DOCSLIB.ORG

September 16, 1976

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
September 16, 1976 Digital Kenyon: Research, Scholarship, and Creative Exchange The Kenyon Collegian College Archives 9-16-1976 Kenyon Collegian - September 16, 1976 Follow this and additional works at: https://digital.kenyon.edu/collegian Recommended Citation "Kenyon Collegian - September 16, 1976" (1976). The Kenyon Collegian. 941. https://digital.kenyon.edu/collegian/941 This News Article is brought to you for free and open access by the College Archives at Digital Kenyon: Research, Scholarship, and Creative Exchange. It has been accepted for inclusion in The Kenyon Collegian by an authorized administrator of Digital Kenyon: Research, Scholarship, and Creative Exchange. For more information, please contact [email protected]. The is: '- Kenyon -ft. Collegian O Established 1856 Volume CIV, Number 2 Kenyon College, Gambier, Ohio 43022 Thursday, September 16, 1976 Hon. Colin Jackson, M.P., Sonatas Set To Give British View For Sunday y Of World Problems Recital The Department of Music will present harpsichordist Julane By PETER KAY government's Foreign Affairs Group. Rodgers on Sunday, Sept. 19 at 4 v. p.m. in Rosse Auditorium. The Colin Jackson, a a The Honorable Jackson's travels have given him i program will contain the major member of British Parliament and vast knowledge of China. He has met national styles of late Baroque established commentator on world with such world leaders as Indian harpsichord music. France is affairs, will give a lecture in Rosse Prime Minister Indira Gandhi, represented by the Pieces de Clavecin Hall entitled "The World in Crisis Jordan's King Hussein, President in D Minor (Louis Couperin) and the 1976 A View, from the House of Suharto of Indonesia, and the late Pieces in A from Nouvelles Suites de Commons," on Monday, September King Faisal of Saudia Arabia. He has Pieces de Clavecin (Rameau); Italy 20, broadcast on BBC television and by four sonatas of Domenico St. College, radio and writes a newspaper f A graduate of John's Scarlatti; and Germany by two of J. Oxford, Jackson became a Barrister column, syndicated on four con- S. Bach's most mature works, the and entered Parliament in 1964. tinents. In addition, he has written a Chromatic Fantasie and Fugue in D Since then he has served Britain as book entitled The New India. minor, BWV 903 and the Italian Chairman of the Council for Over the past twenty years Jackson Concerto.'BVJV 971. Education in the Commonwealth, has spoken to over 400 colleges and Miss Rodgers is a Chairman of the Fabian Inter- universities in forty-nin- e states on member of the national and Commonwealth such topics as "China on the World music faculty at Wright, State University in Dayton. Bureau, and in 1968 as Joint Stage," "The New Cold War She earned the B.Mus. degree from Lewis and Chairman of the Anglo-America- n Russia versus China," and "The Clark College Parliamentary Conference on Africa. Energy Crisis A First Hand and the M.Mus. and DMA degrees from the Vice-Chairm- University He is presently an of his Report from the Arab World." of Oregon. She has studied harpsichord with John Hamilton and Alan Curtis and has participated in a masterclass They Fly Harpsichordist Julane Rodgers with Gustav Leonhardt in England. Through with a static line, is, made that the backpack is connected to the airplane by a cord which automatically . deploys the main parachute. The McKeanTakes Charge The Air . chance of a malfunction with this ystem is one in perhaps thousands, )ut all come nonetheless jumpers Off-Camp-us irmed with a reserve parachute and Of Study ufficient training to use it should the leed arise. Though not required to activate he main canopy, jumpers are t r . )rovided with a dummy ripcord to Program Operations vV practice pulling in preparation for ater jumps. Experienced jumpers say By hat falling through the air at 120 CYNTHIA SAVAGE n.p.h. is at least the second-mos- t Measurable sensation known to man. With the resignation last spring o' 1975-7- 6 Off-Camp- us Studie: By Vice-Presiden- manipulation of the body and coordinator Don Reed, t :imbs a jumper can control and vary John R. O. McKear his rate of descent both laterally and assumed yet another duty as office! vertically, do loops, turns and rolls, in charge of student affairs. and hook up with other jumpers in freefall. The placement of OCS in the & vice-presiden- rr Such adventures are still 'in the t's office was "logical," future for Johanna, Tim and Alan. according to McKean, and was a Sunday's clear skies and light winds move ordained by the president of made it an ideal day for jumping. the college, Philip Jordan. Riding in a jump plane is an ex- The program involves advising perience in itself. Four jumpers, each before and after a student wearing two parachutes, and a pilot undertakes off-camp- us study. McKean, in . fill up every available inch of a With the charge of "all student life outside of Cessna 182. When at 2800 feet the academia," believes the transferal door is opened; the last thing one of John R. O. McKean the OCS program from its separate feels inclined to do is get out. But the office to student affairs is only part This fall, for the first time, OCS moment of choice was already past Greatest of Ease of an effort begun to "place func- will be introduced at a general and ten minutes later all three had tions where they belong." meeting. McKean will elicit the help drifted safely to earth. of students previously involved with at the dropzone and Asked his experience, Tim Off-Camp- By DON TABER jump. Arrival about Asked where he ranks OCS in us Study to acquaint introduction to the personnel of the replied, "It's the only way to fly." priority with his other organizational others with various alternative study Club less can It has become somewhat of a Columbus Sport Parachute Alan was articulate. "What tasks, McKean replied, "You don't plans and to give insight into per- nerves. The in- . Kenyon tradition over the past few settled everyone's you say wow!" He alone went set priorities, you manage your time. sonal experiences with OCS. years that every fall a few of the more structor was Bob Wagner, a young, up for another jump, and came home I have re-organiz- ed." He refused a Off-Camp- adventuresome souls among us take husky ex-Mari- ne drill instructor with a sore rear end to show for it. suggestion that his office might be us Study is a "very well to the airways in their whose proficient reassuring manner Whether or not they come back for vice-preside- order to make overburdened and said simply "that constructed program,", the nt first parachute jump. This year being instills enormous confidence. Winds more, it will doubtless remain an remains to be seen." said, and the review no exception, the past weekend saw gusting to 25 knots prevented the unforgotten experience. Jumping is committee continues to conduct a three Kenyon students take the three from jumping on Saturday, but conducted all day Saturday and search McKean sees" no reason why his for new programs which plunge. Alan Robin, Tim Fenerty they were able to complete their .Sunday each week at Centerburg, activities should divide his attention might be endorsed. McKean forsees and Johanna Pyle, after about four ground training. with instruction available both days. to the program any more than Reed's "no phasing out" of previously hours of training, joined the ranks of Sufficient training for safely And for those who can't get enough, duties as assistant to the provost selected programs. the airborne. completing one's first jump is a jump center located near Marion hampered his involvement as comprised of four parts: parachutes, every evening operates except program coordinator. Mrs. Sharon Dwyer, once a The drive to Centerburg Com- their general functioning and Monday. Anyone interested in student abroad on the program, is Vice-Preside- munity Airport Saturday morning maneuvering, exiting the aircraft, further information invited to OCS, developed in 1972 to ac- works with nt McKean was a tense one. Whether the result landing falls and emergency attend a meeting this Friday at 6:30 commodate twenty Kenyon students, to disseminate information about of a dare or culmination of a lifelong procedures. United States Parachute in room 10 Watson or to consult boasts 72 participants this year, a overseas opportunities throughout desire, there is an incomparable Association basic safety regulations posters on display in the dining halls number that fluctuates according to the Kenyon community; she also flavor of excitement about one's first require that one's first five jumps be and various dorms around campus. the size of each individual class. handles the application files. September 16, 197( THE KENYON COM EGIAN Page 2 C NO HO! NOW YOU'RE TOO T FAR. TO ThE RIGHT Hiitff gian YOU'RE LEFT OF CENTER Kenyon QUICK, TURN THIS WAY Jfk Established 1856 Editor-in-Chie- f, Vicki Barker News Editor, David McDonough Feature Editor, Michael Moffat v Copy Editor, Charles Glasrud Sports Editor, Gerard Iacangelo Photography Editor, Spencer Sloan Senior Editor, Steven Lebow Business Manager, David Feldman Editorial Cartoonist, Bill Watterson Circulation Manager, Pam Janis Copy Staff, Todd Holzman, Mike Kaufman, John Palffy, Cynthia Savage, Karen Stern, Margie Way Lavout, Chin B. Ho in THE KENYON COLLEGIAN is published every Thursday afternoon while classes are Gambler, Ohio 43022. The session, by the students of Kenyon College, P.O. Box 308, Collegian office is located on the first floor of Chase Tower in Peirce Hall.
Load more

Recommended publications
  • 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
    [Show full text]
  • Dreams, Reality & the Various Symbolic Intepretations And
    Matthew A. Sheldon Art History 206 Elena Gorfinkel 2/24/13 Persona (1966) Ingmar Bergman's Persona is one of those fascinating films where you keep returning to it, trying to uncover more of its mysteries and hoping it reveals more of its secrets. The beginning of Stanley Kubrick's 2001: Space Odyssey captured the birth of man. Persona and its infamous beginning is said to have captured the death of the motion picture camera. Persona is the quintessential example of the art house film and there will be several times within the film where Bergman is informing you what is real and what is fantasy. For example, in the climax of the film Bergman clearly shows the camera crew and sound operators on a crane filming the last scene, which indicates to me that Bergman, is reminding the audience that what we are witnessing isn't necessarily 'real'. Like the attributes of the art film Persona gives no clear answers, the film is based more on interpretation, its ending is ambiguous, its character’s lack any defined desires and goals, and what every audience member sees in the film can differ based upon each person's perspective. American film theorist David Bordwell stated, “First, the art cinema defines itself explicitly against the classical narrative mode, and especially against the cause-effect linkage of events.” I realized the best approach when watching this film is to try and not dissect every individual scene and instead try to focus on the underlying themes Bergman is trying to project between the power struggles within its two characters.
    [Show full text]
  • Film Appreciation Wednesdays 6-10Pm in the Carole L
    Mike Traina, professor Petaluma office #674, (707) 778-3687 Hours: Tues 3-5pm, Wed 2-5pm [email protected] Additional days by appointment Media 10: Film Appreciation Wednesdays 6-10pm in the Carole L. Ellis Auditorium Course Syllabus, Spring 2017 READ THIS DOCUMENT CAREFULLY! Welcome to the Spring Cinema Series… a unique opportunity to learn about cinema in an interdisciplinary, cinematheque-style environment open to the general public! Throughout the term we will invite a variety of special guests to enrich your understanding of the films in the series. The films will be preceded by formal introductions and followed by public discussions. You are welcome and encouraged to bring guests throughout the term! This is not a traditional class, therefore it is important for you to review the course assignments and due dates carefully to ensure that you fulfill all the requirements to earn the grade you desire. We want the Cinema Series to be both entertaining and enlightening for students and community alike. Welcome to our college film club! COURSE DESCRIPTION This course will introduce students to one of the most powerful cultural and social communications media of our time: cinema. The successful student will become more aware of the complexity of film art, more sensitive to its nuances, textures, and rhythms, and more perceptive in “reading” its multilayered blend of image, sound, and motion. The films, texts, and classroom materials will cover a broad range of domestic, independent, and international cinema, making students aware of the culture, politics, and social history of the periods in which the films were produced.
    [Show full text]
  • Berkeley Art Museum·Pacific Film Archive W Inte R 2 0 18 – 19
    WINTER 2018–19 BERKELEY ART MUSEUM · PACIFIC FILM ARCHIVE UNIVERSITY OF CALIFORNIA PROGRAM GUIDE 100 YEARS OF COLLECTING JAPANESE ART ARTHUR JAFA MASAKO MIKI HANS HOFMANN FRITZ LANG & GERMAN EXPRESSIONISM INGMAR BERGMAN JIŘÍ TRNKA MIA HANSEN-LØVE JIA ZHANGKE JAMES IVORY JAPANESE FILM CLASSICS DOCUMENTARY VOICES OUT OF THE VAULT IN FOCUS: WRITING FOR CINEMA 1 / 2 / 3 / 4 CALENDAR DEC 9/SUN 21/FRI JAN 2:00 A Midsummer Night’s Dream 4:00 The Price of Everything P. 15 Introduction by Jan Pinkava 7:00 Fanny and Alexander BERGMAN P. 15 1/SAT TRNKA P. 12 3/THU 7:00 Full: Home Again—Tapestry 1:00 Making a Performance 1:15 Exhibition Highlights Tour P. 6 4:30 The Cabinet of Dr. Caligari P. 5 WORKSHOP P. 6 Reimagined Judith Rosenberg on piano 4–7 Five Tables of the Sea P. 4 5:30 The Good Soldier Švejk TRNKA P. 12 LANG & EXPRESSIONISM P. 16 22/SAT Free First Thursday: Galleries Free All Day 7:30 Persona BERGMAN P. 14 7:00 The Price of Everything P. 15 6:00 The Firemen’s Ball P. 29 5/SAT 2/SUN 12/WED 8:00 The Apartment P. 19 6:00 Future Landscapes WORKSHOP P. 6 12:30 Scenes from a 6:00 Arthur Jafa & Stephen Best 23/SUN Marriage BERGMAN P. 14 CONVERSATION P. 6 9/WED 2:00 Boom for Real: The Late Teenage 2:00 Guided Tour: Old Masters P. 6 7:00 Ugetsu JAPANESE CLASSICS P. 20 Years of Jean-Michel Basquiat P. 15 12:15 Exhibition Highlights Tour P.
    [Show full text]
  • Plutarch on the Role of Eros in a Marriage
    1 2 3 4 Plutarch on the Role of Eros in a Marriage 5 6 Jeffrey Beneker 7 8 Plutarch’s thinking on marital relationships has attracted a significant amount 9 of interest in recent years and has been approached from a variety of 10 perspectives. Some scholars have studied the societal aspect of marriage in 11 Plutarch’s works, raising questions about the role of women in the household, 12 in the community, and especially in their interactions with men, and therefore 13 they have tended to address larger social issues, such as gender, sexuality, and 14 equality.1 Others have taken a philosophical tack and have examined Plutarch’s 15 writing, especially as it concerns the nature and value of marriage, in terms of 16 the broader philosophical traditions to which it is related.2 However, my focus 17 in this paper is much more narrow. I intend to explore one particular 18 component of the marital relationship itself: the erotic connection that exists, 19 or might exist, between a husband and wife. Looking first to the Moralia and 20 the dialogue Amatorius, I will argue that Plutarch describes the eros shared 21 between a married couple as an essential prerequisite for the development of 22 philia and virtue. Then, turning to the Lives, I will demonstrate how the ideas 23 found in the Amatorius are fundamental to Plutarch’s representation of 24 marriage in the biographies of Brutus and Pompey. 25 In the Amatorius, Plutarch, who is himself the principal speaker, touches on 26 a variety of topics related to eros, but the discussion itself is motivated by a 27 single event: the wealthy widow Ismenodora has expressed her desire to marry 28 the ephebe Bacchon, who comes from a family of lower social standing.
    [Show full text]
  • The Films of Ingmar Bergman Jesse Kalin Frontmatter More Information
    Cambridge University Press 0521380650 - The Films of Ingmar Bergman Jesse Kalin Frontmatter More information The Films of Ingmar Bergman This volume provides a concise overview of the career of one of the modern masters of world cinema. Jesse Kalin defines Bergman’s conception of the human condition as a struggle to find meaning in life as it is played out. For Bergman, meaning is achieved independently of any moral absolute and is the result of a process of self-examination. Six existential themes are explored repeatedly in Bergman’s films: judgment, abandonment, suffering, shame, a visionary picture, and above all, turning toward or away from others. Kalin examines how Bergman develops these themes cinematically, through close analysis of eight films: well-known favorites such as Wild Strawberries, The Seventh Seal, Smiles of a Summer Night, and Fanny and Alexander; and im- portant but lesser-known works, such as Naked Night, Shame, Cries and Whispers, and Scenes from a Marriage. Jesse Kalin is Andrew W. Mellon Professor of Humanities and Professor of Philosophy at Vassar College, where he has taught since 1971. He served as the Associate Editor of the journal Philosophy and Literature, and has con- tributed to journals such as Ethics, American Philosophical Quarterly, and Philosophical Studies. © Cambridge University Press www.cambridge.org Cambridge University Press 0521380650 - The Films of Ingmar Bergman Jesse Kalin Frontmatter More information CAMBRIDGE FILM CLASSICS General Editor: Ray Carney, Boston University The Cambridge Film Classics series provides a forum for revisionist studies of the classic works of the cinematic canon from the perspective of the “new auterism,” which recognizes that films emerge from a complex interaction of bureaucratic, technological, intellectual, cultural, and personal forces.
    [Show full text]
  • Cinestudio-Flyer-2020-02-23-04-08
    Sun Feb 23 Bolshoi Ballet: SWAN LAKE LIVE PRESENTATION FROM MOSCOW 12:55 Sun Feb 23 4:30, 7:30 Mon Tue Wed Feb 24 25 26 PARASITE in black and white 7:30 Thu Fri Feb 27 28 KNIVES OUT 7:30 Sat Feb 29 2:30, 7:30 Sun Mar 1 NTLive: CYRANO DE BERGERAC ENCORE 1:00 Sun Mar 1 4:30, 7:30 Mon Tue Wed Mar 2 3 4 BEANPOLE 7:30 Thu Fri Mar 5 6 LITTLE WOMEN 7:30 Sat Mar 7 2:30, 7:30 General Admission $10 Sun Mar 8 Exhibition on Screen: LUCIAN FREUD: A SELF PORTRAIT 1:00, 3:00 Friends of Cinestudio $7 Sun Mar 8 5:00 only Mon Tue Wed Mar 9 10 11 MEPHISTO 7:30 Senior Citizens (62+) $8 Students with valid ID Thu Mar 12 AND THEN WE DANCED 7:30 Ticket Prices for NTLive, Bolshoi, Exhibition, Fri Mar 13 7:30 70mm, Special Shows & Benefits vary Sat Mar 14 JUST MERCY 2:30, 7:30 Cinestudio’s boxoffice is now online, so you can buy Sun Mar 15 Royal Opera House: LA BOHÈME 1:00 Sun Mar 15 4:30, 7:30 tickets for any listed show at any time CLEMENCY - online or at the boxoffice. Mon Tue Wed Mar 16 17 18 7:30 DONATING TO CINESTUDIO? Thu Fri Mar 19 20 1917 7:30 You can do that online or at the boxoffice, and now Sat Mar 21 2:30, 7:30 100% of your donation comes to Cinestudio! Sun Mar 22 2:30, 7:30 Mon Tue Wed Mar 23 24 25 THE ASSISTANT 7:30 Thu Fri Mar 26 27 THE TRAITOR 7:30 Sat Mar 28 2:30, 7:30 Sun Mar 29 VOYAGES OF THE CINEMATIC IMAGINATION Silent, with Piano Accompaniment by PATRICK MILLER 2:30 Sun Mar 29 L’ATALANTE 7:30 Mon Mar 30 IMAGE BOOK 7:30 Tue Mar 31 MAKALA 7:30 Wed Apr 1 HIGH LIFE 7:30 Thu Apr 2 A FAITHFUL MAN 7:30 Cinestudio programs are usually listed in
    [Show full text]
  • 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.
    [Show full text]
  • Italianfilmsnz Www .Studioitalia.Co.Nz
    www.studioitalia.co.nz 2019 Whakatane 3 - 8 September Christchurch 11 - 20 June Matakana 6 -14 September Nelson 14 - 28 June Cambridge 10 - 15 September Tauranga 5 - 15 July Taupo 13 - 19 September Napier 25 - 31 July Auckland 17 - 30 September Havelock North 30 July - 11 August Wellington 6 - 18 November Masterton 7 - 12 August New Plymouth 8 - 14 November Martinborough 8 - 15 August 2020 Arrowtown 21 - 25 August Waiheke 9 -15 January web: cinemaitalianonz.com facebook: cinemaitalianofestivalnz instagram: @italianfilmsnz Contents De Sica Naming Sponsor Proudly Supported by Fellini Sponsors Visconti Sponsors Business Amici Benvenuti / Welcome 04 Luoghi / Locations 06 Cinema / Films 08 UNSCRIPTED Programma / Schedule 40 Ticketing Info 53 Amici Ringraziamenti / Acknowledgements 55 ONDAZZURRA PLANETFM 104.6 Technology Partners Proud Technical Support Specialists of the Studio Italia Cinema Italiano Festival. Benvenuti / Welcome 5 AMBASCIATORE fostering, through films, a deeper AUCKLAND THE STUDIO ITALIA CINEMA Our perception of the past, STUDIO ITALIA PEOPLE’S FABRIZIO MARCELLI understanding of the cultural, FESTIVAL ITALIANO 2018 ITALIANO FESTIVAL the present and the future has CHOICE AWARD AMBASSADOR OF ITALY linguistic and socio-political so often been shaped by the The Studio Italia Cinema Italiano We are immensely proud to Email your favourite film choice context we live in, engaging films we have seen. Living so far It is my great pleasure to present Festival 2019 once again kicks announce Studio Italia as our from our 2019 curation to audiences with the Italian society, from Italy, my connection to my another edition of The Cinema off ‘THE ITALIAN SEASON’ first ‘Naming Sponsor’. [email protected] lifestyle and traditions.
    [Show full text]
  • Ugo Tognazzi: a Film Series
    Presents Ugo Tognazzi: a Film Series Saturday, April 27, 2019 Castro Theatre 429 Castro Street San Francisco, CA 94114 In collaboration with The Italian Cultural Institute and the Consul General of Italy in San Francisco Organized by Cinema Italia San Francisco For our 9th program at the Castro Theatre, we are proud to present Italian icon Ugo Tognazzi. As an actor, director and screenwriter, Tognazzi performed in over 150 films in the Golden Age of Italian Cinema. Together with Vittorio Gassman, Marcello Mastroianni, Alberto Sordi and Nino Manfredi, Ugo Tognazzi invented and popularized the commedia all'italiana, a genre mixing comedy and melancholy, that swept the box office in Italy from 1960 to 1970. All five films will be projected from 35 mm prints. 1 Saturday, April 27 - Full Schedule: 10:00 am - Elio Petri’s Property is No Longer a Theft (1973), 127 min., Cinecittà 35 mm, Titanus. 12:45 pm - Bernardo Bertolucci’s Tragedy of a Ridiculous Man (1981), 116 min., Cinecittà 35 mm, Warner Bros. 3:30 pm - Dir. Dino Risi’s In the Name of the Italian People (1971), 102 min., Cinecittà 35 mm, Rialto. 6:30 pm - Édouard Molinaro’s La Cage aux Folles (1978), 97 min., 35 mm, Park Circus. 8:30-10:00 pm - The Big Feast Party 10:00 pm - Marco Ferreri’s La Grande Bouffe (1973), 129 min., Cinecittà 35 mm, Drafthouse. Property is No Longer a Theft La proprietà non è più un furto Directed by Elio Petri Screenplay by Elio Petri, Ugo Pirro With Ugo Tognazzi, Flavio Bucci, Daria Nicolodi In Italian with English subtitles.
    [Show full text]
  • David Di Donatello: Annunciate Le Candidature 2020 9
    Sommario Rassegna Stampa Pagina Testata Data Titolo Pag. Rubrica Anica Web Cinecitta.com 18/02/2020 100AUTORI A FRANCESCHINI SULLA COPIA PRIVATA 3 Cinemaitaliano.info 18/02/2020 100AUTORI - INVITA IL MINISTRO FRANCESCHINI AD AGGIORNARE 5 LE TARIFFE DI COPIA PRIVATA E A SPOSARE LA Fanpage.it 18/02/2020 CINEMADAYS 2020, RITORNA IL CINEMA A 3 EURO: ECCO LE DATE E I 7 FILM Filmforlife.org 18/02/2020 DAVID DI DONATELLO: ANNUNCIATE LE CANDIDATURE 2020 9 Ilmessaggero.it 18/02/2020 IL FILM "SIAMO TUTTI ALBERTO SORDI?" NOI, NEI RITRATTI DEL 13 GRANDE ATTORE Rai.it 18/02/2020 ECO E "IL NOME DELLA ROSA" 15 Rubrica Cinema 1 Corriere della Sera 19/02/2020 BUCCI, L'ATTORE DIMENTICATO CHE CI FECE SCOPRIRE LIGABUE 17 (E.Costantini) 41 Corriere della Sera 19/02/2020 ADDIO A CHARLES PORTIS, PADRE DEL "GRINTA" (S.Colombo) 20 42 Corriere della Sera 19/02/2020 CORSA AI DAVID, "IL TRADITORE" DI BELLOCCHIO IN POLE 21 POSITION (V.Cappelli) 18 Corriere della Sera - Ed. Milano 19/02/2020 FILM D'AUTORE DEDICATI AGLI ADOLESCENTI DEL TERZO 22 MILLENNIO (G.Grossini) 29 Il Gazzettino 19/02/2020 DAVID DI DONATELLO DICIOTTO NOMINATION PER "IL TRADITORE", 23 QUINDICI PER PINOCCHIO 1 Il Messaggero 19/02/2020 BUCCI, VITA MALEDETTA DI UN ATTORE DI TALENTO (K.Ippaso) 24 1 Il Messaggero 19/02/2020 DAVID DI DONATELLO BELLOCCHIO, ROVERE E GARRONE: RECORD 27 DI NOMINATION (G.Satta) 33 Il Messaggero - Cronaca di Roma 19/02/2020 IL CARTELLONE CINEMA, TEATRO E NOTE DA CAMERA TUTTA 29 L'ARTE DA NON PERDERE (L.Della Libera/V.Arnaldi) 1 La Repubblica 19/02/2020 FLAVIO BUCCI CHE FU PER SEMPRE IL PITTORE LIGABUE 33 (S.Massimi) 39 La Repubblica 19/02/2020 Int.
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles Misery Is the True Script For
    UNIVERSITY OF CALIFORNIA Los Angeles Misery is the True Script for Comedy: A Study of Italian Film Comedy in the 1950s A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Italian by Christopher Burton White 2014 © Copyright by Christopher Burton White 2014 ABSTRACT OF THE DISSERTATION Misery is the True Script for Comedy: A Study of Italian Film Comedy in the 1950s by Christopher Burton White Doctor of Philosophy in Italian University of California, Los Angeles, 2014 Professor Thomas J. Harrison, Chair This dissertation fills a lacuna in the history of Italian cinema, formally analyzes a selection of significant film comedies from the 1950s, and challenges many of the assumptions that have been made about postWar Italian cinema. The conservative atmosphere of the fifties, the detrimental effects of censorship on Italian cinema, and the return of popular genres after the end of the widely-acclaimed neorealist period have led to assumptions about a limited engagement With contemporary Italian society in the motion pictures produced in Italy during the 1950s. While most critics and film historians vieW these years in Italian cinema as the disappointing aftermath of neorealism, a decade in Which conservative elements in Italian society pushed national cinema in the direction of facile optimism and escapism, this dissertation demonstrates that many comedies in fact engaged with Italian society, ii offering incisive critiques of contemporary Italy that pinpoint and satirize hypocrisy, inequality, and a host of other ills of the Italian republic in the 1950s. This study considers existing scholarship on Italian cinema and reevaluates films starring the popular Neapolitan actor Antonio De Curtis (Totò), Renato Castellani’s Due soldi di speranza (Two Cents Worth of Hope, 1952) and other examples of neorealismo rosa (rosy or pink neorealism), and the movies directed by Federico Fellini featuring Alberto Sordi, both in terms of aesthetics as well as subject matter.
    [Show full text]