Cinema D'autore Per Tutti
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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. -
Cinematic Hamlet Arose from Two Convictions
INTRODUCTION Cinematic Hamlet arose from two convictions. The first was a belief, confirmed by the responses of hundreds of university students with whom I have studied the films, that theHamlet s of Lau- rence Olivier, Franco Zeffirelli, Kenneth Branagh, and Michael Almereyda are remarkably success- ful films.1 Numerous filmHamlet s have been made using Shakespeare’s language, but only the four included in this book represent for me out- standing successes. One might admire the fine acting of Nicol Williamson in Tony Richard- son’s 1969 production, or the creative use of ex- treme close-ups of Ian McKellen in Peter Wood’s Hallmark Hall of Fame television production of 1 Introduction 1971, but only four English-language films have thoroughly transformed Shakespeare’s theatrical text into truly effective moving pictures. All four succeed as popularizing treatments accessible to what Olivier’s collabora- tor Alan Dent called “un-Shakespeare-minded audiences.”2 They succeed as highly intelligent and original interpretations of the play capable of delight- ing any audience. Most of all, they are innovative and eloquent translations from the Elizabethan dramatic to the modern cinematic medium. It is clear that these directors have approached adapting Hamlet much as actors have long approached playing the title role, as the ultimate challenge that allows, as Almereyda observes, one’s “reflexes as a film-maker” to be “tested, battered and bettered.”3 An essential factor in the success of the films after Olivier’s is the chal- lenge of tradition. The three films that followed the groundbreaking 1948 version are what a scholar of film remakes labels “true remakes”: works that pay respectful tribute to their predecessors while laboring to surpass them.4 As each has acknowledged explicitly and as my analyses demonstrate, the three later filmmakers self-consciously defined their places in a vigorously evolving tradition of Hamlet films. -
William A. Seiter ATTORI
A.A. Criminale cercasi Dear Brat USA 1951 REGIA: William A. Seiter ATTORI: Mona Freeman; Billy DeWolfe; Edward Arnold; Lyle Bettger A cavallo della tigre It. 1961 REGIA: Luigi Comencini ATTORI: Nino Manfredi; Mario Adorf; Gian Maria Volont*; Valeria Moriconi; Raymond Bussires L'agente speciale Mackintosh The Mackintosh Man USA 1973 REGIA: John Huston ATTORI: Paul Newman; Dominique Sanda; James Mason; Harry Andrews; Ian Bannen Le ali della libert^ The Shawshank Redemption USA 1994 REGIA: Frank Darabont ATTORI: Tim Robbins; Morgan Freeman; James Whitmore; Clancy Brown; Bob Gunton Un alibi troppo perfetto Two Way Stretch GB 1960 REGIA: Robert Day ATTORI: Peter Sellers; Wilfrid Hyde-White; Lionel Jeffries All'ultimo secondo Outlaw Blues USA 1977 REGIA: Richard T. Heffron ATTORI: Peter Fonda; Susan Saint James; John Crawford A me la libert^ A nous la libert* Fr. 1931 REGIA: Ren* Clair ATTORI: Raymond Cordy; Henri Marchand; Paul Olivier; Rolla France; Andr* Michaud American History X USA 1999 REGIA: Tony Kaye ATTORI: Edward Norton; Edward Furlong; Stacy Keach; Avery Brooks; Elliott Gould Gli ammutinati di Sing Sing Within These Walls USA 1945 REGIA: Bruce H. Humberstone ATTORI: Thomas Mitchell; Mary Anderson; Edward Ryan Amore Szerelem Ung. 1970 REGIA: K‡roly Makk ATTORI: Lili Darvas; Mari T*r*csik; Iv‡n Darvas; Erzsi Orsolya Angelo bianco It. 1955 REGIA: Raffaello Matarazzo ATTORI: Amedeo Nazzari; Yvonne Sanson; Enrica Dyrell; Alberto Farnese; Philippe Hersent L'angelo della morte Brother John USA 1971 REGIA: James Goldstone ATTORI: Sidney Poitier; Will Geer; Bradford Dillman; Beverly Todd L'angolo rosso Red Corner USA 1998 REGIA: Jon Avnet ATTORI: Richard Gere; Bai Ling; Bradley Whitford; Peter Donat; Tzi Ma; Richard Venture Anni di piombo Die bleierne Zeit RFT 1981 REGIA: Margarethe von Trotta ATTORI: Jutta Lampe; Barbara Sukowa; RŸdiger Vogler Anni facili It. -
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Document generated on 09/28/2021 1:52 p.m. Séquences La revue de cinéma Palmarès des festivals ’64 Angoisse et peur Number 39, December 1964 URI: https://id.erudit.org/iderudit/51839ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this document (1964). Palmarès des festivals ’64. Séquences, (39), 63–65. Tous droits réservés © La revue Séquences Inc., 1964 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/ PALMARÈS DES FESTIVALS '64 BUENOS AIRES Prix spécial du jury : Suna no onna (La Femme des dunes), de Grand Prix : I Compagni (Les Hiroshi Teshigahara (Japon). Camarades) de Mario Monicelli (Italie). Prix d'interprétation : Barbara Prix d'interprétation : Natalie Barrie dans One Potato, Two Po Wood dans Love with the Proper tato, de Larry Peerce (Etats-Unis), Stranger de Robert Mulligan (E- Anne Bancroft dans The Pumpkin tats-Unis), Vittorio Gassman et Eater, de Jack Cardiff (Grande Ugo Tognazzi dans / Mostri de Bretagne), Saro Urzi dans Sedotta Dino Risi (Italie). e abandonata, de Pietro Germi (Italie) et Antal Pager dans Pacsir- Prix de mise en scène : Karel ta (L'Alouette), de Laszlo Ranody Kachyna pour l'Espoir (Pologne). -
Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar
Journal of Religion & Film Volume 3 Issue 2 October 1999 Article 2 October 1999 Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar Mark Goodacre University of Birmingham, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Goodacre, Mark (1999) "Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar," Journal of Religion & Film: Vol. 3 : Iss. 2 , Article 2. Available at: https://digitalcommons.unomaha.edu/jrf/vol3/iss2/2 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar Abstract Jesus Christ Superstar (dir. Norman Jewison, 1973) is a hybrid which, though influenced yb Jesus films, also transcends them. Its rock opera format and its focus on Holy Week make it congenial to the adaptation of the Gospels and its characterization of a plausible, non-stereotypical Jesus capable of change sets it apart from the traditional films and aligns it with The Last Temptation of Christ and Jesus of Montreal. It uses its depiction of Jesus as a means not of reverence but of interrogation, asking him questions by placing him in a context full of overtones of the culture of the early 1970s, English-speaking West, attempting to understand him by converting him into a pop-idol, with adoring groupies among whom Jesus struggles, out of context, in an alien culture that ultimately crushes him, crucifies him and leaves him behind. -
Spring 2019 / ITAL 340: Italian Through Film
Spring 2019 / ITAL 340: Italian through Film Department of Modern and Classical Languages George Mason University Mondays and Wednesdays, 3:00 to 4:15pm, Aquia Hall 347 Prof. K. Olson, [email protected] Office: Aquia Hall 309 Office Hours: Mondays, 4:30pm to 5:30pm, and by appointment Prerequisites: ITAL 202/250; appropriate placement score; or permission of instructor. Course Description and Objectives: This course develops linguistic proficiency and historical and cultural awareness through the study of selected films from 1945 to 1972. The course is divided into a series of pre-viewing, viewing, and post-viewing activities for each film that consist of a discussion of cultural and historical backgrounds, vocabulary in context, and a grammar review. Students will be responsible for viewing the films in their entirety outside of class while guided by these assignments. Class discussion, together with regular writing assignments and presentations, are designed to foster advanced reading, writing, speaking, and listening skills, incorporating advanced-level language study in a content- based approach. At the end of this course, students are expected to communicate at the ACTFL proficiency levels for reading, speaking, listening and writing between Advanced Low and Advanced Mid-levels. Required Materials Borra, Antonello and Cristina Pausini. Italian through Film: The Classics. New Haven, CT: Yale University Press, 2007. ISBN: 0300109520 Required Films (Purchase of these films is optional. See below for online film availability via GMU library. Films also located on course reserve in the Johnson Center.) Films are listed in alphabetical order with their current distributor and Amazon listing. 1. La commare secca (The Grim Reaper). -
Proposed 13-Weeksemesternow Underinvestigation Committeef;Onnedto Analyzeprosandcons
.'-:;),)1 \'.~ 0.:'· ... '...... '..t:» '~... ~ ~, ....: -_.- - ' . .. 1932 * The Students' Voice for 50 Years ·1982 .. Volume 83 No.4 Baruch College, CUNY October 25, 1982 Proposed 13-WeekSemesterNow UnderInvestigation CommitteeF;onnedto AnalyzeProsandCons. Committee members are con 198~. .By S~ven Appenzeller of Bragen pointed out that, tacting their colleagues at the in to compensate for the shorter se stitutions operating under the new A committee of faculty mem mester, class length and!or class schedule, and will present their bers and administration officials meeting frequency may be in findings at a committee meeting at is considering a proposal that creased. Classes presently meet the end of this month. A vote will would shorten the academic se ing twice a week may meet three be taken to decide the matter on mester at Baruch from 14 to 13 or four times a week.: January 6th. The committee is weeks. The 13-week semester is Dr. Ronald Aaron, Associate presently in use at four responsible for deciding whether Dean of Students, is concerned CUNY schools-Hostos Com to proceed with the plan, but not that, "presently some students munity, Kingsborough Communi for the actual implementation. have all their classes scheduled < 'Student input is important in ty, Manhattan Community, and for two days. As an educator. I deciding this issue," Dr. Henry Hunter Colleges. The impetus for don't think that is ideal." Wilson, Dean of Students, said at the change came from the CUNY At Hunter College where the Council of Faculty Senate a meeting of student representa program has already been in ef tives, where faculty and adminis Presidents, which recommended fect for a year, the students are ProfessorTracy Bragen will chair committee which will decide whetber to im tration representatives were also plement a 13-week semester. -
Papa Vip. Esplode Al Teatro Di Bellaria Il Romanzo Fantateologico Su
GIÙ IL CAPPELLO Nasce oggi Guido Reni pittore sublime ALBUM ci deliziò dal 1575 al 1642 MARTEDÌ 4. NOVEMBRE 2014 l contentino. Più che per farmi del teatro (è nel mito il suo Mercuzio nel Ro- contento, per contenermi. La sta- meo e Giulietta di Franco Zeffirelli), tra l’altro gione teatrale di Bellaria, quella che si volto cinematografico (ha lavorato per Marco attua al Teatro Astra, è la più snob del- Bellocchio, Liliana Cavani, Francesco Rosi, la Riviera. Mi piace? Ve lo dico dopo. Luigi Comencini, Pupi Avati, ne Il divo di Pao- Intanto vi dico che ci sono anche io. lo Sorrentino e nell’ultimo di Mario Martone, Sabato 10 gennaio 2015, nello stesso Il giovane favoloso) che non disdegna la fic- giorno in cui Giulio Cesare varca tion (attualmente è nel cast di Squadra anti- il Rubicone, io passo alla scena mafia), perfino riminese. Graziosi ha già letto con Rinuncio, ore 21,15. Sarà un il romanzo, quando gli telefono, stretto tra l’E- massacro. A firmare la stagione, Simone Bru- dipo in compagnia di Bassetti e Il ritorno a ca- scia, colto, dandy, efficace cavaliere delle feste. sa di Pinter, dice, in immensa generosità, yes. Che più di una volta ho pugnalato con la pen- Fuori scena. Cosa succederà sul palco? Che na. Vorrà darmi il contentino?, mi domando. un uomo, ai confini del tempo e del mondo, Mettermi la museruola, tenermi a bada con confida a una bolgia di morti il suo incontro un incarico. Non so. Sa bene che se pensa di straordinario con Benedetto XVI. -
Lunedì 05 Martedì 13 Mercoledì 25 Giovedì 35 Venerdì 45 Sabato 57
lunedì 05 martedì 13 mercoledì 25 giovedì 35 venerdì 45 sabato 57 Una iniziativa promossa da Regione Lazio Associazione Produttori Televisivi Camera di Commercio di Roma In collaborazione con Provincia di Roma Sviluppo Lazio ICE RAI e MEDIASET RomaFictionFest Il festival È da qualche anno che circola l’idea di organizzare anche in Italia un festival interamente dedicato alla fiction televisiva italiana e internazionale. Io stesso fui artefice, nel 2001, del progetto di creare al Lido di Venezia un evento del genere. Nacque nel marzo del 2002, e anche allora coinvolse l’APT, l’associazione dei produttori televisivi. Un discreto programma di telefilm, serie e miniserie, molta buona volontà ma scarsissimi mezzi. Durò una sola edizione. Venezia forse non era la città più adatta, la stagione era certamente sbagliata e, soprattutto, i finanziamenti risultarono risibili. Quando la Regione Lazio e l’APT decisero di dar vita su solide basi al festival della televisione a Roma - la città del cinema, ma anche, e sempre di più, della fiction televisiva, un’industria che nel Lazio dà lavoro a quasi centomila persone: da qui soprattutto l’attenzione della Regione - compresi che era stata fatta, finalmente, la scelta giusta. E a fine gennaio scorso accettai l’invito a dirigerlo. Ed ecco il RomaFictionFest, alla sua prima difficile, come tutte le prime, ma esaltante edizione con qualche centinaio di titoli - prescelti con un immenso lavoro fra le oltre tremila ore pervenuteci da tutto il mondo - inseriti in un programma intenso e variegato che consente di cogliere e mettere a confronto le tendenze, le tematiche, i linguaggi, le potenzialità e le differenti culture delle televisioni di gran parte del globo. -
California State University, Sacramento Italian 104 a INTRODUCTION to ITALIAN CINEMA I SPRING 2013
1 California State University, Sacramento Italian 104 A INTRODUCTION TO ITALIAN CINEMA I SPRING 2013 Course Hours: Tuesdays 5:30-8:20 Course Location: Mariposa 2005 Course Instructor: Professor Barbara Carle Office Location: Mariposa Hall 2015 Office Hours: Thursday 2-3, 4:30-6:30 and by appointment (every other Wednesday) This on line syllabus will contain assignments and modifications as we progress. Texts and Materials: History of Italian Cinema 1905-2003, Author: Brunetta, Publisher: Princeton University Press, 2011, Price: 28.75 USD (ISBN 9780691119892) Alternate text: Italian Cinema: From Neorealism to the Present by Peter Bondanella (ISBN 0-8264-1247-5) ***For Italian Minors: Italian Through Film The Classics, Antonello Borra and Cristina Pausini, (Yale University Press) ISBN 0-300-10952-0 Professor Barbara Carle's Web Page: http://www.csus.edu/indiv/c/carleb/ Assignments, Web Resources and Links COURSE GOALS and METHODS: To develop a critical understanding of Italian film, a knowledge of Italian film history and film techniques and an aesthetic appreciation for cinema. To learn about Italian civilization (politics, art, theatre and customs) through cinema. Guiding questionnaires will also be distributed on a regular basis to help students achieve these goals. All questionnaires will be graded. Weekly discussions will help students appreciate connections between cinema and art and literary movements, between Italian cinema and American film, as well as to deal with questionnaires. You are required to view the films in the best possible conditions, i.e. on a large screen in class. Viewing may be enjoyable but is not meant to be exclusively entertaining. -
Mary in Film
PONT~CALFACULTYOFTHEOLOGY "MARIANUM" INTERNATIONAL MARIAN RESEARCH INSTITUTE (UNIVERSITY OF DAYTON) MARY IN FILM AN ANALYSIS OF CINEMATIC PRESENTATIONS OF THE VIRGIN MARY FROM 1897- 1999: A THEOLOGICAL APPRAISAL OF A SOCIO-CULTURAL REALITY A thesis submitted to The International Marian Research Institute In Partial Fulfillment of the Requirements for the degree Licentiate of Sacred Theology (with Specialization in Mariology) By: Michael P. Durley Director: Rev. Johann G. Roten, S.M. IMRI Dayton, Ohio (USA) 45469-1390 2000 Table of Contents I) Purpose and Method 4-7 ll) Review of Literature on 'Mary in Film'- Stlltus Quaestionis 8-25 lli) Catholic Teaching on the Instruments of Social Communication Overview 26-28 Vigilanti Cura (1936) 29-32 Miranda Prorsus (1957) 33-35 Inter Miri.fica (1963) 36-40 Communio et Progressio (1971) 41-48 Aetatis Novae (1992) 49-52 Summary 53-54 IV) General Review of Trends in Film History and Mary's Place Therein Introduction 55-56 Actuality Films (1895-1915) 57 Early 'Life of Christ' films (1898-1929) 58-61 Melodramas (1910-1930) 62-64 Fantasy Epics and the Golden Age ofHollywood (1930-1950) 65-67 Realistic Movements (1946-1959) 68-70 Various 'New Waves' (1959-1990) 71-75 Religious and Marian Revival (1985-Present) 76-78 V) Thematic Survey of Mary in Films Classification Criteria 79-84 Lectures 85-92 Filmographies of Marian Lectures Catechetical 93-94 Apparitions 95 Miscellaneous 96 Documentaries 97-106 Filmographies of Marian Documentaries Marian Art 107-108 Apparitions 109-112 Miscellaneous 113-115 Dramas