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Film, Photojournalism, and the Public Sphere in Brazil and Argentina, 1955-1980
ABSTRACT Title of Document: MODERNIZATION AND VISUAL ECONOMY: FILM, PHOTOJOURNALISM, AND THE PUBLIC SPHERE IN BRAZIL AND ARGENTINA, 1955-1980 Paula Halperin, Doctor of Philosophy, 2010 Directed By: Professor Barbara Weinstein Department of History University of Maryland, College Park My dissertation explores the relationship among visual culture, nationalism, and modernization in Argentina and Brazil in a period of extreme political instability, marked by an alternation of weak civilian governments and dictatorships. I argue that motion pictures and photojournalism were constitutive elements of a modern public sphere that did not conform to the classic formulation advanced by Jürgen Habermas. Rather than treating the public sphere as progressively degraded by the mass media and cultural industries, I trace how, in postwar Argentina and Brazil, the increased production and circulation of mass media images contributed to active public debate and civic participation. With the progressive internationalization of entertainment markets that began in the 1950s in the modern cities of São Paulo, Rio de Janeiro, and Buenos Aires there was a dramatic growth in the number of film spectators and production, movie theaters and critics, popular magazines and academic journals that focused on film. Through close analysis of images distributed widely in international media circuits I reconstruct and analyze Brazilian and Argentine postwar visual economies from a transnational perspective to understand the constitution of the public sphere and how modernization, Latin American identity, nationhood, and socio-cultural change and conflict were represented and debated in those media. Cinema and the visual after World War II became a worldwide locus of production and circulation of discourses about history, national identity, and social mores, and a space of contention and discussion of modernization. -
Vision, Desire and Economies of Transgression in the Films of Jess Franco
A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details 1 Journeys into Perversion: Vision, Desire and Economies of Transgression in the Films of Jess Franco Glenn Ward Doctor of Philosophy University of Sussex May 2011 2 I hereby declare that this thesis has not been, and will not be, submitted whole or in part to another University for the award of any other degree. Signature:……………………………………… 3 Summary Due to their characteristic themes (such as „perverse‟ desire and monstrosity) and form (incoherence and excess), exploitation films are often celebrated as inherently subversive or transgressive. I critically assess such claims through a close reading of the films of the Spanish „sex and horror‟ specialist Jess Franco. My textual and contextual analysis shows that Franco‟s films are shaped by inter-relationships between authorship, international genre codes and the economic and ideological conditions of exploitation cinema. Within these conditions, Franco‟s treatment of „aberrant‟ and gothic desiring subjectivities appears contradictory. Contestation and critique can, for example, be found in Franco‟s portrayal of emasculated male characters, and his female vampires may offer opportunities for resistant appropriation. -
History and Emotions Is Elsa Morante, Goliarda Sapienza and Elena
NARRATING INTENSITY: HISTORY AND EMOTIONS IN ELSA MORANTE, GOLIARDA SAPIENZA AND ELENA FERRANTE by STEFANIA PORCELLI A dissertation submitted to the Graduate Faculty in Comparative Literature in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2020 © 2020 STEFANIA PORCELLI All Rights Reserved ii Narrating Intensity: History and Emotions in Elsa Morante, Goliarda Sapienza and Elena Ferrante by Stefania Porcell i This manuscript has been read and accepted for the Graduate Faculty in Comparative Literature in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ________ ______________________________ Date [Giancarlo Lombardi] Chair of Examining Committee ________ ______________________________ Date [Giancarlo Lombardi] Executive Officer Supervisory Committee: Monica Calabritto Hermann Haller Nancy Miller THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Narrating Intensity: History and Emotions in Elsa Morante, Goliarda Sapienza and Elena Ferrante By Stefania Porcelli Advisor: Giancarlo Lombardi L’amica geniale (My Brilliant Friend) by Elena Ferrante (published in Italy in four volumes between 2011 and 2014 and translated into English between 2012 and 2015) has galvanized critics and readers worldwide to the extent that it is has been adapted for television by RAI and HBO. It has been deemed “ferocious,” “a death-defying linguistic tightrope act,” and a combination of “dark and spiky emotions” in reviews appearing in popular newspapers. Taking the considerable critical investment in the affective dimension of Ferrante’s work as a point of departure, my dissertation examines the representation of emotions in My Brilliant Friend and in two Italian novels written between the 1960s and the 1970s – La Storia (1974, History: A Novel) by Elsa Morante (1912-1985) and L’arte della gioia (The Art of Joy, 1998/2008) by Goliarda Sapienza (1924-1996). -
Diapositive 5 Casiraghi N
DIAPOSITIVE 5 CASIRAGHI N. INVENTARIO 198404 : ITALIA ’40-’50 [1.] diapositive n. 40 Don Pasquale / Camillo Mastrocinque,Armando Falconi. 1940 diapositive n.1 Tosca / Carl Koch, 1941, con Imperio Argentina, Michel Simon 2 A che servono questi quattrini / Esodo Pratelli, 1942, con E. e P. De Filippo 8 Maria Malibran / Guido Frignone, 1943 1 La vita ricomincia / Mario Mattoli, 1945 , con Alida Valli 2 L’Elisir d’amore / Mario Costa, 1946, con Silvana Mangano 2 Avanti a lui tremava tutta Roma / Carmine Gallone, 1946 1 Che tempi! / Giorgio Bianchi, 1947, con Walter Chiari, Lea Padovani 4 Natale al campo 119 / Pietro Francisci, 1947, (il manifesto) A. Fabrizi, V. De Sica 4 Follie per l’Opera / Mario Costa, 1947 (manifesto) 2 Rigoletto / Carmine Gallone, 1947 1 Assunta Spina / Mario Mattoli, 1947, con Anna Magnani, Eduardo De Filippo 5 Anni difficili / Luigi Zampa, 1948 2 Cesare Zavattini 1 Marcello Mastroianni primi anni cinquanta 1 Olivetti, Ferrara, Silone 1 Di Vittorio, A.C.Jemolo 1 Brancati, Comencini, Moravia 1 N. INVENTARIO 198405 : [ITALIA] ANNI ’40-’50 [2.] diapositive n. 35 Catene / Raffaello Matarazzo, 1950 diapositive n. 3 Napoleone / Carlo Borghesio ; 1951, con Renato Rascel 4 I figli di nessuno / Raffaello Matarazzo, 1951 2 Totò a colori / Steno, (il manifesto) , 1952 4 Passaporto per l’Oriente / Alessandrini Goffredo, 1952, con Gina Lollobrigida 2 Aida / Clemente Fracassi, 1953 , con Sophia Loren… 10 Caso Renzi – Aristarco, 1953 copertina Cinema Muto 1 Rigoletto e la sua tragedia / Flavia Calzavara, 1954 4 Italia K2 / Marcello Baldi, 1954 1 Totò all’inferno / Mastrocinque, 1955 2 La banda degli onesti / Camillo Mastrocinque, 1956, Totò Peppino De Filippo 1 Totò truffa’62 / Camillo Mastrocinque, 1961 1 N. -
Cinema, Gender, and Everyday Spaces: Comedy, Italian Style by Natalie Fullwood
http://www.gendersexualityitaly.com g/s/i is an annual peer-reviewed journal which publishes research on gendered identities and the ways they intersect with and produce Italian politics, culture, and society by way of a variety of cultural productions, discourses, and practices spanning historical, social, and geopolitical boundaries. Title: Book Review: Cinema, Gender, and Everyday Spaces: Comedy, Italian Style by Natalie Fullwood Journal Issue: gender/sexuality/italy, 2 (2015) Author: Paola D’Amora, The University of Texas at Austin Publication date: July 2015 Publication info: gender/sexuality/italy, “Reviews” Permalink: http://www.gendersexualityitaly.com/book-review-cinema-gender-and-everyday-spaces/ Copyright information g/s/i is published online and is an open-access journal. All content, including multimedia files, is freely available without charge to the user or his/her institution and is published according to the Creative Commons License, which does not allow commercial use of published work or its manipulation in derivative forms. Content can be downloaded and cited as specified by the author/s. However, the Editorial Board recommends providing the link to the article (not sharing the PDF) so that the author/s can receive credit for each access to his/her work, which is only published online. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License Fullwood, Natalie. Cinema, Gender, and Everyday Spaces: Comedy, Italian Style . New York: Palgrave Macmillan, 2015. Pp 260. ISBN 9781137403568. $ 95.00 (hardcover). In Cinema, Gender, and Everyday Space Natalie Fullwood explores the relationship between everyday spaces and gender in the genre “commedia all’italiana” by examining films produced between 1958 and 1970. -
Horrors Revealed at Virus-Hit Canada Nursing Home; 31 Die Elderly Residents Left Soiled and Unfed As Caregivers Flee
Established 1961 7 Sunday, April 19, 2020 International Horrors revealed at virus-hit Canada nursing home; 31 die Elderly residents left soiled and unfed as caregivers flee MONTREAL: Elderly residents left soiled and unfed ther, who is believed to have contracted coronavirus a after their caregivers fled the premises, 31 deaths in week before his death, as he sounded weaker and the space of a few weeks: a nursing home in Montreal weaker on the phone each time they spoke. Davis says has become the symbol of the terrible toll coronavirus Residence Herron is a “poster child for what is wrong is taking in Canada’s long-term care homes. The bleak in our senior health care”-but she is also certain it is not situation discovered at the Residence Herron, in the unique. “There are other homes, I am sure, in every Montreal suburb of Dorval, has triggered an investi- country of the world, where families have experienced gation for gross negligence and a national reckoning a similar situation.” “It scares me, it terrifies me to think about the conditions in long-term care homes which that I am 60 years of age, and I may someday end up account for half the coun- in one of these homes.” try’s more than 1,250 COVID-19 deaths. “I was ‘Gross negligence’ sick to my stomach, I was In announcing the fatali- really sick to my stomach,” ties this week, Quebec Pre- Moira Davis, whose father Bleak situation mier Francois Legault said it Stanley Pinnell died at the appeared to be a case of Herron facility on April 8, triggers probe “gross negligence”: just two told AFP. -
Pdf Liste Totale Des Chansons
40ú Comórtas Amhrán Eoraifíse 1995 Finale - Le samedi 13 mai 1995 à Dublin - Présenté par : Mary Kennedy Sama (Seule) 1 - Pologne par Justyna Steczkowska 15 points / 18e Auteur : Wojciech Waglewski / Compositeurs : Mateusz Pospiezalski, Wojciech Waglewski Dreamin' (Révant) 2 - Irlande par Eddie Friel 44 points / 14e Auteurs/Compositeurs : Richard Abott, Barry Woods Verliebt in dich (Amoureux de toi) 3 - Allemagne par Stone Und Stone 1 point / 23e Auteur/Compositeur : Cheyenne Stone Dvadeset i prvi vijek (Vingt-et-unième siècle) 4 - Bosnie-Herzégovine par Tavorin Popovic 14 points / 19e Auteurs/Compositeurs : Zlatan Fazlić, Sinan Alimanović Nocturne 5 - Norvège par Secret Garden 148 points / 1er Auteur : Petter Skavlan / Compositeur : Rolf Løvland Колыбельная для вулкана - Kolybelnaya dlya vulkana - (Berceuse pour un volcan) 6 - Russie par Philipp Kirkorov 17 points / 17e Auteur : Igor Bershadsky / Compositeur : Ilya Reznyk Núna (Maintenant) 7 - Islande par Bo Halldarsson 31 points / 15e Auteur : Jón Örn Marinósson / Compositeurs : Ed Welch, Björgvin Halldarsson Die welt dreht sich verkehrt (Le monde tourne sens dessus dessous) 8 - Autriche par Stella Jones 67 points / 13e Auteur/Compositeur : Micha Krausz Vuelve conmigo (Reviens vers moi) 9 - Espagne par Anabel Conde 119 points / 2e Auteur/Compositeur : José Maria Purón Sev ! (Aime !) 10 - Turquie par Arzu Ece 21 points / 16e Auteur : Zenep Talu Kursuncu / Compositeur : Melih Kibar Nostalgija (Nostalgie) 11 - Croatie par Magazin & Lidija Horvat 91 points / 6e Auteur : Vjekoslava Huljić -
JUNE 5, 1959 20 PAGES Passing the Suez Canal
Temple Beth El 10 70 Orchard Ave. Providence. R. I. NEWS . Israelis Discuss tB~. Cargo Confiscation JERUSALEM - The Israel Cab "THE UNITED STATES . AND inet discussed measures to prevent further confiscation by Egypt of Israel represent two radically dif THE ONLY ANGLO-JEWISH WEEKLY IN R. I. AND SOUTHEAST MASS. ferent but happily successful, solu Israeli cargoes carried on ships tions to the problems of anti VOL. XLIII, No. 13 FRIDAY JUNE 5, 1959 20 PAGES passing the Suez Canal. The deci s~mitism," Henry Edward Schultz, sion by Egypt to impound Israel national chairman of the Anti cargo on the Danish freighter Defamation League of B'nai B'rith Atomic Reactor Volunteers To Visit Homes In Ingor Toft - which was detained declared in Jerusalem at the BB at the entrance to the Suez·canal convention. - was termed by the government NearsCompletion BIG Day Drive For Israel Bonds as "an act of international piracy." IRREPLACEABLE OLD HEBREW TEL AVIV - An experimental Every Jewish home in the Provi Jones," ''Bloomer Girl," "Slfow "We have again given too much scrolls, including some invaluable atomic reactor is nearing comple hand-written documents on old dence area will be visited by men Boat" and many o~her leading rein to our publicity," says the tion south of Tel Aviv . and is ex and women volunteers on BIG musicals. General Zionist Tel Aviv daily parchment, were destroyed in a pected to be in operation by the Liverpool, England, synagogue fire. Day, this Sunday, to sell Israel Majors and captains in the Haboker in connection with the end of this year, according to a ISRAEL WILL HELP NIGERIA ·Bonds in aid of Israel's economic men's division, who will direct vol Cairo seizure of the Inge Toft, the joint announcement of Prof. -
IL CINEMA RITROVATO 2008 Cineteca Del Comune Di Bologna
XXXVII Mostra Internazionale del Cinema Libero IL CINEMA RITROVATO 2008 Cineteca del Comune di Bologna XXII edizione / 22nd Edition Sabato 28 giugno - Sabato 5 luglio / Saturday 28 June - Saturday 5 July Questa edizione del festival è dedicata a Vittorio Martinelli This festival’s edition is dedicated to Vittorio Martinelli IL CINEMA RITROVATO 2008 Via Azzo Gardino, 65 - tel. 051 219 48 14 - fax 051 219 48 21 - cine- XXII edizione [email protected] Segreteria aperta dalle 9 alle 18 dal 28 giugno al 5 luglio / Secretariat Con il contributo di / With the financial support of: open June 28th - July 5th -from 9 am to 6 pm Comune di Bologna - Settore Cultura e Rapporti con l'Università •Cinema Lumière - Via Azzo Gardino, 65 - tel. 051 219 53 11 Fondazione Cassa di Risparmio in Bologna •Cinema Arlecchino - Via Lame, 57 - tel. 051 52 21 75 Ministero per i Beni e le Attività Culturali - Direzione Generale per il Cinema Modalità di traduzione / Translation services: Regione Emilia-Romagna - Assessorato alla Cultura Tutti i film delle serate in Piazza Maggiore e le proiezioni presso il Programma MEDIA+ dell’Unione Europea Cinema Arlecchino hanno sottotitoli elettronici in italiano e inglese Tutte le proiezioni e gli incontri presso il Cinema Lumière sono tradot- Con la collaborazione di / In association with: ti in simultanea in italiano e inglese Fondazione Teatro Comunale di Bologna All evening screenings in Piazza Maggiore, as well as screenings at the L’Immagine Ritrovata Cinema Arlecchino, will be translated into Italian -
BORDERS of the VISIBLE • II Intersections Between Literature and Photography
Comparative Studies in Modernism CoSMo N. 14 • 2019 | 2281-6658 BORDERS OF THE VISIBLE • II Intersections Between Literature and Photography edited by Luigi Marfè UNIVERSITÀ DEGLI STUDI DI TORINO ALMA UNIVERSITAS TAURINESIS CoSMo Comparative Studies in Modernism n. 14 (Spring) • 2019 COMITATO DI DIREZIONE Direttore responsabile Maria Teresa GIAVERI, Università di Torino Direttori editoriali Giuliana FERRECCIO, Vicedirettore, Università di Torino Franca BRUERA, Università di Torino Roberto GILODI, Università di Torino Pier Giuseppe MONATERI, Università di Torino Federico VERCELLONE, Università di Torino JOURNAL MANAGERS Chiara LOMBARDI, Università di Torino Luigi MARFÈ, Università di Padova Alberto MARTINENGO, Scuola Normale Superiore, Pisa Roberto MERLO, Università di Torino Daniela NELVA, Università di Torino COMITATO DI REDAZIONE Mauro BALESTRIERI, Krizia BONAUDO, Mattia CRAVERO, Davide GIANTI, Salvatore SPAMPINATO, Gregorio TENTI COMITATO SCIENTIFICO Elena AGAZZI, Università di Bergamo Ann BANFIELD, University of California, Berkeley Alessandro BERTINETTO, Università di Torino Olaf BREIDBACH†, Universität Jena Jens BROCKMEIER, The American University of Paris Andrei BRONNIKOV, Independent Scholar, Amsterdam Laurence CAMPA, Université Paris Nanterre Nadia CAPRIOGLIO, Università di Torino Andrea CAROSSO, Università di Torino Daniela CARPI, Università di Verona Melita CATALDI, Università di Torino Remo CESERANI†, Stanford University Anna CHIARLONI, Università di Torino Gaetano CHIURAZZI, Università di Torino Cristina COSTANTINI, Università -
EDAV (Educazione Audiovisiva) Sussidio Mensile Di «Lettura» Dei Media E D’Uso Dei Loro Linguaggi Fondato Da NAZARENO TADDEI S.J
EDAV (Educazione Audiovisiva) sussidio mensile di «lettura» dei media e d’uso dei loro linguaggi fondato da NAZARENO TADDEI S.J. diretto dal luglio 2006 da Andrea Fagioli edito dal CiSCS Centro internazionale dello Spettacolo e della Comunicazione Sociale - Roma (*) Indice di indici di 37 anni dal 1972-73 al 2009 a cura di Bruno Michelon INDICE ...ARGUTA PUBBLICITÀ..., [figura], n. 85, p. 1 ...FIORI... di NaT, [foto di copertina], n. 216, p. 1-2 ...LASSA STAR I SANTI, (pubblicità che crea mentalità), [vetrinetta dei media (a cura di Nazareno Taddei S.J.) – pubblicità], n. 296, p. 18 ?BERLUSCONI? di NaT, [foto di copertina], n. 223, p. 1-2 «...ED È ANCORA AMORE» (DA UN CALENDARIO DI GIANNI BELLESIA) di Achille Abramo Saporiti, [foto di copertina – lettura foto], n. 326, pp. 1-2 «‖IN ALTUM‖ LEGGENDO I FILM» di Nazareno Taddei S.J., [studio]: 1. LA SITUAZIONE: MA PERCHÉ?, n. 286, pag. 2 2. USCIRE DALLA NEBBIA, n. 287, pag. 6 3. ANCORA DELLA MENTALITÀ… E NON SOLO, n. 288, pag. 3 4. «NUOVI MODI DI COMUNICARE», n. 289-90, pag. 3 5. LA «LETTURA (STRUTTURALE)» È UNA POSSIBILE SOLUZIONE, n. 291, p. 3 6. «LEGGERE FILM PER FORMARE LA PERSONA»: 1° L‘ASPETTO TEORICO, n. 292, p. 3 Appendice: a) I FILM CHE PIACEVANO A LUCIANO TAGLIAVINI di Eugenio Bicocchi, [studio], n. 292, p. 7 b) THELMA E LOUISE di Ridley Scott (n. 1937), (Olinto Brugnoli), [lettura – film], n. 292, p. 8 7. «LEGGERE FILM PER FORMARE LA PERSONA: 2° L‘ASPETTO METODOLOGICO», n. 294, p. 7 8. «LEGGERE FILM PER FORMARE LA PERSONA: APPENDICE», n. -
Phryne in Modern Art, Cinema and Cartoon by Eleonora Cavallini The
Phryne in Modern Art, Cinema and Cartoon by Eleonora Cavallini The biographical data antiquity has bequeathed to us about Phryne, the 4th century b.C. Greek courtesan, is so romanced (and romanticized) as to make things very difficult for modern scholars who try to separate reality from fiction with a degree of accuracy. However, I think raising doubts about the historical authenticity of this fascinating yet disquieting female figure would be excessive. Similarly, the scepticism some scholars recently expressed about traditional data, such as Phryne’s famous trial, seems to be too radical.(1)A careful evaluation of the sources is of course mandatory, especially if one considers that these (except for the comic poets Timocles, Amphis and Poseidippus, whom we will discuss later) (2)mostly date from the 1st to the 4th century A.D. -therefore, not only were they written at a much later date than the events they narrate, but they also presumably reflect a penchant for anecdotal and sensational stories that was common among erudite authors of the Hellenistic-Roman period. In fact, when examining ancient documents about Phryne, one gets the impression that the first forger of her ‘myth’ was not a biographer nor a poet, but the woman herself, with her skilful use of provocative statements that were bound to cause a sensation, especially among conformists, as well as a series of carefully contrived, spectacular public appearances. Moreover, the sources emphasize Phryne’s tendency to ‘celebrate’ her own beauty by having expensive images of herself