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'Ecological Eschatology' in Manon Finestra 2 (1956) and Grigio (1957)
Article Forum Italicum 0(0) 1–15 Olmi and Pasolini: ! The Author(s) 2021 Industrialisation, the Article reuse guidelines: sagepub.com/journals-permissions DOI: 10.1177/00145858211025486 underdog and ‘ecological journals.sagepub.com/home/foi eschatology’ in Manon finestra 2 (1956) and Grigio (1957) Silvia Angeli University of Westminster, UK Abstract This article focuses on the collaboration between Ermanno Olmi and Pier Paolo Pasolini. Two key figures of the Italian cinematic tradition, Olmi and Pasolini have joined efforts on two occasions, as the Bergamasque director asked Pasolini to provide a commentary for his short films Manon finestra 2 (1956) and Grigio (1957). Two very different products, the two shorts offer a very compelling take on the process of industrialisation taking place in Italy in the 1950s. While Manon presents a slightly more positive view of the transition that Italy has undergone, Grigio is unequivocal in its condemnation, putting forward an alarming thesis: in order for this new society to exist, differences must be erased, com- munities are to disappear and the least advantaged will be left behind. However, this proposition also has a more optimistic counterpart; namely, the idea that these very communities remain the roots and the true point of reference of our civilisation. Keywords ecological eschatology, industrialisation, Italian cinema, Olmi, Pasolini, short films Corresponding author: Silvia Angeli, School of Media and Communication, University of Westminster, Watford Road, Harrow Campus, Northwick Park, Harrow, HA1 3TP, UK. Email: [email protected] 2 Forum Italicum 0(0) Introduction Pier Paolo Pasolini (1922–1975) and Ermanno Olmi (1931–2018) are undoubtedly two of the key figures of the Italian cinematic tradition. -
The Altering Eye Contemporary International Cinema to Access Digital Resources Including: Blog Posts Videos Online Appendices
Robert Phillip Kolker The Altering Eye Contemporary International Cinema To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/8 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Robert Kolker is Emeritus Professor of English at the University of Maryland and Lecturer in Media Studies at the University of Virginia. His works include A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg Altman; Bernardo Bertolucci; Wim Wenders (with Peter Beicken); Film, Form and Culture; Media Studies: An Introduction; editor of Alfred Hitchcock’s Psycho: A Casebook; Stanley Kubrick’s 2001: A Space Odyssey: New Essays and The Oxford Handbook of Film and Media Studies. http://www.virginia.edu/mediastudies/people/adjunct.html Robert Phillip Kolker THE ALTERING EYE Contemporary International Cinema Revised edition with a new preface and an updated bibliography Cambridge 2009 Published by 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com First edition published in 1983 by Oxford University Press. © 2009 Robert Phillip Kolker Some rights are reserved. This book is made available under the Cre- ative Commons Attribution-Non-Commercial 2.0 UK: England & Wales Licence. This licence allows for copying any part of the work for personal and non-commercial use, providing author -
Company Profile Fenix Entertainment About Us
COMPANY PROFILE FENIX ENTERTAINMENT ABOUT US Fenix Entertainment is a production company active also in the music industry, listed on the stock exchange since August 2020, best newcomer in Italy in the AIM-PRO segment of the AIM ITALIA price list managed by Borsa Italiana Spa. Its original, personalized and cutting-edge approach are its defining features. The company was founded towards the end of 2016 by entrepreneurs Riccardo di Pasquale, a former bank and asset manager and Matteo Di Pasquale formerly specializing in HR management and organization in collaboration with prominent film and television actress Roberta Giarrusso. A COMBINATION OF MANY SKILLS AT THE SERVICE OF ONE PASSION. MILESTONE 3 Listed on the stock exchange since 14 Produces the soundtrack of Ferzan Produces the film ‘’Burraco Fatale‘’. August 2020, best newcomer in Italy in Ozpetek's “Napoli Velata” the AIM-PRO segment of the AIM ITALIA price list managed by Borsa Italiana Spa First co-productions Produces the soundtrack "A Fenix Entertainment cinematographic mano disarmata" by Claudio Distribution is born Bonivento Acquisitions of the former Produces the television Produces the film works in the library series 'That’s Amore' “Ostaggi” Costitution Fenix Attend the Cannes Film Festival Co-produces the film ‘’Up & Produces the “DNA” International and the International Venice Film Down – Un Film Normale‘’ film ‘Dietro la product acquisition Festival notte‘’ 2016 2017 2018 2019 2020 “LA LUCIDA FOLLIA DI MARCO FERRERI” “UP&DOWN. UN FILM “NAPOLI VELATA” original “BEST REVELATION” for Fenix Entertainment • David di Donatello for Best Documentary NORMALE” Kineo award soundtrack Pasquale Catalano Anna Magnani Award to the production team • Nastro d’Argento for Best Film about Cinema for Best Social Docu-Film nominated: • David di Donatello for Best Musician • Best Soundtrack Nastri D’Argento “STIAMO TUTTI BENE” by Mirkoeilcane “DIVA!” Nastro D’Argento for the Best “UP&DOWN. -
Milan and the Memory of Piazza Fontana Elena Caoduro Terrorism
Performing Reconciliation: Milan and the Memory of Piazza Fontana Elena Caoduro Terrorism was arguably the greatest challenge faced by Western Europe in the 1970s with the whole continent shaken by old resentments which turned into violent revolt: Corsican separatists in France, German speaking minorities in Italy’s South Tyrol, and Flemish nationalists in Belgium. Throughout that decade more problematic situations escalated in the Basque Provinces and Northern Ireland, where ETA and the Provisional IRA, as well as the Loyalist paramilitary groups (such as the UVF, and UDA) participated in long armed campaigns. According to Tony Judt, two countries in particular, West Germany and Italy, witnessed a different violent wave, as the radical ideas of 1968 did not harmlessly dissipate, but turned into a ‘psychosis of self- justifying aggression’ (2007, p. 469). In Italy, the period between 1969 and 1983, where political terrorism reached its most violent peak, is often defined as anni di piombo, ‘the years of lead’. This idiomatic expression derives from the Italian title given to Margarethe Von Trotta’s Die bleierne Zeit (1981, W. Ger, 106 mins.), also known in the UK as The German Sisters and in the USA as Marianne and Juliane.1 Following the film’s Golden Lion award at the 1981 Venice Film Festival, the catchy phrase ‘years of lead’ entered common language, and is now accepted as a unifying term for the various terrorist phenomena occurred in the long 1970s, both in Italy and West Germany. By the mid 1980s, however, terrorism had begun to decline in Italy. Although isolated episodes of left-wing violence continued to occur – two governmental consultants were murdered in 1999 and in 2002 respectively – special laws and the reorganisation of anti-terrorist police forces enabled its eradication, as did the 1 collaboration of many former radical militants. -
Il Posto Ermanno Olmi
IL POSTO ERMANNO OLMI TEACHING NOTES Digital platform dedicated to education for European cinema 2 INTRODUCTION CINED: A FILM COLLECTION SUMMARY FOR CINEMA EDUCATION. (2142 S.) CinEd’s mission is to propagate the seventh art as a cultural entity and an aid to understanding the world. For this purpose, it has INTRODUCTION developed a common teaching method based on a collection of films produced by the European countries that are partners in the project. The approach adapts to our present day world, with its rapid and increasingly great changes in the way that images I - INTRODUCTION - I • CinEd: a collection of films for cinema education seen on a vast range of screens are seen, received, spread and produced: from giant cinema screens to tiny smartphones, and of • Editorial about the film – technical information and poster course televisions, computers and tablets. The cinema is relatively new art, and although its death has been predicted more than • Plot summary and aspects once, it is obvious that it is very much alive. These changes impact on the cinema, and its diffusion must take particular account of the increasingly fragmented ways in THE FILM which a variety of screens are used for viewing. CinEd publications offer and support a sensitive and inductive teaching method, which is both interactive and intuitive, and provides information, analytical tools and offers the possibility of a dialogue between • Context - The changes of Italian society at the beginning the images and the films. The films are analysed on different levels and in their entirety, as well as in sections and looking at of the 60’s. -
I Cento Passi (The Hundred Steps, 2000) Is Giordana's Biopic About Giuseppe 'Peppino' Impastato, a Leftist Anti-Mafia Activist Murdered in Sicily in 1978
33 Marco Tullio Giordana' s The Hundred Steps: The Biopic as Political Cinema GEORGE DE STEFANO During the 1980s, the political engagement that fuelled much of Italy's postwar realist cinema nearly vanished, a casualty of both the domin ance of television and the decline of the political Left. The generation of great postwar auteurs - Roberto Rossellini, Vittorio De Sica, Federico Fellini, and Pier Paolo Pasolini - had disappeared. Their departure, notes Millicent Marcus, was followed by 'the waning of the ideological and generic impulses that fueled the revolutionary achievement of their successors: Rosi, Petri, Bertolucci, Bellocchio, Ferreri, the Tavianis, Wertmuller, Cavani, and Scola.' 1 The decline of political cinema was inextricable from the declining fortunes of the Left following the vio lent extremism of the 1970s, the so-called leaden years and, a decade later, the fall of Communism. The waning of engage cinema continued throughout the 1990s, with a few exceptions. But as the twentieth cen tury drew to a close, the director Marco Tullio Giordana made a film that represented a return to the tradition of political commitment. I cento passi (The Hundred Steps, 2000) is Giordana's biopic about Giuseppe 'Peppino' Impastato, a leftist anti-Mafia activist murdered in Sicily in 1978. The film was critically acclaimed, winning the best script award at the Venice Film Festival and acting awards for two of its stars. It was a box office success in Italy, with its popularity extending beyond the movie theatres. Giordana's film, screened in schools and civic as sociations throughout Sicily, became a consciousness-raising tool for anti-Mafia forces, as well as a memorial to a fallen leader of the anti Mafia struggle. -
Ermanno Olmi
ERMANNO OLMI Ermanno Olmi nasce a Bergamo il 24 luglio 1931. Il padre è ferroviere e nel 1933 la famiglia si trasferisce a Milano. Trascorre l’infanzia tra il mondo operaio della periferia milanese e quello contadino, a Treviglio, nella campagna bergamasca. Alla fine della guerra, viene assunto come impiegato alla Edison dove nel 1951 organizza un servizio cinematografico che documenta le grandi imprese di costruzioni idroelettriche. Negli anni successivi realizza una quarantina di documentari, tra i quali La diga del ghiacciaio, Pattuglia di Passo San Giacomo, Tre fili fino a Milano, Michelino 1aB (con il testo di Goffredo Parise), Manon finestra 2 e Grigio (con il testo di Pier Paolo Pasolini). Il primo film lungometraggio è del 1959, Il tempo si è fermato: racconta l’amicizia tra un ragazzo di città e l’anziano guardiano di una diga nell’alta valle dell’Adamello. Nel 1961, al Festival di Venezia, vince il premio OCIC e quello della Critica con il film Il posto (che ottiene numerosi premi anche in festival internazionali): si raccontano le aspirazioni e le difficoltà di due ragazzi di Milano alle prese con il loro primo impiego. Seguono altri film sul mondo del lavoro: I fidanzati, sulla industrializzazione del Sud da parte delle grandi imprese del Nord, dove si avvertono i primi disagi di una società trasformata troppo velocemente dal boom economico. E così in altri due film successivi: Un certo giorno del 1968 e La circostanza del 1974. Al di fuori del tema del lavoro, nel 1965 dedica, in omaggio alla figura di papa Giovanni XXIII, E venne un uomo, con Rod Steiger e Adolfo Celi. -
CINEMA D'autore Per Tutti
Centro Audiovisivi Rassegne tematiche Bolzano di film d’autore 07 CINEMA d’AUTORE PER TUTTI Le Proposte | Le Novità | Le Ricorrenze Ogni mese il Centro Audiovisivi di Bolzano mette a disposizione questa brochure contenente le Proposte, le Novità e le Ricorrenze. Le Proposte Un’occasione per conoscere e imparare ad amare il grande cinema. Ogni mese viene proposto un tema diverso per suggerire attraverso la cinematografia d’autore spunti di riflessione e valorizzare il patrimonio della mediateca del Centro Audiovisivi di Bolzano. Le Novità La raccolta cinematografica è in costante crescita e comprende film a partire dalle origini della storia del cinema fino a oggi. Ogni mese si arricchisce di ulteriori 30 film di qualità che vengono messi a disposizione di tutti i cittadini interessati. Le Ricorrenze La ricorrenza della data di nascita di alcuni dei più famosi attori, attrici e registi della storia del cinema è occasione per ricordare ogni mese i capolavori che loro hanno realizzato. Invito tutti a rivedere, scoprire e riscoprire le loro opere nella mediateca. Buona visione! Christian Tommasini Vicepresidente della Provincia Assessore alla cultura italiana ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ LE proposte Il paesaggio nel cinema L’AVVENTUra It-Fr, 1960 Regia Drammatico, 140’, b/n, sonoro Michelangelo Antonioni Attori Monica Vitti, Gabriele Ferzetti, Lea Massari, Dominique Blanchar, Renzo Ricci, James Addams Su un’isola deserta una donna scompare misteriosamente. Con una delle -
History of Modern Italy General
Santa Reparata International School of Art COPYRIGHT © 2010 All rights reserved Course Syllabus Course Title: History of Modern Italy Course Number: EUH 3431 1. COURSE DESCRIPTION: This course will study the history of Modern Italy from the Risorgimento and continue on through the development and decline of the liberal Italian state; Mussolini and Italian Fascism; World War II; and post World War II Italy; up through recent historical events. Introduction to major literary, cinematographic and artistic movements are covered as well as social aspects of Italian life including topics such as the Italian political system; the development of the Italian educational system; the roots and influence of the Italian Mafia; and the changing role of the woman in Italian society. 2. CONTENT INTRODUCTION: This course introduces students to the history and politics of modern Italy from the time of its political Unification to the present. The major topics covered throughout the course include the process of political unification in the mid-late 1800s; the birth and growth of Fascism in Italy (1922-1943); the Second World War (1940-45); the workings of governing institutions in the post-war period (1946-48); the role of the Church; political parties and movements; the process of massive industrialization (1950-60’s); political terrorist events (1960-80’s); as well as political corruption and political conspiracy. There will also be an in-depth analysis of the political crisis and transformation of the Italian democratic system in the early 1990s. 3. COURSE RATIONALE : The course is particularly recommended to all those students that want to gain an in-depth knowledge of the contemporary social and political history of Italy. -
The Tree of Wooden Clogs
MANCHESTER AND SALFORD FILM SOCIETY The Tree of Wooden Clogs Italy 1978 Directed by Ermanno Olmi Ermanno Olmi is a director who has raised the moral bar for contemporary Italian cinema. The sacredness of life, the dignity of work, and the human yearning for contact with God are themes that deeply colour his work, but nowhere so movingly as in The Tree of Wooden Clogs, which has a vibrant realism that makes the audience feel that they are shoulder to shoulder with its protagonists, the dirt-poor northern Italian share-croppers whose deep, abiding faith is extraordinarily moving. Written and directed with inspired simplicity, the story of four peasant-families who live and work on one tenant farm in late 19th-century Lombardy offers almost documentary glimpses into a long-gone way of life. With their rough, ruddy faces, the farmers have a look of callus-handed realism that we recognise out of period paintings. No nostalgia here: there is joy and beauty in their lives, and even some homey humour, but above all there is bitter poverty and exploitation. The peasants, whom we get to know intimately over the course of three hours, labour for a landlord who owns the fields they till, the dwellings where they raise their families, their stables and horses and even the trees lining the road. Born in the Lombard province of Bergamo to a working-class family with deep Catholic roots, Olmi has almost always made work that is grounded in a strong sense of the place he comes from. He understood the importance of this project, spending years writing and developing it, and insisted on the use of the authentic regional accent of the Bergamasque, which requires subtitles even for Italians. -
Sample Syllabus (PDF)
NYU Summer in Florence 2019 FLORENCE in Italian Cinema and Literature: COURSE DESCRIPTION This course introduces students to key topics in culture and film studies as explored through the representation of Florence in cinema and literature. It will focus on a selection of Italian- and English-language films and novels set in Florence from the 19th century to the present. Each film and novel will be discussed for its aesthetic relevance and its historical and cultural context of Florence and Italy. Among the main topics to be discussed are the evolution of Italian culture and identity from post-unification to the present, and the differences between the depictions of Florence and Italy by English-language and Italian writers and filmmakers. COURSE SCHEDULE (Tue/Thu 9:00 A.M. – 12:00 P.M., Villa Ulivi) Tuesdays will feature an introductory lecture and a discussion of the literary and historical reading material, while Thursdays will be dedicated to film viewings and discussion. In addition to class time, it is suggested that, as time permits, students visit selected filming locations in Florence outside of class time based on information provided in the book: World Film Locations: Florence. OBJECTIVES OF THE COURSE The goals of this course are as follows: ● To develop a broader understanding of Florentine and Italian culture and identity through film and literature ● To provide insight into major cultural and sociopolitical issues of modern Italy, and Florence in particular ● To familiarize students with basic literary and cinematic codes -
A Cinematic Grand Tour of Sicily: Irony, Memory, and Metamorphic Desire from Goethe to Tornatore
A Cinematic Grand Tour of Sicily: Irony, Memory, and Metamorphic Desire from Goethe to Tornatore Gaetana Marrone I also feel a strong urge of the memory of a Mediterranean culture, of a classical culture as the matrix of Western culture. Hence, my need to rediscover in these tall and deep roots the essence of our spirit before all of this is erased, before it all disappears. — Vincenzo Consolo 1 A palimpsest of multiple cultures – ancient Greek and Roman, Phoenician, Byzantine, Arab, Norman, Spanish, and “Italian” – Sicily is rich and poor, a crossroads of civilizations, and a provincial backwater, traditional and yet, from time to time and in particular milieus, modernist. Deep and enduring class distinctions add yet another layer to the complexity of the Sicilian experience. To many who find the burdens of this culture oppressive and hard to bear, the only viable solution is to leave the island. But expatriation does not untie the tangled knots of history; memories of home haunt the exile in the midst of newfound freedoms and opportunities. For Sicilian writers and artists, the strains of modernity and tradition, emancipation and destiny, longing to escape and loyalty to family, community, and history have been a central artistic theme. The peculiar conditions of their eccentric and often backward, yet historically and culturally pivotal homeland have enabled them to express the common experience of modernity with special poignancy. Certainly Vincenzo Consolo has portrayed the people of his exasperated and tragic island in such a way that human beings around the globe can identify with their search for selfhood: in his work, Sicily becomes an image for a magnificent past and for the missed opportunities, both individual and collective, of the present.