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Italian Cinema As Literary Art UNO Rome Summer Study Abroad 2019 Dr
ENGL 2090: Italian Cinema as Literary Art UNO Rome Summer Study Abroad 2019 Dr. Lisa Verner [email protected] COURSE DESCRIPTION: This course surveys Italian cinema during the postwar period, charting the rise and fall of neorealism after the fall of Mussolini. Neorealism was a response to an existential crisis after World War II, and neorealist films featured stories of the lower classes, the poor, and the oppressed and their material and ethical struggles. After the fall of Mussolini’s state sponsored film industry, filmmakers filled the cinematic void with depictions of real life and questions about Italian morality, both during and after the war. This class will chart the rise of neorealism and its later decline, to be replaced by films concerned with individual, as opposed to national or class-based, struggles. We will consider the films in their historical contexts as literary art forms. REQUIRED TEXTS: Rome, Open City, director Roberto Rossellini (1945) La Dolce Vita, director Federico Fellini (1960) Cinema Paradiso, director Giuseppe Tornatore (1988) Life is Beautiful, director Roberto Benigni (1997) Various articles for which the instructor will supply either a link or a copy in an email attachment LEARNING OUTCOMES: At the completion of this course, students will be able to 1-understand the relationship between Italian post-war cultural developments and the evolution of cinema during the latter part of the 20th century; 2-analyze film as a form of literary expression; 3-compose critical and analytical papers that explore film as a literary, artistic, social and historical construct. GRADES: This course will require weekly short papers (3-4 pages, double spaced, 12- point font); each @ 20% of final grade) and a final exam (20% of final grade). -
Programma Arena Castello Di Bari
Bif&st 2020 ItaliaFilmFest | Evento speciale | Ingresso € 5,00 IL PROGRAMMA LUOGO PER LUOGO SABATO 22 DOMENICA 23 LUNEDÌ 24 MARTEDÌ 25 MERCOLEDÌ 26 GIOVEDÌ 27 VENERDÌ 28 SABATO 29 20:00 20:00 20:00 20:00 20:00 20:00 20:00 20:00 Hammamet Il signor Diavolo Il primo natale La rivincita A mano disarmata Figli L’immortale Pinocchio di Gianni Amelio di Pupi Avati di Ficarra e Picone di Leo Muscato di Claudio Bonivento di Giuseppe Bonito di Marco D’Amore di Matteo Garrone Italia 2020, 127’ v.it. Italia 2019, 90’ Italia 2019, 100’ Italia 2020, 87’ v.it. Italia 2019, 108’ Italia 2020, 99’ Italia 2019, 116’ Italia-Francia 2019, 125’ v.it. sott. ingl. v.it. sott. ingl. fuori concorso v.it. sott. ingl. v.it. sott. ingl. v.it v.it. sott. ingl. PIERFRANCESCO FAVINO ANTONIO, PUPI, FRANCESCO FRIGERI MILENA MANCINI PAOLA CORTELLESI MARCO D’AMORE MATTEO GARRONE Premio Vittorio Gassman TOMMASO AVATI Premio Dante Ferretti Premio Alida Valli Premio Mariangela Melato Premio Ettore Scola PAOLO DEL BROCCO Premio Tonino Guerra per il cinema Opere Prime e Seconde Premio Franco Cristaldi LUAN AMELIO UJKAJ Opere Prime e seconde Premio Giuseppe Rotunno ROBERTO BENIGNI Premio Alberto Sordi NICOLA PIOVANI MASSIMO CANTINI PARRINI Premio Ennio Morricone Premio Piero Tosi 22:30 22:30 22:30 22:30 22:30 22:30 22:30 22:30 Il traditore Gli anni più belli Martin Eden The Nest La famosa invasione 5 è il numero 18 Regali Sole di Marco Bellocchio di Gabriele Muccino di Pietro Marcello (Il Nido) degli orsi in Sicilia perfetto di Francesco Amato di Carlo Sironi Italia-Francia-Brasile-Germania Italia 2020, 130’ Italia 2019, 129’ di Roberto De Feo di Lorenzo Mattotti di Igort Italia 2020, 115’ Italia-Polonia 2019, 103’ v.it. -
ME,YOUBY BILLE AUGUST a Film Based on the Novel “Tu, Mio” by ERRI DE LUCA SYNOPSIS
ME,YOUBY BILLE AUGUST A Film based On The Novel “Tu, Mio” by ERRI DE LUCA SYNOPSIS Ischia, 1955. In the waters of the island in the bay of Naples, Marco (16) Caia is Jewish. Marco does not have these prejudices, on the contrary, spends his days sailing with Nicola (52), a hardened fisherman who tells this discovery pushes him to delve into the girl’s life even more. A stories about the sea and the war, that is still very fresh in his memory. beautiful complicity is established between the two in which Caia reveals Marco is different from the other boys, he prefers spending his time her painful past, with a childhood stolen by the SS and a father who in the company of the hermetic Nicola rather than going to the beach, preferred to throw his daughter out of a train in Yugoslavia, rather having courting girls or bathing in the ocean like his peers. Shy and curious, he her to experience the horrors of a concentration camp. takes advantage of his holidays on the Italian island to fill his eyes with Marco’s gestures remind Caia of her father: his protective attitudes, the images of a world that is so distant from his native London or from the way he kisses her on the forehead, the sound of his voice when he the gloomy boarding school in Scotland where his family sheltered Marco pronounces her name in Romanian, Chaiele. Next to him she feels the to protect him from the bombings. presence of her father, even though Marco is just a slender boy 4 years On vacation with his parents at his maternal uncle’s house, he will live younger than her. -
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. -
Inmedia, 3 | 2013, « Cinema and Marketing » [Online], Online Since 22 April 2013, Connection on 22 September 2020
InMedia The French Journal of Media Studies 3 | 2013 Cinema and Marketing Electronic version URL: http://journals.openedition.org/inmedia/524 DOI: 10.4000/inmedia.524 ISSN: 2259-4728 Publisher Center for Research on the English-Speaking World (CREW) Electronic reference InMedia, 3 | 2013, « Cinema and Marketing » [Online], Online since 22 April 2013, connection on 22 September 2020. URL : http://journals.openedition.org/inmedia/524 ; DOI : https://doi.org/10.4000/ inmedia.524 This text was automatically generated on 22 September 2020. © InMedia 1 TABLE OF CONTENTS Cinema and Marketing When Cultural Demands Meet Industrial Practices Cinema and Marketing: When Cultural Demands Meet Industrial Practices Nathalie Dupont and Joël Augros Jerry Pickman: “The Picture Worked.” Reminiscences of a Hollywood publicist Sheldon Hall “To prevent the present heat from dissipating”: Stanley Kubrick and the Marketing of Dr. Strangelove (1964) Peter Krämer Targeting American Women: Movie Marketing, Genre History, and the Hollywood Women- in-Danger Film Richard Nowell Marketing Films to the American Conservative Christians: The Case of The Chronicles of Narnia Nathalie Dupont “Paris . As You’ve Never Seen It Before!!!”: The Promotion of Hollywood Foreign Productions in the Postwar Era Daniel Steinhart The Multiple Facets of Enter the Dragon (Robert Clouse, 1973) Pierre-François Peirano Woody Allen’s French Marketing: Everyone Says Je l’aime, Or Do They? Frédérique Brisset Varia Images of the Protestants in Northern Ireland: A Cinematic Deficit or an Exclusive -
California State University, Sacramento Department of World Literatures and Languages Italian 104 a INTRODUCTION to ITALIAN CINEMA I GE Area C1 SPRING 2017
1 California State University, Sacramento Department of World Literatures and Languages Italian 104 A INTRODUCTION TO ITALIAN CINEMA I GE Area C1 SPRING 2017 Course Hours: Wednesdays 5:30-8:20 Course Location: Mariposa 2005 Course Instructor: Professor Barbara Carle Office Location: Mariposa Hall 2057 Office Hours: W 2:30-3:30, TR 5:20-6:20 and by appointment CATALOG DESCRIPTION ITAL 104A. Introduction to Italian Cinema I. Italian Cinema from the 1940's to its Golden Period in the 1960's through the 1970's. Films will be viewed in their cultural, aesthetic and/or historical context. Readings and guiding questionnaires will help students develop appropriate viewing skills. Films will be shown in Italian with English subtitles. Graded: Graded Student. Units: 3.0 COURSE GOALS and METHODS: To develop a critical knowledge of Italian film history and film techniques and an aesthetic appreciation for cinema, attain more than a mere acquaintance or a broad understanding of specific artistic (cinematographic) forms, genres, and cultural sources, that is, to learn about Italian civilization (politics, art, theatre and customs) through cinema. Guiding questionnaires will also be distributed on a regular basis to help students achieve these goals. All questionnaires will be graded. Weekly discussions will help students appreciate connections between cinema and art and literary movements, between Italian cinema and American film, as well as to deal with questionnaires. You are required to view the films in the best possible conditions, i.e. on a large screen in class. Viewing may be enjoyable but is not meant to be exclusively entertaining. -
1 Cinema Paradiso and Malèna (Giuseppe Tornatore, 1989, 2000)
1 Cinema Paradiso and Malèna (Giuseppe Tornatore, 1989, 2000) The big question is, how, if he had to keep all the kisses the priest censored, and re-splice them into the print when it went off to its next booking, did Alfredo manage also to store them in the projection booth? It’s true that you sometimes see prints with bits missing. I once got five free tickets to the Cambridge Arts after complaining that a print we’d seen of La Grande Illusion lacked the moment when Pierre Fresnay was shot, and lacked the last bit of the last shot, when Gabin and Carette escape over the Swiss border. But that was a one-off – if the Sicilian distributors here got lots of complaints about missing snogs from cinemas all over the mezzogiorno, surely they’d soon work out who was pinching them, and demand his dismissal? This doubt, together with Morricone’s revoltingly sentimental and repetitive score, ruins the end of the film for me, whichever cut I see it in. —————————— Cinema is paradise. It brings community together, and renders misbehaviour unacceptable – boorish people who barge in yelling are pelted and booed, and the bourgeois in the circle who spits on the plebs below finally gets poo thrown in his face. The local mafia head is shot right at the correct point in (what seems to me) Howard Hawks’ Scarface . The priest, initially outraged by the medium’s excesses, is (you can see) seduced and won over by it. Like Tony Curtis on board his warship with only Gunga Din to watch, you learn all the dialogue, and it becomes your alternative life. -
War Memory Under the Leonid Brezhnev Regime 1965-1974
1 No One is Forgotten, Nothing is Forgotten: War Memory Under the Leonid Brezhnev Regime 1965-1974 By Yevgeniy Zilberman Adviser: Professor David S. Foglesong An Honors Thesis Submitted To The History Department of Rutgers University School of Arts and Sciences New Brunswick, NJ April, 2012 2 Table of Contents Acknowledgements Pg. 3 Introduction Pg. 5 1964-1967: Building the Cult Pg. 18 a) Forming the Narrative: Building the Plot and Effacing the Details Pg. 21 b) Consecrating the War: Ritual, Monument and Speech Pg. 24 c) Iconography at Work: Soviet War Poster Pg. 34 d) Digitizing the War: On the Cinema Front Pg. 44 1968-1970: Fascism Revived and the Battle for Peace Pg. 53 a) This Changes Everything: Czechoslovakia and its Significance Pg. 55 b) Anti-Fascism: Revanchism and Fear Pg. 59 c) Reviving Peace: The Peace Cult Pg. 71 1970-1974: Realizing Peace Pg. 83 a) Rehabilitating Germany Pg. 85 b) Cinema: Germany and the Second World War on the Film Screen Pg. 88 c) Developing Ostpolitik: War memory and the Foundations for Peace Pg. 95 d) Embracing Peace Pg. 102 Conclusion: Believing the War Cult Pg. 108 Bibliography Pg. 112 3 Acknowledgements Perhaps as a testament to my naivety, when I embarked upon my journey toward writing an honors thesis, I envisioned a leisurely and idyllic trek toward my objective. Instead, I found myself on a road mired with multiple peaks and valleys. The obstacles and impediments were plentiful and my limitations were numerous. Looking back now upon the path I traveled, I realize that I could not have accomplished anything without the assistance of a choice collection of individuals. -
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. -
DIVISMO E RAPPRESENTAZIONE DELLA SESSUALITÀ NEL CINEMA ITALIANO (1948-1978) a Cura Di Laura Busetta E Federico Vitella
E DEI MEDIA IN ITALIA IN MEDIA DEI E CINEMA DEL CULTURE E STORIE SCHERMI STELLE DI MEZZO SECOLO: DIVISMO E RAPPRESENTAZIONE DELLA SESSUALITÀ NEL CINEMA ITALIANO (1948-1978) a cura di Laura Busetta e Federico Vitella ANNATA IV NUMERO 8 luglio dicembre 2020 SCHERMI 8 - 2020 Schermi è pubblicata sotto Licenza Creative Commons 118 CLAUDIA CARDINALE SFIDANZATA D’ITALIA - Jandelli CLAUDIA CARDINALE SFIDANZATA D’ITALIA Cristina Jandelli(Università degli Studi di Firenze) The year 1967 constitutes a turning point for the public image of Claudia Cardinale. Shortly before the tabloid press finds the birth certificate of her illegitimate child in London, the producer Franco Cristaldi hurries to marry her in the United States and soon he will affiliate the child: but the divistic construct of the “fiancée of Italy” has been shattered. This article aims to reconstruct not what actually happened but what the tabloid press almost destroyed. In 1962, in fact, an impressive international image operation, called by the producer Franco Cristaldi and Fabio Rinaudo, the star’s press agent, “SuperCardinale”, had conceived a star system product resulting from a detailed image strategy. Even if the public story of the diva had been overwhelmed by the revelations of the tabloid press, her career did not break into pieces. A new story was already in place. The Vides star shows off in the pages of the popular magazines along with other single mothers of the Italian show business. On May 6, 1967 she takes part to an audience with the Pope Paul VI wearing a miniskirt: in so doing, she exploits the character of the penitent Magdalene to promote her role as an ex prostitute in “Once Upon a Time in the West” by Sergio Leone. -
House of Representatives Under the North American Wetlands Conservation Chamber Action Act Through Fiscal Year 2024 (H
September 30, 2020 CONGRESSIONAL RECORD — DAILY DIGEST D881 A unanimous-consent agreement was reached pro- Additional Statements: Pages S5944–45 viding for further consideration of the nomination at Amendments Submitted: Pages S5987–98 approximately 12:00 noon, on Thursday, October 1, Page S5998 2020. Page S6003 Authorities for Committees to Meet: Nominations Confirmed: Senate confirmed the fol- Record Votes: Three record votes were taken today. lowing nominations: (Total—199) Pages S5923–24 2 Air Force nominations in the rank of general. Adjournment: Senate convened at 12 noon and ad- 6 Army nominations in the rank of general. journed at 8:39 p.m., until 12 noon on Thursday, 1 Marine Corps nomination in the rank of general. October 1, 2020. (For Senate’s program, see the re- 1 Navy nomination in the rank of admiral. marks of the Acting Majority Leader in today’s 2 Space Force nominations in the rank of general. Record on page S6004.) Routine lists in the Air Force, Army, Marine Corps, Navy, and Space Force. Pages S6006–07 Committee Meetings Nominations Received: Senate received the fol- lowing nominations: (Committees not listed did not meet) Brian S. Davis, of North Carolina, to be an Assist- ant Secretary of Defense. NASA 33 Army nominations in the rank of general. Committee on Commerce, Science, and Transportation: 5 Coast Guard nominations in the rank of admi- Committee concluded a hearing to examine NASA ral. missions and programs, focusing on update and fu- 2 Space Force nominations in the rank of general. ture plans, after receiving testimony from James Routine lists in the Air Force, Army, Coast Bridenstine, Administrator, National Aeronautics Guard, and Navy. -
Italy Cinema Giant, Franco Cristaldi's Tuscany Villa up for Sale
Italy Cinema Giant, Franco Cristaldi’s Tuscany Villa Up For Sale (EXCLUSIVE) SELLER: Cristaldi Family REAL ESTATE AGENCY: Columbus International at Keller Williams NYC LOCATION: Between Volterra and San Gimignano (Italy) PRICE: Euros 5,900,000 (USD 6,900,000) SIZE: 30,903 Square Feet, 22+ bedrooms GALLERY: 9 Images attached NOTES: Franco Cristaldi, a three-time Oscar winner, awarded for Best Foreign Film with Federico Fellini's Amarcord and Giuseppe Tornatore's Cinema Paradiso, became the owner of Villa di Ulignano in 1967, purchasing it from the State at a public auction after decades of abandon. Now, more than 25 years later after his death, this cinematic hamlet of houses, distributed on approximately 4 acres of land, has popped up for sale with an asking price of $6,960,000 million. Perched atop the hill of Ulignano, the property is an outstanding 17th century villa surrounded by a magnificent garden with centuries-old trees. The manor home is part of a 17-acre property between Volterra, the closest town, and San Gimignano, at the heart of the triangle composed of Siena, Florence and Pisa. The spirit of the place enchanted one of Italy's greatest artists of the 20th century. While traveling through these hills on a quest to find locations for his latest movie, Italian theatre, opera and cinema director, Luchino Visconti, best known for his films Ossessione, Senso, Rocco and His Brothers, The Leopard and Death in Venice, came across the Villa di Ulignano and fell in love with it. One of the founding fathers of the Italian Neorealist movement, Visconti chose Villa di Ulignano for his movie Sandra, with Claudia Cardinale and Jean Sorel, all shot in Volterra, winner of the Golden Lion at the 30th International Film Festival of Venice.