DOCSLIB.ORG

March 2020 Website Pdf (14.33

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

MARCH 2020 MARCH 2020 MARCH GLASGOWFILM.ORG | 0141 332 6535 PORTRAIT OF A LADY ON FIRE | CINEMASTERS: FEDERICO FELLINI | THE TRUTH | 12 ROSE STREET, GLASGOW, G3 6RB GLASGOW SHORT FILM FESTIVAL | CUNNINGHAM – 3D | RADIOACTIVE | BACURAU CONTENTS And Then We Danced 13 EVENT CINEMA 15 SPECIAL SCREENINGS 4 Bacurau 12 The Bolshoi Ballet Encore: Romeo and Juliet 15 Amber and Me + Q&A 5 Calm With Horses 12 The Bolshoi Ballet: Jewels 15 Late Night: Carrie 4 Cunningham 11 NT Live Encore: Cyrano de Bergerac 15 Contemporary Cinema Course 7 The Elephant Man 12 NT Live: The Welkin 15 Fire Will Come + Q&A 5 Fire Will Come 13 Love You Bahut Saara 6 Greed 11 INFORMATION 17 LUX Scotland Presents: [listen, listen] + Q&A 6 Koko-Di Koko-Da 13 Accessible Screenings 18 Misbehaviour + Q&A 4 4 Misbehaviour 12 Pay What You Decide screenings 7 Mother's Day: Little Women 7 Portrait of a Lady on Fire 11 Ticket Prices & About GFT 17 Outside the City + Q&A 5 Radioactive 12 Tuesday Treats 7 Push + Panel Discussion Preview: The Uncertain Kingdom + Q&A 6 Run 11 System Crasher 13 MOVIE MEMORIES 16 16 Toni Morrison: The Pieces I Am 11 The Elephant Man 16 VISIBLE CINEMA Misbehaviour 16 The Truth 12 @glasgowfilm True History of the Kelly Gang 11 GLASGOW SHORT FILM 9 FESTIVAL CINEMASTERS: Vivarium 13 Bill Douglas Award 1: Sanctuary 9 V ACCESS FILM CLUB 16 FEDERICO FELLINI Bill Douglas Award 2: Impressions 10 p8 The Personal History of David Copperfield 16 Bill Douglas Award 3: Retrospect 10 facebook.com/glasgowfilm Bill Douglas Award 4: Power Up 10 CINEMASTERS: FEDERICO 8 FELLINI Bill Douglas Award 5: Top Heavy 10 10 8 1/2 8 Bill Douglas Award 6: After We Left 9 I Vitelloni 8 Felix in Wonderland + Introduction 9 Juliet of the Spirits 8 Opening Event: My First Film 10 Nights of Cabiria 8 RCS Curates Deaf Beats DID YOU MISS? 13 The Lighthouse 13 1 CONTENTS SPECIAL MENTION Full listings at glasgowfilm.org/take2 or pick up a leaflet in the foyer Take 2 FAMILY-FRIENDLY FILMS Every Saturday at 11.30am - a film for all Free tickets are only available on the day the family at GFT. Free entry for Glasgow from the Box Office, one free adult ticket Young Scot or Kidz Card holders and an per child ticket. All other tickets £6. accompanying adult. Pick up a leaflet for full listings and details. The Aristocats (U) Sat 7 March (11.30) AUTISM FRIENDLY Jumanji: The Next Level (12A) (Same ticketing offer applies as Take 2) captioned and audio described Sat 14 March (11.30) Jumanji: The Next Level (12A) full listings glasgowfilm.org/whats-on full at Audio Described Tangled 3D (U) Sat 14 March (12.00) Sat 21 March (11.30) THANK YOU FOR Mune: Guardian of the Moon (PG) EVERYTHING Sat 28 March (11.30) This month we are celebrating the retirement of GFT's longest serving member of staff. Margaret Lynch has GFT worked at GFT since 1990, and 30 years on Glasgore! DROP-IN DISCUSSION we want to wish her a long and very happy Wednesday 25 March, 17:00 (1h) retirement, and thank her for her excellent Horror/Cult Film Discussion Group Free, Project Room work and loyalty to the organisation over Tuesday 10 March, 18.30 Every month members of the GFT team host an informal the decades. Free, Project Room chat around one of the films in the programme. The film for March is Misbehaviour, so if you watch it during its Congratulations Margaret, you will be This group meets to discuss horror and cult cinema. run, come along on 25 March for a discussion about it with fellow film fans! much missed. 2 MARCH AT A GLANCE A AT MARCH 9-12 MARCH 9-12 MARCH13-19 MARCH20-26 APRIL 2 - MARCH 27 Access Film Club: The Cunningham p11 Amber and Me + Q&A p5 8 1/2 p8 Personal History of David Copperfield p16 The Elephant Man p12 Bacurau p12 And Then We Danced p13 Greed p11 Glasgow Short Film Calm With Horses p12 The Bolshoi Ballet Encore: Festival (GSFF) p9 Romeo and Juliet p15 Fire Will Come + Q&A p5 I Vitelloni p8 Misbehaviour p12 Fire Will Come p13 GSFF p9 NT Live Encore: Cyrano de Bergerac p15 Movie Memories: The Koko-Di Koko-Da p13 Elephant Man p16 Juliet of the Spirits p8 Portrait of a Lady on Fire The Lighthouse p13 p11 Nights of Cabiria p8 Late Night: Carrie p4 LUX Scotland Presents: Portrait of a Lady On Fire Misbehaviour p12 [listen, listen] p6 Toni Morrison: p11 The Pieces I Am p11 Mothers Day: Preview: The Uncertain True History of the Kelly Run p11 Little Women p4 Kingdom + Q&A p6 Gang p11 Push + Panel Discussion p5 Radioactive p12 SPOTLIGHT The Truth p12 SPOTLIGHT System Crasher p13 CineMasters: Federico @glasgowfilm GSFF: My First Film p9 Fellini p8 Visible Cinema: SPOTLIGHT Misbehaviour p16 The Truth p12 Vivarium p13 SPOTLIGHT System Crasher p13 facebook.com/glasgowfilm Four of the Italian master’s The Opening Event of greatest works, in new 4K Glasgow Short Film Festival restorations. promises to be an unmissable live cinema experience. Shoplifters director Hirokazu Kore-eda teams up with two of French cinema’s biggest stars for this multi-layered Nora Fingscheidt’s hard- drama about family and the hitting foster care drama stories we tell. comes to the UK after picking up awards and acclaim at 3 festivals around the world. SPECIAL SCREENINGS SPECIAL LATE NIGHT Misbehaviour + Q&A Late Night: Carrie Mother's Day: Thursday 19 March (20.00) Friday 20 March (23.00) Little Women Director Philippa Lowthorpe Cast Keira Knightley, Gugu Director Brian De Palma Cast Sissy Spacek, Piper Laurie, Amy Sunday 22 March (13.00) Mbatha-Raw, Jessie Buckley, UK 2020, 1h46m, Irving, USA 1976, 1h38m, 18 12A: infrequent strong language Director Greta Gerwig Cast Saoirse Ronan, Emma Watson, Timothée Chalamet, USA 2019, 2h15m, U In 1970, the Miss World competition took place GFT’s Late Night screening falls on Mother’s Treat your mum to an afternoon at the cinema in London, hosted by USA comedy legend, Day weekend this month: the perfect listings glasgowfilm.org/whats-on full at Bob Hope. At the time, Miss World was the opportunity to screen this classic cinematic with Lady Bird writer/director Greta Gerwig’s most-watched TV show on the planet with trip to the dark side of mother-daughter Oscar-winning take on the beloved Louisa May over 100 million viewers. Claiming that beauty relationships. Carrie White is a lonely, Alcott novel. The story of the March sisters competitions demeaned women, the withdrawn high-school student, ridiculed by - four young women each determined to live newly-formed Women’s Liberation Movement her classmates and brought up almost in life on her own terms as they come of age in achieved overnight fame by invading the stage isolation by her fanatically religious mother. the aftermath of the American Civil War - is and disrupting the live broadcast of the When Carrie experiences her first period in the both timeless and timely. The star-studded competition. On the other side of the curtain, gym shower, she is ruthlessly teased and cast includes Saoirse Ronan, Emma Watson, Miss Grenada was engaged in her own battle humiliated by her fellow pupils, who are in turn Florence Pugh, Eliza Scanlen, Timothée for equality, in a contest that had only ever severely punished by their teacher. Chalamet, Laura Dern and Meryl Streep. been won by white women. Determined to seek revenge, the students hatch a plot against Carrie, which turns Followed by a Q&A with some of the horribly wrong when Carrie's strange Women’s Liberation Movement members telekinetic powers are unleashed during the on whose real actions the film is based. school prom. 4 SPECIAL SCREENINGS SPECIAL Amber and Me + Q&A Push Fire Will Come + Q&A Monday 23 March (18.00) + Panel Discussion Thursday 26 March (20.15) Tuesday 24 March (20.15) Director Ian Davies, UK 2020, 59m, U Director Oliver Laxe Cast Amador Arias, Benedicta Sánchez, Inazio Abrao, France/Luxembourg/Spain 2019, Director Fredrik Gertten, Sweden/Canada/UK 2019, 1h32m, Amber has Down’s Syndrome and is about to start 12A: infrequent strong language 1h25m, Galician with English subtitles, CTBC primary school with her twin sister, Olivia. Although at first her experience is positive, she Despite the fact that housing is a fundamental Amador has been imprisoned for setting fires. soon starts to lose interest and asks to stay at human right and a precondition to a safe and When he is released from prison after two @glasgowfilm home. Olivia is keen to keep her twin sister in the healthy life, it is becoming almost impossible years, nobody is awaiting his return. He same school and so begins the struggle of keeping to find an affordable place to live in cities moves back to his hometown, a small village the girls together. across the world. hidden in the mountains of rural Galicia, to live with his elderly mother, Benedicta, and This intimate documentary follows the challenges Push is a film that sheds light on a new kind of their three cows. Amador does not speak faceless landlord, our increasingly much, but becomes aware that there is gossip for both girls through four years of school and charts the changes in their relationship, from their uninhabitable cities and an escalating crisis about his past. Life goes by slowly and simply, facebook.com/glasgowfilm own perspectives.
Recommended publications
  • Before the Forties

    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
  • Arka Pencere Yazarlarından © Murat Özer, 2011 © Kırmızı Kedi Yayınevi, 2011 Editör: Murat Özer, Burçin S

    Arka Pencere Yazarlarından © Murat Özer, 2011 © Kırmızı Kedi Yayınevi, 2011 Editör: Murat Özer, Burçin S

    ariia pencere yakarlarından KIRMIZ IKEDi AŞKTAN DA ÜSTÜN 50 FİLM Cem Altınsaray Tunca Arslan Kemal Ekin Aysel Burak Göral Murat Özer Burçin S. Yalçın KIRMIZI KEDİ YAYINEVİ Kırmızı Kedi Yayınevi: 64 Sinema: 7 Aşktan da Üstün 50 Film Arka Pencere Yazarlarından © Murat Özer, 2011 © Kırmızı Kedi Yayınevi, 2011 Editör: Murat Özer, Burçin S. Yalçın Kapak Tasarımı: Bilgehan Aras Grafik: Aziz Zengin Kırmızı Kedi Yayınevi www. kirmizikedikitap. com kirmizikedi@kirmizikedikitap. com Ömer Avni M. Emektar S. No: 18 Gümüşsuyu 34427 İSTANBUL T: 0212 244 89 82 F: 0212 244 09 48 ÖNSÖZ Sinema tarihinde derin izler bırakmış pek çok ünlü yönetmen için, artık her ne anlama geliyorsa, “Filmlerini eleştirmenler beğensin diye çekmiyordu!” türünden şeyler söylendiğini muhakkak duymuşsunuzdur. Sinema sanatının seslendiği seyirci kitleleri ile eleştiri kurumu arasına kalın bir duvar örme gayreti güden bu yaklaşımın günümüzde yankılanan biçimleri arasında, “Halk beğendiyse, eleştirmenler beğenmez!” ya da tam tersi, “Eleştirmenler beğendiyse, kimse gitmez o filme!” yargılarının olduğunu da gayet iyi biliyoruz. Oysa köşelerini, bazı yönetmenler ve filmleri ile seyircilerin ve eleştirmenlerin oluşturduğu öyle sağlam üçgenler kurulmuş ki yedinci sanatın geçmişinde, söz ettiğim türden yaygın ve yanılgın iddiaların tümü bir çırpıda havada kalıyor, sonra da adeta tuzla buz oluyor. Charlie Chaplin’den Akira Kurosawa’ya, Sergey Eisenstein’dan Orson Welles’e, Federico Fellini’den Yılmaz Güney’e kadar geniş ve çok renkli bir yelpazede, sıradan seyircilerin de eleştirmenlerin
  • Berkeley Art Museum·Pacific Film Archive W in Ter 20 19

    Berkeley Art Museum·Pacific Film Archive W in Ter 20 19

    WINTER 2019–20 WINTER BERKELEY ART MUSEUM · PACIFIC FILM ARCHIVE UNIVERSITY OF CALIFORNIA PROGRAM GUIDE ROSIE LEE TOMPKINS RON NAGLE EDIE FAKE TAISO YOSHITOSHI GEOGRAPHIES OF CALIFORNIA AGNÈS VARDA FEDERICO FELLINI DAVID LYNCH ABBAS KIAROSTAMI J. HOBERMAN ROMANIAN CINEMA DOCUMENTARY VOICES OUT OF THE VAULT 1 / 2 / 3 / 4 / 5 / 6 CALENDAR DEC 11/WED 22/SUN 10/FRI 7:00 Full: Strange Connections P. 4 1:00 Christ Stopped at Eboli P. 21 6:30 Blue Velvet LYNCH P. 26 1/SUN 7:00 The King of Comedy 7:00 Full: Howl & Beat P. 4 Introduction & book signing by 25/WED 2:00 Guided Tour: Strange P. 5 J. Hoberman AFTERIMAGE P. 17 BAMPFA Closed 11/SAT 4:30 Five Dedicated to Ozu Lands of Promise and Peril: 11:30, 1:00 Great Cosmic Eyes Introduction by Donna Geographies of California opens P. 11 26/THU GALLERY + STUDIO P. 7 Honarpisheh KIAROSTAMI P. 16 12:00 Fanny and Alexander P. 21 1:30 The Tiger of Eschnapur P. 25 7:00 Amazing Grace P. 14 12/THU 7:00 Varda by Agnès VARDA P. 22 3:00 Guts ROUNDTABLE READING P. 7 7:00 River’s Edge 2/MON Introduction by J. Hoberman 3:45 The Indian Tomb P. 25 27/FRI 6:30 Art, Health, and Equity in the City AFTERIMAGE P. 17 6:00 Cléo from 5 to 7 VARDA P. 23 2:00 Tokyo Twilight P. 15 of Richmond ARTS + DESIGN P. 5 8:00 Eraserhead LYNCH P. 26 13/FRI 5:00 Amazing Grace P.
  • Federico Fellini CINE CLUB CINE DE AUTOR Diciembre-Febrero 2008 2009

    Federico Fellini CINE CLUB CINE DE AUTOR Diciembre-Febrero 2008 2009

    Ciclo Federico Fellini CINE CLUB CINE DE AUTOR Diciembre-Febrero 2008 2009 06/12/08 SATYRICON ENSAYO DE EL JEQUE JULIETA DE 13/12/08 ORQUESTA 07/02/09 BLANCO 21/02/09 LOS ESPIRITUS LAS NOCHES 20/12/08 Y LA NAVE VA 14/02/09 DE CABIRIA 28/02/09 ROMA “Soy mentiroso de nacimiento” Federico De familia burguesa y desde siempre hábil para el dibujo, Fellini ya está en Roma en 1938, colaborando con varias revistas satíricas como la célebre Marc’Aurelio. En 1941 comienza una intensa actividad de guionista: su nombre aparece en los títulos de películas de gran relieve, como "Roma ciudad abierta (Roma città aperta)" (1945), "Paisa (Paisà)" (1946), "Sin piedad (Senza pietà)" (1948) y "Europa 1951 (Europa 51)" (1952). Debuta como director junto a Alberto Lattuada con "Luci del varietà" (1951), un melancólico retrato del mundo del teatro itinerante. Su próxima obra es "El Jeque blanco (Lo sceicco bianco)" (1952), escrita con Ennio Flaiano y Tullio Pinelli, en la cual se aparta de la tradición neorrealista delineando personajes que oscilan entre Fellini lo fantástico y lo irónico. Al año siguiente, "Los inútiles (I Vitelloni)" (1953) le vale un León de Plata en Venecia además de un gran éxito de público y de crítica. Es un filme de matriz autobiográfica, en el cual Fellini vuelve a su provincia natal con una sensación híbrida de nostalgia y repulsión. Los años siguientes están constelados de triunfos: la límpida poesía de "La strada" (1954) lleva a sus manos un merecido Óscar, y otro más le procura con su intensidad "Las noches de Cabiria (Le notti di Cabiria "(1957), ambas engalanadas por las magníficas interpretaciones de su mujer, Giulietta Masina.
  • IIIIIII Programmi Di Oggi

    IIIIIII Programmi Di Oggi

    08SPE04A0801 ZALLCALL 14 10:15:40 01/08/97 K IIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII pagina l’Unità Mercoledì 8 gennaio 1997 8 2 IIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII programmiIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII di oggiIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII M ATTINA 6.30 TG 1. [5220885] 6.40 SCANZONATISSIMA. [3883663] 7.30 TG 3 - MATTINO. [85791] 6.50 OMICIDI DAL PASSATO. Film 6.10 CIAO CIAO MATTINA. Conteni- 6.00 TG 5 - PRIMA PAGINA. Attua- 6.00 EURONEWS. [19205] 6.45 UNOMATTINA. All’interno: 7.00, 7.00 QUANTE STORIE! Varietà per i 8.30 GLI AMANTI DEVONO IMPA- (GB, 1992). [6286755] tore. [76779953] lità. [68662088] 7.00 BUONGIORNO ZAP ZAP. Con- 7.30, 8.00, 9.00 Tg 1; 7.35 Tgr - più piccini. [7000779] RARE. Film. Con Troy Donahue, 8.30 T G 4 - RASSEGNA STAMPA. 9.15 HIGHLANDER. Tf. Con Adrian 8.45 MAURIZIO COSTANZO SHOW. tenitore. All'interno:
  • Federico Fellini and the Experience of the Grotesque and Carnavalesque – Dis-Covering the Magic of Mass Culture 2013

    Federico Fellini and the Experience of the Grotesque and Carnavalesque – Dis-Covering the Magic of Mass Culture 2013

    Repositorium für die Medienwissenschaft Annie van den Oever Federico Fellini and the experience of the grotesque and carnavalesque – Dis-covering the magic of mass culture 2013 https://doi.org/10.25969/mediarep/15114 Veröffentlichungsversion / published version Rezension / review Empfohlene Zitierung / Suggested Citation: van den Oever, Annie: Federico Fellini and the experience of the grotesque and carnavalesque – Dis-covering the magic of mass culture. In: NECSUS. European Journal of Media Studies, Jg. 2 (2013), Nr. 2, S. 606– 615. DOI: https://doi.org/10.25969/mediarep/15114. Erstmalig hier erschienen / Initial publication here: https://doi.org/10.5117/NECSUS2013.2.VAND Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0 Attribution - Non Commercial - No Derivatives 4.0 License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0 https://creativecommons.org/licenses/by-nc-nd/4.0 NECSUS – EUROPEAN JOURNAL OF MEDIA STUDIES About the author Francesco Di Chiara (University of Ferrara) 2013 Di Chiara / Amsterdam University Press. This is an Open Access article distributed under the terms of the Creative Commons Attribution License (http:// creativecommons.org/licenses/by/2.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly
  • Amedeo Nazzari and National Melodramatic Masculinity

    Amedeo Nazzari and National Melodramatic Masculinity

    Maria Elena D’Amelio ‘The ideal man’. Amedeo Nazzari and national melodramatic masculinity In 1939 the film magazine Cinema organized a survey among its read- ers, to establish who was the most popular actor in Italy. Amedeo Nazzari came in first with 19,020 votes, widely surpassing the other candidates, such as Fosco Giachetti and Vittorio De Sica1. Nazzari, born in Sardinia in 1907, had just achieved enormous success with two films directed by Goffredo Alessandrini, Cavalleria (1936) and Luciano Serra pilota (1938). With the latter Nazzari had also won the Coppa Mussolini at the Venice Film Festival in 1938. Due to the popularity of these films in Fascist Italy, with their themes of masculine heroism and war sacrifice, the result of the 1939 survey wasn’t that surprising. More surprising was a 1982 poll organized by the TV show Flash which asked its spectators to choose a individual from the past who would represent their ‘ideal man’. The result was again Amedeo Nazzari, who surpassed international stars such as Tyrone Power, media icons such John F. Kennedy, and popular histor- ical heroes like Garibaldi. In 1982, three years after his death, Nazzari still embodied a summa of the highest values of Italian masculinity in the collective imaginary. The longevity of Nazzari’s stardom in Italian cinema serves as a site to explore the link between stardom, gender, politics and industry during the transition from the Fascist era to the postwar period, focusing on the cultural signification of his star persona and his work in one of the most popular genres of postwar Italy, the melodrama.
  • Uw Cinematheque Announces Fall 2012 Screening Calendar

    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.
  • Pdf Ennio Flaiano Y Rafael Azcona: Historia De Un Universo Compartido / Giovanna Zanella Leer Obra

    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.
  • FILMS WORTH TALKING ABOUT 56 Days That Will Rock Your Cinema World!

    FILMS WORTH TALKING ABOUT 56 Days That Will Rock Your Cinema World!

    10 JAN 20 5 MAR 20 1 | 10 JAN 20 - 5 MAR 20 88 LOTHIAN ROAD | FILMHOUSECINEMA.COM FILMS WORTH TALKING ABOUT 56 days that will rock your cinema world! Well, here we are again… it’s Awards season! I was reminded of such by a communication that came my way from AMPAS (the Oscar® people) listing nine categories’ shortlists of potential nominees. Now, they’ve been doing that shortlist thing with Foreign Language films for quite some time – there’s a lot of films out there in the world, it would be rather too much for the Academy members to have to watch them all! – but, to my knowledge, they’ve not before done it with any other category. It may be it’s for the same reason of sheer volume as above, but I guess what it also does is allows a greater number of films a reason to mention their Academy Award status in their advertising. I can see it now, “Academy Award Nomination shortlisted…” written on the poster. Where will it all end I wonder, “Academy Award Nomination eligible…”? As luck would have [nothing to do with] it, one of the films on the Foreign Language short list – which at this point in time seems the overwhelming favourite – is Bong Joon Ho’s utterly brilliant Parasite, which takes its place alongside a programme of films that is simplythe best line-up of new cinema I’ve seen in a long time. There’s not just the aforementioned South Korean masterpiece, there’s Sam Mendes’ extraordinary ‘one-take’ wonder 1917 (google ‘1917 behind the scenes featurette’ and prepare to simply have to see this film); Taika (‘Wilderpeople’) Waititi’s WWII, Nazi Germany-set, Jojo Rabbit; Armando Iannucci’s breathless Dickens, The Personal History of David Copperfield; Robert Egger’s uniquely bonkers, fog-bound The Lighthouse; Kidman, Robbie and Theron taking on the Fox News patriarchy in Bombshell; and to cap it all off, and possibly the best of the lot, Céline Sciamma’sexquisite Portrait of a Lady on Fire.
  • Study Guide: the Elderquest in Today’S Movies and Novels

    Study Guide: the Elderquest in Today’S Movies and Novels

    THE ElderquestIN TODAY'S MOVIES AND NOVELS A Study Guide Developed by the Osher Lifelong Learning Institute (OLLI) At the University of Massachusetts Boston Funded in part by a grant from The National Endowment for the Humanities Visit Our Website: www.olli.umb.edu\elderquest © Copyright, 2006, the Gerontology Institute, John W. McCormack Graduate School of Policy Studies, University of Massachusetts Boston. Gerontology Institute University of Massachusetts Boston 100 Morrissey Blvd. Boston, MA 02125-3393 Call: (617) 287-7300; fax: (617) 287-7080 e-mail: [email protected] Gerontology Institute website: http://www.geront.umb.edu/ Osher Life Long Learning Institute website: http://www.olli.umb.edu Study Guide: The Elderquest in Today’s Movies and Novels Introduction For Facilitators and Discussion Leaders The background information and many of the questions for discussion contained in this study guide seemed essential since the Elderquest, its history, its nature, and its implications are such new subjects, ones that have been researched, developed, and tested by Chuck Nicholas and the other members of the project staff. The insistence that all facilitators have doctorates in the humanities is, on the other hand, a requirement that the National Endowment for the Humanities builds into all its educational program grants. Some of you have had to ask for exceptions to this requirement, and in all instances, we have approved these exceptions because you have come up with people who are both experienced teachers and also have a special interest in film, literature, and/or aging. In short, we are fully confident that you will all do an excellent job introducing your students to this new, timely, entertaining and yet extremely important subject, one that promises to have a direct personal impact on its participants.
  • Auch Die Körper Von Jago Und Othello. Eine Lange Fahrt Mit Subjektiver

    Auch Die Körper Von Jago Und Othello. Eine Lange Fahrt Mit Subjektiver

    Auch die Körper von Jago und Othello. angeht, die 'Sittenkomödie' mit ihrer opportunistischen Korrum- Eine lange Fahrt mit subjektiver Kamera, die Erde, Himmel und piertheit, auch wenn diese zum Schein hinter Denunziationspro­ Müllhalde schwindelerregend sich drehen läßt, aus der Sicht der blemen verborgen ist. beiden Körper, die schreiend vor Entsetzen hinunterrollem Bis Diese Unterscheidung und diese Bevorzugung decken sich mit un­ das Objektiv, unbewegt, nach oben gerichtet ist, gegen den un­ serer eigenen Beurteilung. Das Totb-Revival ist also nicht nur An­ endlichen blauen Himmel, über den weiße Wolken eilen. laß zur Freude. Aber gerade deshalb ist es notwendig, den Punkt In dem aufgeplatzten, geschwollenen Gesicht Othellos leuchten auf das i zu setzen, bevor man uneingeschränkte Genugtuung die Augen vor brennender Neugier und nicht unterdrückbarer äußert oder die neue Vorliebe gänzlich und ausschließlich positiv Freude. interpretiert. Tatsächlich geht die subproletarische Komik oft und Auch Jagos Augen betrachten höchst verblüfft oder in Ekstase gern in die unpolitische Haltung des kleinen Mannes über und hat wesentliche Beiührungspunkte mit der kleinbürgerlichen Komik. dieses nie gesehene Schauspiel von Himmel und Welt. Da es ihr an einer genau bestimmten Verwurzelung in einer Klasse Othello: Was ist denn das? und an expliziten Widersprüchen mangelt, ist die Ideologie, die sie Jago: Das sind ... das sind ... die Wolken ... zum Ausdruck bringt, die Frucht einer verzweifelten Lebensangst, Othello: Und was sind Wolken? die im täglichen