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Before the Forties
Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY -
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. -
Crowdsourcing Memories and Artefacts to Reconstruct Italian Cinema History: Micro- Histories of Small-Town Exhibition in the 1950S
. Volume 16, Issue 1 May 2019 Crowdsourcing memories and artefacts to reconstruct Italian cinema history: Micro- histories of small-town exhibition in the 1950s Daniela Treveri Gennari, Oxford Brookes University, UK Sarah Culhane, Maynooth University, Ireland Abstract: In the mid-1950s, cinema was Italy’s second most important industry (Wagstaff 1995: 97). At its peak, the country’s exhibition circuit boasted some 8,000 cinemas (Quaglietti 1980). Despite the important role that cinema played within the social, cultural and economic fabric of 1950s Italy, we know relatively little about the workings of the distribution and exhibition networks across urban and rural contexts. We know even less about the individuals whose working lives and family businesses depended on the cinema industry. This article uses micro-history case studies to explore some of the broader questions associated with the history of film exhibition and distribution in 1950s Italy. We use both the oral history testimonies collected during the AHRC-funded Italian Cinema Audiences project (www.italiancinemaaudiences.org) and the crowdsourced digital artefacts donated by members of the general public during the creation of CineRicordi (www.cinericordi.it), an online archive that allows users to explore the history of Italian cinema-going. Building on the oral histories gathered for the Italian Cinema Audiences project, this archive integrates the video-interviews of 160 ordinary cinema-goers with public and private archival materials. With this article, we aim to explore the ‘relationship between image, oral narrative, and memory’ (Freund and Thomson 2011: 4), where - as Freund and Thomson describe – ‘words invest photographs with meaning’ (2011: 5). -
Length in Mina. Length in Nins. METRO-GOLDWYN-MAYER. (R
Length Length In Mina. In Nins. HOTEL 124 HOW TO MAKE A MONSTER 75 WARNER BROS. (R) March, 1967. Rod Taylor, Catherine AMERICAN INTERNATIONAL. (R) July, 1968. Robert Spaak. Color. Harris, Paul Brinegar. HOTEL PARADISO (P) 100 HOW TO MURDER A RICH UNCLE 80 METRO-GOLDWYN-MAYER. (R) November, 1966. Alec Guin- COLUMBIA. (R) January, 1958. Charles Coburn, Migel Patrick ness, Gina Lollobrigida. Color. HOW TO MURDER YOUR WIFE 118 HOUND OF THE BASKERVILLES 64 UNITED ARTISTS. (R) February, 1965. Jack Lemmon, Virna UNITED ARTISTS. (R) June, 1959. Peter Cushing. Lisi. Color. HOUND DOG MAN (Cs) 87 HOW TO SAVE A MARRIAGE -AND RUIN YOUR LIFE (P) 108 TWENTIETH CENTURY-FOX. (R) November, 1959. Fabian, COLUMBIA. (R) March, 1968. Dean Martin, Stella Stevens. Carol Lynley. Color. Color. HOUR OF DECISION (Belt.) 74 HOW TO SEDUCE A WOMAN 106 ASTOR. (R) January, 1957. Jeff Morrow, Hazel Court. CINERAMA. (R) January, 1974. Angus Duncan, Angel Tompkins. HOUR OF THE GUN (R) 100 UNITED ARTISTS. (R) October, 1967. James Garner, Jason HOW TO STEAL A MILLION (P) 127 Robards. Color. 20th CENTURY -FOX. (R) August, 1966. Audrey Hepburn, Peter O'Toole. Color. HOUR THE WOLF (Swed.) 88 OF HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING (P) . 119 LOPERT. (R) April, 1968. Liv Ullmann, Max von Sydow. UNITED ARTISTS. (R) March, 1967. Robert Morse, Michele HOURS OF LOVE, THE (Md. English Titles) 89 Lee. Color. CINEMA V. (R) September, 1965. Vgo Tognazzi, Emmanuela HOW TO STUFF A WILD BIKINI 90 Riva. AMERICAN INTERNATIONAL. (R) July, 1965. Annette HOUSE IS NOT A HOME, A 90 Funicello, Dwayne Hickman. -
Pdf Ennio Flaiano Y Rafael Azcona: Historia De Un Universo Compartido / Giovanna Zanella Leer Obra
Università degli Studi di Udine Ennio Flaiano y Rafael Azcona Historia de un universo compartido Giovanna Zanella Memoria de Licenciatura Facultad: Lengua y Literatura extranjera Directora: Dott. Renata Londero 2000-2001 UNIVERSITÀ DEGLI STUDI DI UDINE FACOLTÀ DI LINGUE E LETTERATURE STRANIERE Corso di Laurea in Lingue e Letterature Straniere Tesi di Laurea ENNIO FLAIANO Y RAFAEL AZCONA HISTORIA DE UN UNIVERSO COMPARTIDO Relatore: Laureanda: Dott. Renata Londero Giovanna Zanella ANNO ACCADEMICO 2000-2001 AGRADECIMIENTOS Durante la realización del presente trabajo he estado principalmente en la Universidad de Alicante, donde he podido contar en todo momento con la valiosa colaboración y los imprescindibles consejos de Juan Antonio Ríos, y con la disponibilidad de la Biblioteca Virtual Miguel de Cervantes, que precisamente este año ha abierto un portal de autor dedicado a Rafael Azcona (consultable en cervantesvirtual.com), cuyo material ha sido fundamental para mi estudio. Asimismo, por lo que concierne el material sobre Ennio Flaiano, he utilizado las numerosas publicaciones de la “Associazione Culturale Ennio Flaiano” de Pescara, cuyos volúmenes siempre han sido el apoyo más valioso en toda investigación sobre la figura y la obra del italiano. Por lo que respecta a la difícil labor de conseguir películas de los años 50, 60 y 70, tengo que agradecer a Cristina Ros de la Universidad de Alicante por haberme ofrecido la oportunidad de ver El Anacoreta, de Juan Esterlich; a la “Cineteca del Friuli”, que me ha facilitado la visión de La cagna de Marco Ferreri; al “Laboratorio Cinema e Multimedia” de la Universidad de Udine y a la “Filmoteca del Museo” de la Universidad de Alicante. -
Bruno Piattelli.Pdf
The Italian designer, one of the founders of Made in Italy BIOGRAPHY The Italian designer, one of the founders of Made in Italy BIOGRAPHY Born and raised in Rome, Piattelli attended the well-known Visconti “liceo” there before continuing his stu- dies, in law, at the Roman La Sapienza Univerity. He began his career helping in his father’s atelier in Piazza S. Sylvestro in Rome, which, when he started, already had a select and international clientele. Within only a few years time, Piattelli’s work was noticed by clothing and fabric manufacturers which lead to collaboration with important domestic and international fashion houses. Contracts were signed with: D’Avenza, Ellesse, Petronius, Lanerossi and Sanremo. He designed collections for Burberry’s of London and D’Urban of Tokyo. He collaborated with the NASA Space Mission designing knitwear for the astronauts. He created the uniforms for Zambia Airlines male and female flight attendants and for the hostesses of Dunhill of London. He made the uniforms for Alitalia’s male ground personnel and he dressed the Italian National Olympic Teams in Mexico City in 1968 and Atlanta in 1996. Piattelli Corners were opened in some of the most prestigious luxury department stores and shops such as Liberty’s in London, Barney’s in New York, Louis in Boston, The Executive in Johannesburg in South Africa. In Asia, Piattelli Corners were opened Hong Kong, Bangkok and Tokyo in Takashimaya, Mitsukoshi and Sei- bu luxury department stores. An invitation from the government of the Chinese People’s Republic to do a study of the clothing manufac- turing industry lead to a new adventure – a joint venture with the clothing manufacturing industry in China. -
L'immagine Di Roma Nel Cinema
EDUCARE ALLE MOSTRE EDUCARE ALLA CITTÀ PROGETTO INFORMATIVO PER I DOCENTI INCONTRO | L’IMMAGINE DI ROMA NEL CINEMA Museo dell’Ara Pacis – Auditorium | mercoledì 9 novembre 2011, h 16.00 FILMOGRAFIA SU ROMA SCIPIONE L'AFRICANO Anno: 1937 Regista: Carmine Gallone Attori: Annibale Ninchi, Carlo Lombardi, Camillo Pillotto, Isa Mirando, Lamberto Ricasso, Memo Benassi ROMA CITTÀ APERTA Anno: 1945 Regista: Roberto Rossellini Attori: Anna Magnani, Aldo Fabrizi QUO VADIS? Anno: 1951 Regista: Mervin LeRoy Attori: Peter Ustinov, Robert Taylor, Leo Genn, Deborah Kerr TOTÒ E I RE DI ROMA Anno: 1951 Regista: Steno, Mario Monicelli Attori: Totò, Anna Carena, Alberto Sordi, Aroldo Tieri LE RAGAZZE DI PIAZZA DI SPAGNA Anno: 1952 Regista: Luciano Emmer Attori: Eduardo De Filippo, Marcello Mastroianni, Lucia Bosè, Cosetta Greco, Liliana Bonfatti GIULIO CESARE Anno: 1953 Regista: Joseph Mankiewicz Attori: Marlon Brando, James Mason, Louis Calhern VACANZE ROMANE Anno: 1953 Regista: William Wyler Attori: Gregory Peck, Audrey Hepbourn LA ROMANA Anno: 1954 Regista: Luigi Zampa Attori: Gina Lollobrigida, Franco Fabrizi UN AMERICANO A ROMA Anno: 1954 Regista: Steno Attori: Alberto Sordi LA BELLA DI ROMA Anno: 1955 Regista: Luigi Comencini Attori: Alberto Sordi, Silvana Pampanini, Paolo Stoppa RACCONTI ROMANI Anno: 1955 Regista: Gianni Franciolini Attori: Totò, Vittorio De Sica, Silvana Pampanini, Franco Fabrizi, Aldo Giuffrè, Mario Carotenuto LA DOLCE VITA Anno: 1960 Regista: Federico Fellini Attori: Marcello Mastroianni, Anita Ekberg UN AMORE A ROMA Anno: 1960 -
Masculinity, Stardom, and Italian Cinema 1. the Actresses Listed Were Margherita Buy, Claudia Gerini, and Cristiana Capotondi
Notes Introduction Trouble Men: Masculinity, Stardom, and Italian Cinema 1. The actresses listed were Margherita Buy, Claudia Gerini, and Cristiana Capotondi. Capotondi was bracketed with regular costar Fabio De Luigi in eighth place. Buy ranked nineteenth and Gerini twenty-third. The top male stars were mostly comics (including Alessandro Siani, Claudio Bisio, Christian De Sica, Checco Zalone, Carlo Verdone, and Antonio Albanese). See Ciak, September 9, 2013. 2. The majority of this criticism has been Anglophone, though see Grignaffini (1988). On Loren, see Gundle (1995a) and Small (2009); on Lollobrigida, see Buckley (2000). Gundle (2007: xix) mentions that male beauty could also be discussed, and cites Malossi’s volume on the figure of the Latin Lover. However, it is interesting that La Cecla in that book admits that “it is difficult to take the Latin Lover seriously” (1996: 26), and he is interpreted as a figure of slightly pathetic comic value, rather than as a symbol of the nation. All trans- lations from Italian are my own, unless otherwise stated. 3. See the cover images for Bondanella (2014), Bertellini (2004), Brunetta (2009), Wood (2005), Sorlin (1996), Brizio-Skov (2011), and Nowell-Smith (1996). 4. De Biasio identifies this as a compensatory move on the part of femi- nism: “The omnipresence and presumed ‘universality’ of men in his- tory, in the arts, in science, in public life, has led to the focusing on women’s identity, lobbying for the rights that were still denied them [ . ] and valorizing their achievements and their contributions to the collective” (2010: 12). 5. Jedlowski says: “While we have an abundant literature on the dif- ferent manifestations and transformations of female identity, reflec- tions on masculinity are, till now, few and far between in Italy” (2009: 11). -
Sydney Program Guide
Page 1 of 22 Sydney Program Guide Sun Oct 6, 2013 06:00 TV SHOP - HOME SHOPPING G Home Shopping with TV Shop 06:30 GEM PRESENTS Captioned Repeat WS G Il Divo Music special. 06:40 WE JOINED THE NAVY 1962 Captioned Repeat G We Joined The Navy A young naval officer asks too many embarrassing questions and after being bounced from one station to another, winds up the hero of a revolution. Starring: Kenneth More, Lloyd Nolan, Joan O'Brien, Mischa Auer 08:30 TV SHOP - HOME SHOPPING G Home Shopping with TV Shop 10:00 DANGEROUS VOYAGE 1954 Captioned Repeat PG Dangerous Voyage A powerful sea thriller which opens on a note of mysterious intrigue, when John Drew and his sister Joan encounter a sailing yacht drifting helplessly and take it in tow. Starring: William Lundigan, Naomi Chance, Vincent Ball, Jean Lodge Cons.Advice: Some Violence 11:30 THE GARDEN GURUS Captioned Repeat HD WS G This week Trevor demonstrates why a Solar Hot Water System is a great investment; Chloe takes you back to ancient Rome with a great planting idea and Matt shows you the best ways to save water in the pool. 12:00 THE GARDEN GURUS Captioned Repeat HD WS G Matt tells us why Robotic Pool Cleaners are the way of the future; Mel shows you the Acacia Dazzler a great plant to cover any blank space in your garden, whilst Trevor help’s you select off the wall herbs ready for you to indulge in everyday meals. 12:30 GETAWAY Captioned Repeat WS PG Tonight Getaway joins guest reporter Jamie Durie as he takes his first ever river cruise. -
Zaragoza Ciudad De Cine
Zaragoza tiene el honor de ser la cuna del cine español: en el año 1899 Eduardo Jimeno rueda la primera película que se conserva del cine español, Salida de misa de doce del Pilar de Zaragoza. Desde entonces nuestra ciudad, cuya riqueza arquitectónica y cultural es incuestionable, ha ofrecido a la gran pantalla los rincones más hermosos y espectaculares, que han elegido como lugar de filmación grandes maestros del cine como Fernando Trueba, Terry Gilliam, Carlos Saura, Vicente Aranda, Milos Forman, Florián Rey, Luis García Berlanga, José Luis Borau, King Vidor, Orson Welles, Stephen Frears, José María Forqué, Guillermo del Toro, Bigas Luna, Julio Medem o José Luis Cuerda. Y por donde han desfilado actores y actrices de la talla de Charlton Heston, Imperio Argentina, Fernando Rey, Jean Rochefort, Antonio Banderas, Johnny Depp, Natalie Portman, Javier Bardem, Pepe Isbert, Rafaela Aparicio, Gina Lollobrigida, Penélope Cruz, George Sanders, Antonio Resines, Yul Brynner, Jordi Mollà, Anna Galiena, Maribel Verdú, Paco Martínez Soria, Victoria Abril, Jorge Sanz, Uma Thurman, Sergi López, Jonathan Pryce, Federico Luppi, Juan Diego, Alfredo Landa, Robin Williams, José Sacristán, Agustín González, Manuel Alexandre, Carmelo Gómez, Emma Suárez, Adolfo Marsillach, Tyrone Power, Paco Rabal o Carmen Maura. La lista de creadores autóctonos que han continuado esta estela ha ido creciendo con el paso del tiempo. Miguel Ángel Lamata fue uno de los pioneros en dar el salto de Zaragoza a Madrid y labrarse una carrera como guionista y director de cine y televisión. Y cineastas como Nacho G. Velilla, Nata Moreno, Paula Ortiz, Pilar Palomero o Gaizka Urresti han obtenido un especial reconocimiento en los Premios Goya o en festivales de prestigio. -
Jerzy Skolimowski: Rebel with Cause J Erzy Skolimowski Und Jeremy Irons Bei Den Dreharbeiten Zu MOONLIGHTING
Jerzy Skolimowski: Rebel With Cause erzy Skolimowski und Jeremy Irons bei den Dreharbeiten zu MOONLIGHTING J Das polnische Kino der Sixties ist reich an Exzentrikern, in Cannes 1978 vergab Venedig im Jahr 2016 einen und der heute meist mit dunkler Brille als eleganter Goldenen Löwen für’s Lebenswerk. Das war zu diesem Rocker-Gentleman auftretende Jerzy Skolimowksi, Zeitpunkt ziemlich genau 50 Jahre rund – allerdings geboren im Mai 1938 in der Filmstadt Łódź, ist dabei mit knapp zwanzigjähriger Unterbrechung: bis zum die vielleicht zentralste Figur. Aber auch die unbekann- Comeback-Doppelschlag mit CZTERY NOCE Z ANNĄ Jerzy Skolimowski teste. Offen bleibt, ob diese paradoxe Abseitsposition (VIER NÄCHTE MIT ANNA, 2008) und dem Wunderwerk 55 seinem (deutsche Zungen herausfordernden) Namen der Vincent-Gallo-als-Taliban-Inszenierung, ESSENTIAL geschuldet ist oder doch eher die Folge des unüber- KILLING (2010). Von rund zu sprechen, grenzt außer- schaubaren Aktionsradius des Regisseurs, den es von dem angesichts der Kanten dieses kontinuierlich ver- der Autorenfilm-Nouvelle-Vague Polens in den Sechzi- störenden filmischen Œuvres ohnehin an Blasphemie. ger Jahren und dem britischem New-Wave-Genrekino Auf »Habitus: kratzbürstig« verweist denn auch das der Siebziger Jahre über die internationalen Produkti- fast furchteinflößende Porträtfoto des Verstellungs- und onsstationen BRD, Frankreich und USA zurück in die Altmeisters in der International Movie Database. Nach- polnischen Masuren zog. Oder verdankt sie sich gar denklich, in Rodin’scher Denker-Pose, stützt Skolimow- jener eigenwilligen Verweigerungspose, die Person und ski sein Kinn auf die Hände und richtet seine Augen Werk Skolimowskis auratisch umgibt? knapp über den Rand seiner dunklen Brille hinweg auf Die Kollegen, allen voran Roman Polański und den Betrachter oder die Betrachterin. -
Film Festivals: from European Geopolitics to Global Cinephilia 2007
Repositorium für die Medienwissenschaft Marijke de Valck Film Festivals: From European Geopolitics to Global Cinephilia 2007 https://doi.org/10.5117/9789053561928 Buch / book Empfohlene Zitierung / Suggested Citation: de Valck, Marijke: Film Festivals: From European Geopolitics to Global Cinephilia. Amsterdam University Press 2007 (Film Culture in Transition). DOI: https://doi.org/10.5117/9789053561928. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons BY-NC 3.0/ This document is made available under a creative commons BY- Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz NC 3.0/ License. For more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc/3.0/ https://creativecommons.org/licenses/by-nc/3.0/ * pb omslag Film Festivals 07-11-2007 15:19 Pagina 1 Film festivals are hugely popular events that attract lovers of cinema worldwide, but they are also a uniquely revealing index of globalization in the realm of culture MARIJKE DE VALK FILM FESTIVALS and the arts. Focusing on the world’s most famous fes- tivals – Cannes, Berlin, Venice and Rotterdam – Film FILM FILM Festivals: From European Geopolitics to Global Cinephilia tells the story of a phenomenon that began in the midst CULTURE CULTURE of geopolitical disputes in war-torn Europe. De Valck IN TRANSITION IN TRANSITION shows how festivals in Europe turned political divisions and national rivalry into advantages, eventually expanding into a successful global network. Taking into account the multilateral influences of major actors – such as Holly- wood, the avant-garde as well as political, regional and tourist agendas – the book proposes a comprehensively new understanding of film festivals.