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Spaghetti Westerns - Week 1 – January 5 Week 6 – February 8 Winter 2017 Course Intro: Identifying The Zapata Spaghetti Plot Genres Run Man, Run (Corri uomo corri) – Professor: Yuri M. Sangalli Sergio Sollima, 1968 Week 2 – January 11 ☎: 661.2111 ext. 86039 The Classic Western Week 7 – February 15 ✉: Please use OWL for all course Shane – George Stevens, 1958 The (Stylized) Italian Western correspondence and (Genre) History Once Upon a Time in the West (C’era Marking scheme: una volta il West) – S. Leone, 1968 Test - two hours, in class 15% Group presentation + report February 20-24 Reading Week (written/web-based) 15% Essay - 2500 words max. 25% Final exam – three hours 30% Class participation and attendance* 15% Week 9 – March 8 *attendance taken at each After the Italian Western: The screening and class Professional Plot The Wild Bunch – Sam Peckinpah, Students are expected to view 1969 films and complete readings Week 10 – March 15 before coming to class. Vengeance Plots and Urban Week 3 – January 18 Vigilantes: the Poliziesco The Samurai Film and the Revolver – Sergio Sollima, 1973 Peplum Adventure Film Yojimbo – Akira Kurosawa, 1961 Week 11 – March 22 Quentin Tarantino’s “Southern Week 4 – January 25 Western” The Servant of 2 Masters Plot Week 8 – March 1 Django Unchained – Quentin Django – Sergio Corbucci, 1966 The Meta Spaghetti Western: Tarantino, 2012 Genre Parody Week 12 – March 29 Week 5 – February 1 My Name Is Nobody (Il mio nome è Group presentations The Transitional Plot nessuno) – Tonino Valerii, 1973 The Good, the Bad and the Ugly (Il Week 13 – April 5 buono, il brutto e il cattivo) – Sergio March 2 – Test (2 hours) Group presentations Leone, 1966 Friday April 7 - Essay due .

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Bodies of Desire and Bodies in Distress
Bodies of Desire and Bodies in Distress Bodies of Desire and Bodies in Distress: The Golden Age of Italian Cult Cinema 1970-1985 By Xavier Mendik Bodies of Desire and Bodies in Distress: The Golden Age of Italian Cult Cinema 1970-1985, By Xavier Mendik This book first published 2015 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2015 by Xavier Mendik All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-5954-0, ISBN (13): 978-1-4438-5954-7 This book is dedicated with much love to Caroline and Zena CONTENTS Acknowledgements .................................................................................... ix Foreword ................................................................................................... xii Enzo G. Castellari Introduction ................................................................................................ 1 Bodies of Desire and Bodies of Distress beyond the ‘Argento Effect’ Chapter One .............................................................................................. 21 “There is Something Wrong with that Scene”: The Return of the Repressed in 1970s Giallo Cinema Chapter Two ............................................................................................
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Westerns…All'italiana
Issue #70 Featuring: TURN I’ll KILL YOU, THE FAR SIDE OF JERICHO, Spaghetti Western Poster Art, Spaghetti Western Film Locations in the U.S.A., Tim Lucas interview, DVD reviews WAI! #70 The Swingin’ Doors Welcome to another on-line edition of Westerns…All’Italiana! kicking off 2008. Several things are happening for the fanzine. We have found a host or I should say two hosts for the zine. Jamie Edwards and his Drive-In Connection are hosting the zine for most of our U.S. readers (www.thedriveinconnection.com) and Sebastian Haselbeck is hosting it at his Spaghetti Westerns Database for the European readers (www.spaghetti- western.net). Our own Kim August is working on a new website (here’s her current blog site http://gunsmudblood.blogspot.com/ ) that will archive all editions of the zine starting with issue #1. This of course will take quite a while to complete with Kim still in college. Thankfully she’s very young as she’ll be working on this project until her retirement 60 years from now. Anyway you can visit these sites and read or download your copy of the fanzine whenever you feel the urge. Several new DVD and CD releases have been issued since the last edition of WAI! and co-editor Lee Broughton has covered the DVDs as always. The CDs will be featured on the last page of each issue so you will be made aware of what is available. We have completed several interviews of interest in recent months. One with author Tim Lucas, who has just recently released his huge volume on Mario Bava, appears in this issue.
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Introduction Austin Fisher n many ways, the remit of this book revolves around an obvious Iproposition. The Spaghetti Western, as a transatlantic meeting place, is of necessity a cinematic category to be considered in international contexts, the hundreds of fi lms which the category comprises docu- menting shifts in Italy’s cultural outlook, as the reference points of American popular culture became ever more visible in the post-war years. Yet an Italo-American focus tells only a fraction of a story in which myriad strands of infl uence converged within, and continue to emanate from, this amorphous group of fi lms. Spaghetti Western is a classifi cation constantly in transit between cultures, genres and conceptions of taste, and its patterns of production, distribution and consumption display diverse acts of ‘border crossing’ and translation. By appraising a broad selection of fi lms – from the internationally famed works of Sergio Leone to the cult cachet of Sergio Corbucci and the more obscure outputs of such directors as Giuseppe Colizzi and Ferdinando Baldi – this volume seeks to reconsider the cultural signifi - cance of the Italian Western, its position within global cinema and its continuing trends of reception and appropriation around the globe. Scholarly volumes are always at pains to stress their timeliness in rela- tion to trends within their broader disciplines, and in this respect this one is no different. What Mette Hjort has termed Film Studies’ ‘transnational turn’ (2010: 13) highlights a desire to understand the ways in which cinema has offered a means to document the movement of peoples and identities across perceived cultural and spatial boundaries.
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Spaghetti Westerns
Spaghetti Westerns - Week 2 Week 6 Week 10 Fall 2019 September 16 October 14 November 11 The Classic Western Thanksgiving Holiday The (Stylized) Italian Western and Professor: Yuri M. Sangalli September 18 October 16 (Genre) History November 13 ☎: 661.2111 ext-87390 (UC 4313) Yojimbo – Akira Kurosawa, 1961 Run Man, Run (Corri uomo corri) – Sergio Sollima, 1968 The Wild Bunch – Sam Peckinpah, ✉: Please use OWL for all course Week 3 1969 correspondence September 23 Week 11 Marking scheme: The Samurai Film and the Peplum November 18 Test - two hours, in class 15% Adventure Film After the Italian Western: The Group presentation + report September 25 Professional Plot (written/web-based) 15% Django – Sergio Corbucci, 1966 November 20 Essay - 2200 words max. 25% Django Unchained – Quentin Final exam – three hours 30% Week 4 Tarantino, 2012 Class participation and September 30 attendance* 15% Week 12 The Servant of 2 Masters Plot November 25 *attendance taken at each October 2 Quentin Tarantino’s “Southern screening and class The Good, the Bad and the Ugly (Il Western” buono, il brutto e il cattivo) – Sergio November 27 Group presentations Students are expected to view Leone, 1966 Week 7 films and complete readings October 21 before coming to class. Week 13 The Zapata Spaghetti Plot December 2 October 23* Group presentations Vengeance Plots and Urban December 4 Vigilantes: the Poliziesco Group presentations Revolver – Sergio Sollima, 1973 Friday December 6 Essay due Week 8 Week 5 October 28 October 7 Test (2 hours) The Transitional Plot October 30 October 9* Once Upon a Time in the West (C’era Week 1 The Meta Spaghetti Western: una volta il West) – S.
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The University of Bradford Institutional Repository
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Bradford Scholars The University of Bradford Institutional Repository http://bradscholars.brad.ac.uk This work is made available online in accordance with publisher policies. Please refer to the repository record for this item and our Policy Document available from the repository home page for further information. To see the final version of this work please visit the publisher’s website. Access to the published online version may require a subscription. Citation: Goodall M (2016) Spaghetti savages: cinematic perversions of 'Django Kill'. In: Broughton L (Ed.) Critical perspectives on the Western: from A Fistful of Dollars to Django Unchained. Maryland: Rowman & Littlefield. 199-212. Copyright statement: © 2016. Rowman & Littlefield. All rights reserved. Reproduced in accordance with the publisher's self-archiving policy. ‘Spaghetti Savages’: the cinematic perversions of Django Kill Mark Goodall Introduction: the ‘Savage Western’ …The world of the Italian western is that of an insecure environment of grotesqueness, abounding in almost surrealistic dimensions, in which violence reigns1 The truth in stories always generates fear2 It is widely accepted that the ‘Spaghetti Western’, one of the most vivid genres in cinematic history, began with Sergio Leone’s 1964 film Per un pugno di dollari/A Fistful of Dollars. Although A Fistful of Dollars was not the first Italian Western per se, it was the first to present a set of individual and distinctive traits for which Latino versions of the myths of the West would subsequently become known. In short, Leone’s much imitated film served to introduce a sense of ‘separate generic identity’3 to the Italian Western The blank, amoral character of ‘The Man With No Name’, played by the American television actor Clint Eastwood, was something of a surprise initially but his cool manner under extreme provocation from all sides was an engaging and powerful attribute.
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ARROW VIDEO ARROW VIDEO 1 ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO 1 CONTENTS 4 Django: Cast and Crew 7 The D is Silent: A Legend is Born (2018) by Howard Hughes 14 Django: Contemporary Reviews compiled by Roberto Curti 16 Texas, Adios: Cast and Crew 19 Cut to the Action: The Films of Ferdinando Baldi (2018) by Howard Hughes 29 Texas, Adios: Contemporary Reviews compiled by Roberto Curti 30 About the Restorations ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO2 ARROW VIDEO 3 ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO CREW Directed by Sergio Corbucci Produced by Manolo Bolognini and Sergio Corbucci 1966 Story and Screenplay by Sergio Corbucci and Bruno Corbucci Screenplay in collaboration with Piero Vivarelli and Franco Rossetti Director of Photography Enzo Barboni A.I.C. CAST Camera Operators Idelmo Simonelli, Gianni Bergamini and Gaetano Valle Assistant Cameraman Fernando Gallandt Franco Nero Django Assistant Director Ruggero Deodato Loredana Nusciak Maria Production Manager Bruno Frascà José Bódalo General Hugo Rodriguez Edited by Nino Baragli and Sergio Montanari Eduardo Fajardo Major Jackson Continuity Patrizia Zulini Ángel Álvarez Nathaniel, the saloonkeeper Fire Arms Remo De Angelis Gino Pernice (as Jimmy Douglas) Brother Jonathan Set Designer and Costumes Giancarlo Simi Remo De Angelis (as Erik Schippers) Ricardo, Rodriguez gang member Costumes Marcella De Marchis José Canalejas (as José Canalecas) Rodriguez gang member Set Decorator Francisco Ganet Simón Arriaga Miguel, Rodriguez gang member Make-up Mario Van Riel Rafael Albaicín Rodriguez gang member ARROW VIDEO ARROW VIDEO Hair Styles Grazia De’Rossi José Terrón Ringo Properties and Furniture Francesco Bronzi C.S.C.
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