multiplane camera brought better looking, richer animation and in 1937, Snow White and the Seven Dwarfs was the first full-length animated film to use the camera. Patent: 2,201,689 (US) issued May 21, 1940 Milestones: 1923 An aspiring cartoonist leaves for Hollywood 1924 Partnered with older brother Roy, and the Disney Brothers Cartoon Studio was officially born. 1928 First Mickey Mouse sound cartoon "Steamboat Willie" released on November 18, in New York. 1930 Mickey made his debut merchandising appearance on pencil tablets, books and comic strips 1936 Walt invents Multiplane Camera to improve the filming quality of his first picture film. 1937 First full-length animated film "Snow White and the Seven Dwarfs" was released. 1954 "Disneyland" anthology series premiered on network television. -
Memory and Film
MEMORY AND FILM Cinema is obsessed with memory. Time, memory and the past are thematic threads which run through the whole range of film, persistently recurring in national cinemas across the international spectrum. From the popularist mainstream to the obscurest avant-garde – from Steven Spielberg to Andrey Tarkovsky, Alfred Hitchcock to Jean Cocteau, David Lynch to Wong Kar-Wai – it’s difficult to think of a major film artist who hasn’t explored the theme of time, memory and the past. The medium exhibits properties which makes a focus on memory attractive to cinema. The frisson of film, its actuality quality, its ability to pinpoint a moment of time visually and aurally with a visceral immediacy difficult for other mediums. Yet also the sweep of cinema, its ability to move through time and space with the momentum of montage and the evocation of flashback. Cinema can give us an entire life in a few seconds. The fleeting mental images cinema is able to summon – the pictures in the fire – resemble the process of recall itself. Cinema is protective of memory and its veracity. Many films harbour deep suspicion of experiments with memory –Eternal Sunshine of the Spotless Mind (Condry, 2004) and Minority Report (Spielberg, 2002) are examples. I can only think of one movie which guardedly approves of experiments with memory and recall 2 being of potential benefit to mankind – Wim Wenders’ Until the End of the World (1991). Living vicariously through the recall of others is negatively portrayed in dystopian post-apocalyptic narratives such as Blade Runner (Scott, 1982), Strange Days (Bigelow, 1995) and Johnny Mnemonic (Longo, 1996). -
Uw Cinematheque Announces Fall 2012 Screening Calendar
CINEMATHEQUE PRESS RELEASE -- FOR IMMEDIATE RELEASE AUGUST 16, 2012 UW CINEMATHEQUE ANNOUNCES FALL 2012 SCREENING CALENDAR PACKED LINEUP INCLUDES ANTI-WESTERNS, ITALIAN CLASSICS, PRESTON STURGES SCREENPLAYS, FILMS DIRECTED BY ALEXSEI GUERMAN, KENJI MISUMI, & CHARLES CHAPLIN AND MORE Hot on the heels of our enormously popular summer offerings, the UW Cinematheque is back with the most jam-packed season of screenings ever offered for the fall. Director and cinephile Peter Bogdanovich (who almost made an early version of Lonesome Dove during the era of the revisionist Western) writes that “There are no ‘old’ movies—only movies you have already seen and ones you haven't.” With all that in mind, our Fall 2012 selections presented at 4070 Vilas Hall, the Chazen Museum of Art, and the Marquee Theater at Union South offer a moveable feast of outstanding international movies from the silent era to the present, some you may have seen and some you probably haven’t. Retrospective series include five classic “Anti-Westerns” from the late 1960s and early 70s; the complete features of Russian master Aleksei Guerman; action epics and contemplative dramas from Japanese filmmaker Kenji Misumi; a breathtaking survey of Italian Masterworks from the neorealist era to the early 1970s; Depression Era comedies and dramas with scripts by the renowned Preston Sturges; and three silent comedy classics directed by and starring Charles Chaplin. Other Special Presentations include a screening of Yasujiro Ozu’s Dragnet Girl with live piano accompaniment and an in-person visit from veteran film and television director Tim Hunter, who will present one of his favorite films, Tsui Hark’s Shanghai Blues and a screening of his own acclaimed youth film, River’s Edge. -
SCENE 6: VANYA WE LICKED POSTAGE STAMPS! We Didn't Have
SCENE 6: VANYA WE LICKED POSTAGE STAMPS! We didn't have answering machines. You had to call people back. (MASHA moves away.) , We ate Spam, just like the soldiers in World War II did. (to SPIKE) Have you heard of World War II? We played Scrabble and Monopoly. We didn't play video games, in some virtual reality, where we would kill policeman and prostitutes as if that was some sort of entertainment. The popular entertainment wasn't so insane back then. It was sometimes corny, but sincere. We all saw the movie "Davy Crockett" and wore coonskin caps. That may not sound sane, wearing those caps, but it was very innocent. And we all did it, there was a solidarity about it, unlike being alone in your room killing prostitutes in a video game. We followed The Adventures of Ozzie and Harriet. Which starred the real life Ozzie and Harriet Nelson.But "Adventures" was a strange word for the show because it was extremely uneventful. They did things like ...make popcorn in the kitchen. Or ...Iook for missing socks. In retrospect they seemed medicated. It was a stupid show, but it was calming. You didn't feel it was stirring people up and creating serial killers. I'm sorry I'm getting off the point. But my point is the 50s were idiotic but I miss parts of them. When I was 13 I saw Goldfingerwith Sean Connery as James Bond, and I didn't get the meaning of the character name of "Pussy Galore." Went right over my head.