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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
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. -
Olasz Filmek
Kölcsönözhető DVD-k a Berzsenyi Dániel Könyvtárban Játékfilmek Olasz filmek 8 és 1/2 (1963) DVD 287 Rend.: Federico Fellini Szereplők: Marcello Mastroianni, Claudia Cardinale, Anouk Amiée. Időtartam: 138 perc (Filmtörténeti klasszikusok) (Fellini gyűjtemény) A film egy művész alkotói válságát mutatja be. Guido Anselmi filmrendező, akinek élete és munkássága is a totális csőd felé halad. Visszavonul egy magánklinikára, ahol talán elrejtőzhet a világ elől, de nem csak felesége és szeretője üldözi, hanem mindenki, akivel dolgozott, vagy aki munkát vár tőle. A valóság összekeveredik az álomvilággal: gyermekkori szorongásai és gyötrelmei közepette képzeletében megjelennek azok a nők is, akik valaha szerepet játszottak életében. Akik csizmában halnak meg (1969) DVD 5870 Rend.: Giuseppe Colizzi Szereplők: Terence Hill, Bud Spencer, Woody Strode. Időtartam: 86 perc (Bud Spencer - Terence Hill sorozat ; 21.) Cat Stevens-t megtámadják Finch emberei, aki hatalmát kihasználva megpróbálja megfélemlíteni a helyi városka lakóit, hogy mondjanak le a bánya jogairól. Cat a küzdelem során megsebesül, de a kisvárosba érkezett vándorcirkusz szekerei alatt menedéket talál. Másnap reggel a cirkuszosok megtalálják a sebesült férfit, és gondját viselik. Mikor Finch emberei rájönnek, hogy hol rejtőzködött Cat, a cirkusz egyik műsora alatt lelőnek egy artistát. Ezzel a mutatványosok is belekeverednek a kisváros ügyeibe. Cat segítségül hívja régi barátját, Hutch Bessey-t aki nem igazán örül a felkérésnek. Banán Joe (1981) DVD 5873 Rend.: Steno Szereplők: Bud Spencer, Marina Langner, Mario Scarpetta. Időtartam: 92 perc (Bud Spencer - Terence Hill sorozat ; 5.) Banán Joe egy nyugodt kis dél-amerikai országban éldegél. Az álmos kis köztársaság őserdejében éppen banánkereskedelemmel foglalkozó, írástudatlan, semmiféle papírral nem rendelkező békés óriás az összes környékbelivel jó viszonyban él. -
Italian Films (Updated April 2011)
Language Laboratory Film Collection Wagner College: Campus Hall 202 Italian Films (updated April 2011): Agata and the Storm/ Agata e la tempesta (2004) Silvio Soldini. Italy The pleasant life of middle-aged Agata (Licia Maglietta) -- owner of the most popular bookstore in town -- is turned topsy-turvy when she begins an uncertain affair with a man 13 years her junior (Claudio Santamaria). Meanwhile, life is equally turbulent for her brother, Gustavo (Emilio Solfrizzi), who discovers he was adopted and sets off to find his biological brother (Giuseppe Battiston) -- a married traveling salesman with a roving eye. Bicycle Thieves/ Ladri di biciclette (1948) Vittorio De Sica. Italy Widely considered a landmark Italian film, Vittorio De Sica's tale of a man who relies on his bicycle to do his job during Rome's post-World War II depression earned a special Oscar for its devastating power. The same day Antonio (Lamberto Maggiorani) gets his vehicle back from the pawnshop, someone steals it, prompting him to search the city in vain with his young son, Bruno (Enzo Staiola). Increasingly, he confronts a looming desperation. Big Deal on Madonna Street/ I soliti ignoti (1958) Mario Monicelli. Italy Director Mario Monicelli delivers this deft satire of the classic caper film Rififi, introducing a bungling group of amateurs -- including an ex-jockey (Carlo Pisacane), a former boxer (Vittorio Gassman) and an out-of-work photographer (Marcello Mastroianni). The crew plans a seemingly simple heist with a retired burglar (Totó), who serves as a consultant. But this Italian job is doomed from the start. Blow up (1966) Michelangelo Antonioni. -
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. -
Ediție Specială Special Edition TOATE FILMELE DE LA a LA Z ALL FILMS from a to Z 29 Mai–7 Iunie, 2009
APERI PublicațieTIFF oficială a TIFF www.tiff.ro Ediția 8, 29 mai–7 iunie 2009, Cluj-Napoca EDIțIE SPECIALă SPECIAL EDITION TOATE FILMELE DE LA A LA Z ALL FILMS FROM A TO Z 29 mai–7 iunie, 2009 APERITIFF / 2 DESCHIDEREA OFICIALă AMINTIRI DIN EPOCA DE AUR (Tales From the Golden Age, România, 2009) 155’ ZILELE FILMULUI ROMÂNESC R. Ioana Uricaru, Hanno Hofer, Răzvan Mărculescu, Constantin Popescu şi Cristian Mungiu. Cu: Vlad Ivanov, Tania Popa, Ion Sapdaru, Alex Potocean. Ultimii 15 ani ai regimului Ceauşescu au fost cei mai îngrozitori din întreaga istorie a României. Cu toate acestea, maşina de propa- gandă a acelei epoci a botezat-o „Epoca de Aur”. Amintiri din Epoca de Aur mixează cîteva poveşti adevărate pentru a face portretul unei epoci în care alimentele erau mai importan- te decît banii, libertatea mai importantă decît dragostea şi supravieţuirea mai importantă decît principiile. Comice, bizare, surprinzătoare, aceste poveşti cu parfum de mit s-au inspirat din evenimentele adeseori suprarealiste ale vieţii de zi cu zi în regimul comunist. Umorul e cel care i-a ţinut în viaţă pe români, şi Amintiri din Epoca de Aur încearcă să surprindă acea stare, făcînd portretul supravieţuirii unei naţiuni care s-a confruntat, zi de zi, cu logica sucită a unei dictaturi. The last 15 years of the Ceauşescu regime were the worst in Romania’s history. Nonetheless, the propaganda machine of that time referred without fail to that period as “The Golden Age”. Tales from the Golden Age blends several true stories to portray an époque when food was more important than money, freedom more im- portant than love, and survival more important than principles. -
Extra Vorpremiere Ladies' Night Buddies' Night
6 AGENDA woxx | 13 08 2010 | Nr 1071 KIno I 13.08. - 19.08. KINO Ein Mörder von kindlicher Naivität. Casey Affleck in Michael Winterbottoms „The Killer Inside Me“. Neu im Utopia. extra interessiert, begibt sie sich allein auf Entdeckungstour und findet: „Julias Luxembourg Sekretärinnen“ - vier Frauen, die jeden Tag Briefe von Liebenden aus aller Sneak Preview Welt beantworten. utopolis, Do. 22h. buddies’ night vorpremiere Luxembourg rumeLange Burgers, Beer & Blugbusters Special event for men. Ab 16. Marmaduke USA 2010 von Tom Dey. Mit July Greer, utopolis, mi. 19h empfang, Emma Stone und Christopher Mintz- 19h30 „The expendables“, Plasse. 87‘. Dt. Fass. Ab 6. 21h45 „Dinner for schmucks“ The Expendables Kursaal, mi. 16h30. USA 2010 von und mit Sylvester Eine Vorstadtfamilie zieht in eine neue Stallone. Mit Jason Statham, Jet Li und Nachbarschaft mit ihrer riesigen, wenn Mickey Rourke. 105‘, O.-Ton, fr. - nl. Ut. auch liebenswerten dänischen Dogge, Ein Trupp von Söldnern soll in einer die die schlechte Angwohnheit hat, Bananenrepublik einen vom CIA überall für Chaos und Zerstörung zu gestürzten Diktator beseitigen, um den sorgen. ursprünglichen Präsidenten wieder an die Macht zu bringen. Doch der XXX = excellent Auftrag entpuppt sich als falsches XX = bon Spiel. Die Widersacher haben jedoch X = moyen ladies’ night nicht mit der Professionalität der 0 = mauvais Söldner gerechnet. esch commentaires: Dinner for Schmucks lc = Luc Caregari Letters to Juliet USA 2010 von Jay Roach. Mit Steve cat = Karin Enser USA 2010 von Gary Winick. Mit Carell, Paul Rudd und Stephanie tf = Thorsten Fuchshuber Amanda Seyfried, Marcia De Bonis Szostak. 104‘. O.-Ton, fr. + nl. Ut. -
GSC Films: S-Z
GSC Films: S-Z Saboteur 1942 Alfred Hitchcock 3.0 Robert Cummings, Patricia Lane as not so charismatic love interest, Otto Kruger as rather dull villain (although something of prefigure of James Mason’s very suave villain in ‘NNW’), Norman Lloyd who makes impression as rather melancholy saboteur, especially when he is hanging by his sleeve in Statue of Liberty sequence. One of lesser Hitchcock products, done on loan out from Selznick for Universal. Suffers from lackluster cast (Cummings does not have acting weight to make us care for his character or to make us believe that he is going to all that trouble to find the real saboteur), and an often inconsistent story line that provides opportunity for interesting set pieces – the circus freaks, the high society fund-raising dance; and of course the final famous Statue of Liberty sequence (vertigo impression with the two characters perched high on the finger of the statue, the suspense generated by the slow tearing of the sleeve seam, and the scary fall when the sleeve tears off – Lloyd rotating slowly and screaming as he recedes from Cummings’ view). Many scenes are obviously done on the cheap – anything with the trucks, the home of Kruger, riding a taxi through New York. Some of the scenes are very flat – the kindly blind hermit (riff on the hermit in ‘Frankenstein?’), Kruger’s affection for his grandchild around the swimming pool in his Highway 395 ranch home, the meeting with the bad guys in the Soda City scene next to Hoover Dam. The encounter with the circus freaks (Siamese twins who don’t get along, the bearded lady whose beard is in curlers, the militaristic midget who wants to turn the couple in, etc.) is amusing and piquant (perhaps the scene was written by Dorothy Parker?), but it doesn’t seem to relate to anything. -
Giulio Cuomo
anche film in alcune occasioni patrocinati dall’UNICEF per il loro maginario collettivo, e ha dato origine a vari sequel (e miniserie tele - regista a una critica della modernità. Con tanto di dichiarazione giovedì 1 impegno a favore dei bambini, specie africani. Anche questo di oggi visive) mai all’altezza dell’originale […]. Esordio cinematografico di mercoledì 7 venerdì 9 in apertura, imposta a Ferreri, di difesa dei «solidi e immutabili rispecchia le stesse posizioni, con una gentilezza di approccio che Depp nella parte di Glen» (Mereghetti). ore 17.00 Le ultime 56 ore di Claudio Fragasso (2010, 107’) ore 17.00 Guido che sfidò le brigate rosse di Giuseppe Ferrara principi della morale e della religione». Dichiarazione di principio L’ultima voce. Guido Notari […] ha elementi per convincere a sostegno delle buone cause cui «Il Colonnello Moresco è a capo di un gruppo di militari impegnati (2006, 106’) che non resiste all’urto del film, che valse a Marina Vlady il pre - tende. Fra gli interpreti si impone con le sue tante doti una attrice ore 21.00 Il serpente e l’arcobaleno di Wes Craven (1988, 98’) sul fronte per restituire democrazia e libertà nei paesi occupati. «La mattina del 24 gennaio 1979 in via Fracchia a Genova, il sinda - mio a Cannes per la migliore interpretazione femminile. di Enrico Menduni. Un capitolo di come Angela Finocchiaro che, con il suo abituale calore, è l’addetta «Un antropologo (Pullman), alla ricerca del segreto della polvere Durante la campagna in Bosnia, un grave problema colpisce le sue calista Guido Rossa esce come ogni giorno per andare al suo lavo - “storia del consenso” in Italia all’aeroporto di Bruxelles cui tocca di scoprire i cadaveri dei due che crea gli zombi, se la vedrà col capo (Mokae) dei tonton macoute pattuglie, prive della protezione adeguata, ma le autorità competenti ro di operaio all’Italsider. -
I Vitelloni Directed by Federico Fellini
I Vitelloni Directed by Federico Fellini. Italy 1953. 109 min. Alberto Sordi, Franco Fabrizi, Franco Interlenghi With his third film, 33-year old Fellini made his name and found his voice: evolving from Italian Neo-Realism into a freer, more poetic and episodic style.The narrative is sprinkled with many of his recurrent motifs: variété and carneval; storms and windswept beaches, the Catholic Church; the happy fool and the wise child – all bound with intregral musicality, the second of many collaborations with the composer Nino Rota. Fellini's life flowed freely into his works; more than half were autobiographical, pursuits of memory in quest of identity, meaning and direction. Although filmed itinerantly in other locations, I Vitelloni plays in a sleepy seaside town distinctly like his native Rimini. Five mates while away their days, bored with acting forever young, yet reluctant to become like their parents. With gentle irony, an unseen narrator presents them typologically. ʺThe youngestʺ is Moraldo (Interlenghi), the cineaste’s alter ego. Like the town, the characters were so recognisable that local families took offence; but the mood, chemistry, predicaments are transferable. The film has been cited as inspiration for Scorsese’s Mean Streets, Lucas’ American Graffiti (both 1973), and many more. Stanley Kubrick said I Vitelloni was his favourite film. ʺIt shows all of Fellini's unrivaled virtues -- his lyrical sense of place, his abiding affection for even the most hapless of his characters, his effortless knack for limpid, bustling -
Fronte Del Porto
ARENA ROMANA ESTATE PROMOVIES (Programma prima parte giugno-luglio 2018) Venerdì 1 giugno - ore 21,00 Arena Romana Musica Concerto “IL FAVOLOSO MONDO DI AMELIE 1” “con la pianista Fiamma Velo piano solo - in anteprima Sabato 2 giugno a martedì 5 giugno - riposo Venerdì 8 giugno - ore 21,30 PADOVA CIAK - 1° Serata Finale del Concorso per film inediti girati nei Quartieri di Padova - terza edizione 2018 Sabato 9 giugno - ore 21,30 PADOVA CIAK - 2° Serata Finale con le Premiazioni dei vincitori del Concorso per film inediti girati nei Quartieri di Padova Domenica 10 giugno - ore 21,30 Festival del Circo Contemporaneo e Artisti di Strada Da Lunedì 11 a Giovedì 14 giugno - ore 21,30 PADUA FILM FESTIVAL - International Shorts 2018 La vetrina dei film corti da tutto il mondo Prima serata - Corti d’Amore e corti da Oscar Seconda serata - I corti più premiati ai Festival Internazionali Terza serata - Corti italiani di genere, magia, amore e morte Quarta serata - Corti di genere, crimine, paura e perversione Venerdì 15 giugno - ore 21,30 SOLARIS (1971) di Andreij Tarkowski con Donatas Banionis, Natal’ja Bondarčuk / URSS Sabato 16 giugno - ore 21,00 CINEMA E MONTAGNA: Concerto del CORO del CAI di Padova - canti delle montagne e della guerra di trincea A seguire proiezione del film: OLTRE IL CONFINE - LA STORIA DI ETTORE CASTIGLIONI di Andrea Azzetti e Federico Massa Intervengono alla serata Maurizio Fassanelli Presidente Cai di Padova, Gianni Vitale Presidente Promovies e i registi Andrea Azzetti e Federico Massa. Domenica 17 giugno - ore 21,30 40 ANNI DI CINEMA ALL’APERTO ALL’ARENA ROMANA Presentazione del suggestivo progetto di illuminazione delle antiche mura dell’Arena Romana realizzato dalla Promovies. -
Bazin on Early Fellini: Three Original Reviews Bert Cardullo University of Michigan, Ann Arbor
The Kentucky Review Volume 15 | Number 2 Article 6 2003 Bazin on Early Fellini: Three Original Reviews Bert Cardullo University of Michigan, Ann Arbor Follow this and additional works at: https://uknowledge.uky.edu/kentucky-review Part of the Film and Media Studies Commons Right click to open a feedback form in a new tab to let us know how this document benefits you. Recommended Citation Cardullo, Bert (2003) "Bazin on Early Fellini: Three Original Reviews," The Kentucky Review: Vol. 15 : No. 2 , Article 6. Available at: https://uknowledge.uky.edu/kentucky-review/vol15/iss2/6 This Article is brought to you for free and open access by the University of Kentucky Libraries at UKnowledge. It has been accepted for inclusion in The Kentucky Review by an authorized editor of UKnowledge. For more information, please contact [email protected]. ~ . Eds. ·ress, Bazin on Early Fellini: Three Original Reviews Translated and edited by Bert Cardullo md The Profound Originality of I Vitelloni ge, LA: Without question, few films in the history of cinema have captured their era and exercised their influence more subtly than I ~ht in the Vitelloni (1953). Chaplin's films operated through the miraculously s, 1960. universal character of the Tramp. Films like The Threepenny Opera (1931) owe their audience, and the mark they have left on an entire • e generation, in part to the particularly successful marriage of music and cinema. By contrast, nothing in I Vitelloni seemed capable of impressing itself on the viewer's memory: no famous actors; not even, as in La Strada (1954), a poetically original and picturesque character around which the film is built; no story, or almost none.