GESAM CONVIENE... ANCHE AL TERRITORIO Il Cinema È Luce
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Resavoring Cannibal Holocaust As a Mockumentary
hobbs Back to Issue 7 "Eat it alive and swallow it whole!": Resavoring Cannibal Holocaust as a Mockumentary by Carolina Gabriela Jauregui ©2004 "The worst returns to laughter" Shakespeare, King Lear We all have an appetite for seeing, an appétit de l'oeuil as Lacan explains it: it is through our eyes that we ingest the Other, the world.1 And in this sense, what better way to introduce a film on anthropophagy, Ruggero Deodato's 1979 film, Cannibal Holocaust, than through the different ways it has been seen.2 It seems mankind has forever been obsessed with the need to understand the world through the eyes, with the need for visual evidence. From Thomas the Apostle, to Othello's "ocular proof," to our television "reality shows," as the saying goes: "Seeing is believing." We have redefined ourselves as Homo Videns: breathers, consumers, dependants, and creators of images. Truth, in our society, now hinges on the visual; it is mediated by images. Thus it is from the necessity for ocular proof that Cinéma Vérité, Direct Cinema, documentary filmmaking and the mockumentary or mock-documentary genre stem. It is within this tradition that the Italian production Cannibal Holocaust inserts itself, as a hybrid trans-genre film. To better understand this film, I will not only look at it as a traditional horror film, but also as a contemporary mockumentary satire that presents itself as "reality" and highlights the spectator’s eye/I’s primal appetite. In the manner of Peter Watkins' film Culloden, Deodato's film is intended to confuse the audience's -
National Gallery of Art Fall 2014 Film Program
Film Fall 2014 Film Fall 2014 National Gallery of Art with American University School of Communication American Film Institute Goethe-Institut, Washington National Archives National Portrait Gallery Introduction 5 Schedule 7 Special Events 11 Suso Cecchi d’Amico: Homage at 100 15 Viewing China 19 American Originals Now: Jodie Mack 22 Morality and Beauty: Marco Bellocchio 23 The Play’s the Thing: Václav Havel, Art and Politics 28 Also Like Life: Hou Hsiao-hsien 30 Athens Today 32 Index 36 Standing Aside, Watching p34 Cover: Moon Over Home Village p19 During the fall of 2014, with the ongoing renovations in the East Building, a number of National Gallery of Art screen- ings are moving to various sites in Washington, DC; please note the temporary locations on the following pages. We are grateful this season for the cooperation of many other institutions, including the National Portrait Gallery, National Archives, American University, Goethe-Institut Washington, and American Film Institute. The season opens with a tribute to the influential Italian screenwriter Suso Cecchi d’Amico on her one-hundredth birthday. During subsequent weeks there are other opportunities to view the rich legacy of Italian cin- ema, including a retrospective devoted to Marco Bellocchio. Viewing China, a program of non-fiction work from mainland China, relates aspects of rural and urban life and contrasts recent indie cinema with films made by the state-owned Cen- tral Newsreel and Documentary Studio. In December there is an opportunity to view the important oeuvre of Taiwanese filmmaker Hou Hsiao-hsien during a major retrospective tak- ing place at the Freer Gallery, the American Film Institute, and the Goethe-Institut, in partnership with the National Gallery of Art. -
Marco Bellocchio (Writer-Director) Feature Filmography
Massimo’s idyllic childhood was shattered by the mysterious death of his mother. As he prepares to sell his parents’ apartment, he is haunted by his traumatic past. Compassionate doctor Elisa could help tormented Massimo open up and confront his childhood wounds… Synopsis Turin, 1969. Nine-year-old Massimo’s idyllic childhood is shattered by the mysterious death of his mother. The young boy refuses to accept this brutal loss, even if the priest says she is now in Heaven. Years later in the 90s, adult Massimo has become an accomplished journalist. After reporting on the war in Sarajevo, he begins to suffer from panic attacks. As he prepares to sell his parents’ apartment, Massimo is forced to relive his traumatic past. Compassionate doctor Elisa could help tormented Massimo open up and confront his childhood wounds… Marco Bellocchio (writer-director) Feature Filmography 2016 – FAI BEI SOGNI (SWEET DREAMS) 2015 – SANGUE DEL MIO SANGUE (BLOOD OF MY BLOOD) From teenage rebellion to religious From the 80s on, Bellocchio’s films 2012 – BELLA ADDORMENTATA (DORMANT BEAUTY) institutions to political subversion, have often focused on coming to 2010 – SORELLE MAI (THE MAI SISTERS) the films of Italian director Marco terms with a personally and politi- 2009 – VINCERE Bellocchio have explored the social cally turbulent past. He has ques- 2006 – IL REGISTA DI MATRIMONI (THE WEDDING DIRECTOR) and political contradictions of his tioned ideologies and moral issues 2003 – BUONGIORNO, NOTTE (GOOD MORNING, NIGHT) country. His prolific 50-year career and fought to make sense of his 2002 – L‘ORA DI RELIGIONE (aka IL SORRISO DI MIA MADRE - MY MOTHER‘S SMILE) has been closely intertwined with characters’ motives. -
Africa Addio and the Ambiguities of Remembrance in Contemporary Zanzibar Marie-Aude Fouéré
Film as archive: Africa Addio and the ambiguities of remembrance in contemporary Zanzibar Marie-Aude Fouéré To cite this version: Marie-Aude Fouéré. Film as archive: Africa Addio and the ambiguities of remembrance in con- temporary Zanzibar. Social Anthropology, Wiley, 2016, 24 (1), 10.1111/1469-8676.12282. halshs- 01404568 HAL Id: halshs-01404568 https://halshs.archives-ouvertes.fr/halshs-01404568 Submitted on 3 Dec 2016 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. MARIE-AUDE FOUÉRÉ Film as archive: Africa Addio and the ambiguities of remembrance in contemporary Zanzibar The Italian shock documentary Africa Addio contains a sequence about massacres that occurred during the Zanzibar revolution of 1964. Perceived by some of its Zanzibari viewers as a container of factual evidence of the brutality of this epochal event, this sequence is contested by others who assert that it was staged or re-enacted. One critical aspect of these oppositional views concerns the very status of this documentary and the trust that can be placed in it as an archival record. Whether Africa Addio is seen as authentic or fabricated, it provides Zanzibaris with a medium through which to revisit the past and rethink Zanzibari society in the present. -
The Jewel Eng PB
NICOLA GIULIANO FRANCESCA CIMA present THE JEWEL A FILM BY ANDREA MOLAIOLI An italo-french coproduction INDIGO FILM . BABE FILMS in collaboration with RAI CINEMA in collaboration with BIM DISTRIBUZIONE Italian release: march 4th 2011 ✎✎✎ world sales INTRAMOVIES SRL Via E. Manfredi 15, 00197 Rome, Italy +39 06 807 61 57 [email protected] press material www.intramovies.com - www.kinoweb.it - www.bimfilm.com credits not contractual THE JEWEL . Technical cast director ANDREA MOLAIOLI story and screenplay LUDOVICA RAMPOLDI GABRIELE ROMAGNOLI ANDREA MOLAIOLI Director of Photography LUCA BIGAZZI editor GIOGIO’ FRANCHINI art director ALESSANDRA MURA costume designer ROSSANO MARCHI music TEHO TEARDO music edited by INDIGO FILM srl fonico di presa diretta MARIO IAQUONE sound editor SILVIA MORAES first assistant director CINZIA CASTANIA casting ANNAMARIA SAMBUCCO organisation LUIGI LAGRASTA executive producers CARLOTTA CALORI VIOLA PRESTIERI Coproduced by FABIO CONVERSI Produced by NICOLA GIULIANO . FRANCESCA CIMA an italo - french coproduction INDIGO FILM . BABE FILMS in collaboration with RAI CINEMA in collaboration with BIM DISTRIBUZIONE with the support of the MINISTERO per i BENI e le ATTIVITÀ CULTURALI . DIREZIONE GENERALE PER IL CINEMA with the support of the EURIMAGES with the support of the FILM COMMISSION TORINO PIEMONTE with the participation CANAL+ e CINECINEMA Italian distribution International distribution nazionality ITALIAN year of production 2010 lenght 110’ format 35mm 1:2,35 credits not contractual THE JEWEL . Artistic cast TONI SERVILLO Ernesto Botta REMO GIRONE Amanzio Rastelli SARAH FELBERBAUM Laura Aliprandi LINO GUANCIALE Filippo Magnaghi FAUSTO MARIA SCIARAPPA Franco Schianchi LISA GALANTINI Secretary Carla VANESSA COMPAGNUCCI Barbara Magnaghi MAURIZIO MARCHETTI Giulio Fontana IGOR CHERNEVICH Igor Yashenko JAY O. -
Percorsi Etruschi "In Verità È Impressionante Constatare Che Per Due Volte, Nel VII Secolo A
2 Prefazione "L’uomo che non è mai stato in Italia, è sempre cosciente di un’inferiorità." Samuel Johnson Perché possiamo parlare dell’Italia come Opera Unica? Certo è che in essa sono concentrati la maggior parte dei beni artistici esistenti sul pianeta Terra, questo senza tener conto delle enormi ricchezze che ci rappresentano in alcuni tra i musei più importanti del mondo come il Louvre a Parigi, l’Heritage a San Pietroburgo o la National Gallery a Londra, visto e considerato che, insieme all’Egitto e alla Grecia, siamo tra i paesi più depauperati da un punto di vista patrimoniale, oltre che, da sempre, l’Arte Italiana fa scuola a studenti e artisti provenienti da ogni dove, talvolta diventati celeberrimi come Balthus, Picas- so e Turner, e che hanno affrontato i viaggi più avventurosi per studiare i no- stri capolavori i quali hanno influenzato visibilmente le loro opere. La famosa "Sindrome di Stendhal" prende nome proprio dalla reazione emo- tiva ansiogena che colse il famoso scrittore Francese e che egli racconta nel suo libro "Roma, Napoli e Firenze" descrivendola come una sintomatologia paralizzante dovuta all’improvvisa bellezza di un monumento e che lo colse uscendo dalla chiesa di Santa Croce, nel capoluogo toscano. Nel solo territorio Italiano contiamo cinquantacinque siti UNESCO a cui va aggiunto il Vaticano e senza tener conto che luoghi come Ercolano e Pompei sono considerati un unico sito. Trattasi di un numero pari a quello che può vantare la Cina, ma l’estensione dell’Italia, come si sa, è ben più ridotta. In sostanza, ovunque ci si trovi, nel nostro bel paese, si rischia di essere colpiti dalla stessa Sindrome che colse Stendhal. -
"Gomorrah" & "Il Divo."
"Gomorrah" & "Il Divo." Italy Conquers Cannes Published on iItaly.org (http://www.iitaly.org) "Gomorrah" & "Il Divo." Italy Conquers Cannes Elsa Bazzini (May 27, 2008) At the 2008 Cannes Film Festival a new generation of Italan moviemakers show that Italian cinema is back with new ideas and interesting works. The grand prix this year went to Matteo Garrone’s Gomorrah while the jury prize was presented to Paolo Sorrentino’s Il Divo France may have won its first Palme d’Or since 1987 at this year’s Cannes Film Festival, but according to the Italian press the greatest winner was Italian cinema. Dubbed last year as “depressing” by Quentin Tarantino and left out of the main competition, it now seems that Italian movies – at least according to the French festival – are finally getting back on track. Indeed, the grand prix this year went to Matteo Garrone’s Gomorrah while the jury prize was presented to Paolo Sorrentino’s Il Divo. Page 1 of 2 "Gomorrah" & "Il Divo." Italy Conquers Cannes Published on iItaly.org (http://www.iitaly.org) Matteo Garrone’s first film Terra di mezzo won the special jury prize in Turin in 1996. His following films Guests (1998), Estate romana (2000), and The Embalmer [2] (2002) achieved moderate success, and in 2004 he presented First Love [3] at the Berlinale. Gomorrah is adapted from Roberto Saviano’s bestseller and presents a revealing picture of the organized crime network in Naples, the Camorra. Paolo Sorrentino has competed twice for the Palme d’Or, in 2004 with The Consequences of Love and in 2006 with The Family Friend. -
Catalogo-Festivaldorio-2015.Pdf
Sumário TABLE OF CONTENTS 012 APRESENTAÇÃO PRESENTATION 023 GALA DE ABERTURA OPENNING NIGHT GALA 025 GALA DE ENCERRAMENTO CLOSING NIGHT GALA 033 PREMIERE BRASIL PREMIERE BRASIL 079 PANORAMA GRANDES MESTRES PANORAMA: MASTERS 099 PANORAMA DO CINEMA MUNDIAL WORLD PANORAMA 2015 141 EXPECTATIVA 2015 EXPECTATIONS 2015 193 PREMIERE LATINA LATIN PREMIERE 213 MIDNIGHT MOVIES MIDNIGHT MOVIES 229 MIDNIGHT DOCS MIDNIGHT DOCS 245 FILME DOC FILM DOC 251 ITINERÁRIOS ÚNICOS UNIQUE ITINERARIES 267 FRONTEIRAS FRONTIERS 283 MEIO AMBIENTE THREATENED ENVIRONMENT 293 MOSTRA GERAÇÃO GENERATION 303 ORSON WELLS IN RIO ORSON WELLS IN RIO 317 STUDIO GHIBLI - A LOUCURA E OS SONHOS STUDIO GHIBLI - THE MADNESS AND THE DREAMS 329 LIÇÃO DE CINEMA COM HAL HARTLEY CINEMA LESSON WITH HAL HARTLEY 333 NOIR MEXICANO MEXICAN FILM NOIR 343 PERSONALIDADE FIPRESCI LATINO-AMERICANA DO ANO FIPRESCI’S LATIN AMERICAN PERSONALITY OF THE YEAR 349 PRÊMIO FELIX FELIX AWARD 357 HOMENAGEM A JYTTE JENSEN A TRIBUTE TO JYTTE JENSEN 361 FOX SEARCHLIGHT 20 ANOS FOX SEARCHLIGHT 20 YEARS 365 JÚRIS JURIES 369 CINE ENCONTRO CINE CHAT 373 RIOMARKET RIOMARKET 377 A ETERNA MAGIA DO CINEMA THE ETERNAL MAGIC OF CINEMA 383 PARCEIROS PARTNERS AND SUPPLIES 399 CRÉDITOS E AGRADECIMENTOS CREDITS AND AKNOWLEDGEMENTS 415 ÍNDICES INDEX CARIOCA DE CORPO E ALMA CARIOCA BODY AND SOUL Cidade que provoca encantamento ao olhar, o Rio Enchanting to look at, Rio de Janeiro will once de Janeiro estará mais uma vez no primeiro plano again take centre stage in world cinema do cinema mundial entre os dias 1º e 14 de ou- between the 1st and 14th of October. -
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 ............................................................................................ -
Aproximación a La Metáfora Zombi: Del Cine a Las Series De Televisión Autor
TITULO: APROXIMACIÓN A LA METÁFORA ZOMBI: DEL CINE A LAS SERIES DE TELEVISIÓN AUTOR: Alberto Añón Lara © Edita: UCOPress. 2021 Campus de Rabanales Ctra. Nacional IV, Km. 396 A 14071 Córdoba https://www.uco.es/ucopress/index.php/es/ [email protected] UNIVERSIDAD DE CÓRDOBA DEPARTAMENTO DE HISTORIA DEL ARTE, ARQUEOLOGÍA Y MÚSICA PROGRAMA DE DOCTORADO: PATRIMONIO TESIS DOCTORAL Aproximación a la metáfora zombi: del cine a las series de televisión Approach to the zombie metaphor: from cinema to television series Marzo 2021 DOCTORANDO: ALBERTO AÑÓN LARA DIRECTOR: PROF. DR. PEDRO POYATO SÁNCHEZ AGRADECIMIENTOS Esta tesis doctoral no hubiera sido posible sin la dirección y el apoyo constante de Pedro Poyato Sánchez, a quien admiro profundamente tanto en lo profesional como en lo personal. No puedo más que agradecerle la confianza que me brindó desde el primer momento en el que le planteé la posibilidad de escribir una tesis doctoral sobre zombis. Gracias por todas esas valiosas aportaciones y sugerencias a lo largo de estos años. Todos los aciertos que puedan encontrarse en estas páginas son fruto de su excelente dirección, cualquier defecto u olvido debe atribuirse a mi persona. Así mismo, agradecer a Kyle William Bishop el haberme atendido con enorme amabilidad siempre que he tenido alguna duda respecto a bibliografía difícilmente accesible desde España. Agradecimiento que hago extensible a C. J. Navas de Fuera de Series, por la conversación que mantuvimos el verano de 2018 acerca del apasionante panorama cultural de las series de televisión. A mis padres, por su inconmensurable sacrificio y ayuda, les debo toda la tesis. -
Luca Bigazzi Director of Photography
LUCA BIGAZZI DIRECTOR OF PHOTOGRAPHY FILM & TELEVISION THE NEW POPE Director: Paolo Sorrentino Production Company: HBO LORO Director: Paolo Sorrentino Production Company: Indigo Film THE YOUNG POPE Director: Paolo Sorrentino Production Company: HBO & Canal+ Official Selection, Venice Film Festival (2016) Nominated, Outstanding Cinematography For A Limited Series Or Movie, Emmy Awards (2017) VIVA LA SPOSA Director: Ascanio Celestini Production Company: Malia YOUTH Director: Paolo Sorrentino Production Company: Indigo Film Winner, Best Film, European Film Awards (2015) Winner, Best Director, European Film Awards (2015) Winner, Best Actor, European Film Awards (2015) Official Selection, Cannes Film Festival (2015) Official Selection, Toronto Film Festival (2015) Official Selection, London Film Festival (2015) THE GREAT BEAUTY Director: Paolo Sorrentino Production Company: Indigo Film Winner, Best Foreign Language Film, Academy Awards (2014) Winner, Best Foreign Language Film, BAFTA (2014) Official Selection, Cannes Film Festival (2013) LUX ARTISTS | 1 SHUN LI AND THE POET Director: Andrea Segre Production Company: Jolefilm THIS MUST BE THE PLACE Director: Paolo Sorrentino Production Company: Indigo Film Official Selection, Cannes Film Festival (2011) THE JEWEL Director: Andrea Molaioli Production Company: Indigo Film Nominated, Best Cinematography, David di Donatello Awards (2011) CERTIFIED COPY Director: Abbas Kiarostami Production Company: IFC Films Winner, Best Actress, Cannes Film Festival (2010) LO SPAZIO BIANCO Director: Francesca Comencini -
Paolo Sorrentino
Pyramide, le Studio Canal and Babe Films present Domenico Procacci and Nicola Giuliano present TTHHEE FFAAMMIILLYY FFRRIIEENNDD a Paolo Sorrentino film An Italo-French co-production Fandango and Indigo Film with Medusa Film In co-production with Babe Films and Studio Canal In Collaboration with CANAL + running time: 1h50 FrenchDistribution: Pyramide 5 rue du Chevalier de Saint-George, 75008 Paris Tel: (33) 1 42 96 01 01 – Fax: (33) 1 40 20 02 21 – www.pyramidefilms.com In Cannes: 6 la Croisette, 06400 Cannes (3rd floor) Tel/Fax: (33) 4 92 59 32 01 – [email protected] World Sales : Wild Bunch 99 RUE DE LA VERRERIE 75004 PARIS France tel +33 1 53 01 50 30 fax +33 1 53 01 50 49 email [email protected] www.wildbunch.biz Wild Bunch Cannes office : 23 rue Macé , 4th floor Phone: +33 4 93 99 31 68 Fax: +33 4 93 99 64 77 VINCENT MARAVAL, cell +33 6 11 91 23 93 [email protected] GAEL NOUAILLE,cell +33 6 21 23 04 72 [email protected] CAROLE BARATON, cell +33 6 20 36 77 72 [email protected] SILVIA SIMONUTTI, cell +33 6 20 74 95 08 [email protected] INTERNATIONAL PRESS LE PUBLIC SYSTEME CINEMA Alexis Delage-Toriel Tel: 33 6 80 21 49 88 - [email protected] IN PARIS IN CANNES 40 rue Anatole France – 92594 Levallois Perret 13, rue d’Antibes – 06400 Cannes - top floor Direct lines: 01 41 34 20 32 / 2201 Fax: 01 41 34 20 Direct lines: 04 93 68 62 70/ 04 93 68 62 18 Directfax: 04 93 68 61 95 Stills from the film can be downloaded from: www.lepublicsystemecinema.com CREDITS NON CONTRACTUELS