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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 -
It 2.007 Vc Italian Films On
1 UW-Madison Learning Support Services Van Hise Hall - Room 274 rev. May 3, 2019 SET CALL NUMBER: IT 2.007 VC ITALIAN FILMS ON VIDEO, (Various distributors, 1986-1989) TYPE OF PROGRAM: Italian culture and civilization; Films DESCRIPTION: A series of classic Italian films either produced in Italy, directed by Italian directors, or on Italian subjects. Most are subtitled in English. Individual times are given for each videocassette. VIDEOTAPES ARE FOR RESERVE USE IN THE MEDIA LIBRARY ONLY -- Instructors may check them out for up to 24 hours for previewing purposes or to show them in class. See the Media Catalog for film series in other languages. AUDIENCE: Students of Italian, Italian literature, Italian film FORMAT: VHS; NTSC; DVD CONTENTS CALL NUMBER Il 7 e l’8 IT2.007.151 Italy. 90 min. DVD, requires region free player. In Italian. Ficarra & Picone. 8 1/2 IT2.007.013 1963. Italian with English subtitles. 138 min. B/W. VHS or DVD.Directed by Frederico Fellini, with Marcello Mastroianni. Fellini's semi- autobiographical masterpiece. Portrayal of a film director during the course of making a film and finding himself trapped by his fears and insecurities. 1900 (Novocento) IT2.007.131 1977. Italy. DVD. In Italian w/English subtitles. 315 min. Directed by Bernardo Bertolucci. With Robert De niro, Gerard Depardieu, Burt Lancaster and Donald Sutherland. Epic about friendship and war in Italy. Accattone IT2.007.053 Italy. 1961. Italian with English subtitles. 100 min. B/W. VHS or DVD. Directed by Pier Paolo Pasolini. Pasolini's first feature film. In the slums of Rome, Accattone "The Sponger" lives off the earnings of a prostitute. -
Marzo 2014 Proposte
MARZO 2014 MARZO 2014 PROPOSTE Ogni mese il Centro Audiovisivi di Bolzano mette a disposizione questa brochure contenente Proposte, Ritratti Novità, Ricorrenze. di donne PROPOSTE nel cinema Un’occasione per conoscere e imparare ad amare il grande cinema. Ogni mese viene proposto un tema di- di ieri e di oggi verso per suggerire attraverso la cinematografia d’au- tore spunti di riflessione e valorizzare il patrimonio della mediateca del Centro Audiovisivi di Bolzano. NOVITÀ NOVITÀ Cinema La raccolta cinematografica è in grande crescita e comprende film, documentari e libri a partire dalle Film dalle origini origini della storia del cinema fino a oggi. Ogni mese ai giorni nostri si arricchisce di ulteriori film di qualità che vengono messi a disposizione di tutti i cittadini interessati. Documentari RICORRENZE La ricorrenza della data di nascita di alcuni dei più RICORRENZE famosi attori, attrici e registi della storia del cinema è occasione per ricordare ogni mese i capolavori che Piera Degli Esposti loro hanno realizzato. Invito tutti a rivedere, scoprire e riscoprire le loro opere nella mediateca. Luc Besson Keira Knightley Buona visione! Quentin Tarantino MARZO 2014 PROPOSTE MARZO 2014 Ritratti Lulu di donne Donne nel cinema L’onorevole Angelina di ieri e di oggi Siamo donne PROPOSTE Sabrina Sedotta e abbandonata Tre donne Il raggio verde Speriamo che sia femmina Thelma & Louise Il cerchio Ti do i miei occhi Vogliamo anche le rose Changeling – Una storia vera Beyond Potiche – La bella statuina Le donne del 6° piano We Want Sex 4 5 LULU SIAMO DONNE DEU / 1929 / DRAMMATICO / 128' / B/N / MUTO ITA / 1953 / EPISODI / 95' / B/N / SONORO REGIA Lulù, una ex fioraia, vuole fare carriera nel mondo del varietà, REGIA Film collettivo diviso in cinque parti. -
26. Stars and Masculinities in Contemporary Italian Cinema-O
! 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: Stars and Masculinities in Contemporary Italian Cinema by Catherine O'Rawe Journal Issue: gender/sexuality/italy, 2 (2015) Author: Elena Dalla Torre, Saint Louis University Publication date: July 2015 Publication info: gender/sexuality/italy, “Reviews” Permalink: http://www.gendersexualityitaly.com/book-review-stars-and-masculinities/ 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 O'Rawe, Catherine. Stars and Masculinities in Contemporary Italian Cinema. Palgrave McMillan, 2014. Pp. 230. ISBN 9781137381460. $71.05 (Paperback); -
Summer Classic Film Series, Now in Its 43Rd Year
Austin has changed a lot over the past decade, but one tradition you can always count on is the Paramount Summer Classic Film Series, now in its 43rd year. We are presenting more than 110 films this summer, so look forward to more well-preserved film prints and dazzling digital restorations, romance and laughs and thrills and more. Escape the unbearable heat (another Austin tradition that isn’t going anywhere) and join us for a three-month-long celebration of the movies! Films screening at SUMMER CLASSIC FILM SERIES the Paramount will be marked with a , while films screening at Stateside will be marked with an . Presented by: A Weekend to Remember – Thurs, May 24 – Sun, May 27 We’re DEFINITELY Not in Kansas Anymore – Sun, June 3 We get the summer started with a weekend of characters and performers you’ll never forget These characters are stepping very far outside their comfort zones OPENING NIGHT FILM! Peter Sellers turns in not one but three incomparably Back to the Future 50TH ANNIVERSARY! hilarious performances, and director Stanley Kubrick Casablanca delivers pitch-dark comedy in this riotous satire of (1985, 116min/color, 35mm) Michael J. Fox, Planet of the Apes (1942, 102min/b&w, 35mm) Humphrey Bogart, Cold War paranoia that suggests we shouldn’t be as Christopher Lloyd, Lea Thompson, and Crispin (1968, 112min/color, 35mm) Charlton Heston, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad worried about the bomb as we are about the inept Glover . Directed by Robert Zemeckis . Time travel- Roddy McDowell, and Kim Hunter. Directed by Veidt, Sydney Greenstreet, and Peter Lorre. -
JEANNE MOREAU: NOUVELLE VAGUE and BEYOND February 25 - March 18, 1994
The Museum of Modern Art For Immediate Release February 1994 JEANNE MOREAU: NOUVELLE VAGUE AND BEYOND February 25 - March 18, 1994 A film retrospective of the legendary French actress Jeanne Moreau, spanning her remarkable forty-five year career, opens at The Museum of Modern Art on February 25, 1994. JEANNE MOREAU: NOUVELLE VAGUE AND BEYOND traces the actress's steady rise from the French cinema of the 1950s and international renown as muse and icon of the New Wave movement to the present. On view through March 18, the exhibition shows Moreau to be one of the few performing artists who both epitomize and transcend their eras by the originality of their work. The retrospective comprises thirty films, including three that Moreau directed. Two films in the series are United States premieres: The Old Woman Mho Wades in the Sea (1991, Laurent Heynemann), and her most recent film, A Foreign Field (1993, Charles Sturridge), in which Moreau stars with Lauren Bacall and Alec Guinness. Other highlights include The Queen Margot (1953, Jean Dreville), which has not been shown in the United States since its original release; the uncut version of Eva (1962, Joseph Losey); the rarely seen Mata Hari, Agent H 21 (1964, Jean-Louis Richard), and Joanna Francesa (1973, Carlos Diegues). Alternately playful, seductive, or somber, Moreau brought something truly modern to the screen -- a compelling but ultimately elusive persona. After perfecting her craft as a principal member of the Comedie Frangaise and the Theatre National Populaire, she appeared in such films as Louis Malle's Elevator to the Gallows (1957) and The Lovers (1958), the latter of which she created a scandal with her portrayal of an adultress. -
CS. GARINEI E GIOVANNINI Alla Casa Del Cinema
Comunicato stampa GARINEI E GIOVANNINI PER L’UNITÀ D’ITALIA Eccezionale proiezione di “Rinaldo in campo” e “Enrico 61” Martedì 19 e giovedì 21 aprile (con replica il 20 e il 26 aprile) due eventi speciali alla Casa del Cinema per raccontare l’Unità d’Italia attraverso due spettacoli che hanno fatto la storia della commedia musicale italiana. Protagonisti sono le leggende dello spettacolo italiano: Renato Rascel e Domenico Modugno Furono i primi a realizzare in Italia la commedia musicale lavorando con artisti come Totò, Alberto Sordi, Nino Manfredi, Aldo Fabrizi, Marcello Mastroianni e Walter Chiari. Dominarono per 50 anni lo spettacolo italiano, portando alle stelle il Teatro Sistina con le loro mirabolanti produzioni e conquistando anche il favore di Broadway. Il mondo di Garinei e Giovannini ha accompagnato quasi 50 anni di storia d’Italia e per questo la Casa del Cinema - struttura promossa dall’ Assessorato alle Politiche Culturali e Centro Storico di Roma Capitale con la collaborazione dell’ Assessorato alla Cultura, Arte e Sport della Regione Lazio , per la direzione artistica di Caterina d’Amico e la gestione di Zètema Progetto Cultura - ha deciso di celebrare l’Unità d’Italia con la proiezione di eccezionali materiali concessi da Rai Teche . Si tratta delle riprese di due degli spettacoli di maggior successo della coppia di commediografi italiani: “RINALDO IN CAMPO” e “ENRICO 61” realizzati nel 1961 per rendere omaggio al centenario dell’Unità d’Italia e in seguito trasmessi dalla Rai. Riprese preziosissime e antiche che non sono mai state proiettate al pubblico e che conservano le imperfezioni del tempo, l’unica occasione per rivedere o vedere per la prima volta due spettacoli che hanno fatto la storia della commedia musicale italiana. -
Grads Thi~ Year Concordia Twins Graduate
Volume 3, number 27 Ju11e 1977 Graduating list on back pages ) ,. I.,___ _ _____, FYI~ ... CONCORDIA UNIVERSITY More grads thi~ year There will be 2,383 students graduating · from Concordia University this year-an increase of 49 students over the previous year. Graduates will receive degrees and diplomas it six convocations from June 5 to 12, at which four prominent Canadians will receive honorary doctorates. Rev. Bernard Lonergan, regarded by many as the finest philosophic mind of the 20th century, will return to his alma mater to receive an honorary doctorate at the Loyola Faculty of Arts & Science convoca tion June 5 at 2 :15 p.m. on the Loyola Campus. Rev. Lonergan, a Quebec native who now lives in the Jesuit Community at Boston College, became the focal point of world philosophical thought after the publication of his master work Insight in the late 1950s. Norman McLar~n, the celebrated Cana dian filmmaker with the National Film Board, will receive an honorary doctorate at the Faculty of Fine Arts convocation June 7 at 8 : 15 p.m. at the Alumni Auditorium in the Henry F. Hall Building. Patricia and Sharon Fitzgerald Guy Desbarats, prominent Canadian architect and assistant deputy minister of Public Works, will receive an honorary doctorate at the Faculty of Engineering convocation June 8 at 8:15 p.m. at the Concordia twins graduate Alumni Auditorium. Charles S. Carter, a retired Bell Canada Twenty-one years of close and constant lives. Through kindergarten to university executive who was instrumental in estab twinship comes to an end this year as they have shared the same classes, the same lishing the university's modular studies Patricia and Sharon Fitzgerald graduate books-even the same clothes. -
The French New Wave and the New Hollywood: Le Samourai and Its American Legacy
ACTA UNIV. SAPIENTIAE, FILM AND MEDIA STUDIES, 3 (2010) 109–120 The French New Wave and the New Hollywood: Le Samourai and its American legacy Jacqui Miller Liverpool Hope University (United Kingdom) E-mail: [email protected] Abstract. The French New Wave was an essentially pan-continental cinema. It was influenced both by American gangster films and French noirs, and in turn was one of the principal influences on the New Hollywood, or Hollywood renaissance, the uniquely creative period of American filmmaking running approximately from 1967–1980. This article will examine this cultural exchange and enduring cinematic legacy taking as its central intertext Jean-Pierre Melville’s Le Samourai (1967). Some consideration will be made of its precursors such as This Gun for Hire (Frank Tuttle, 1942) and Pickpocket (Robert Bresson, 1959) but the main emphasis will be the references made to Le Samourai throughout the New Hollywood in films such as The French Connection (William Friedkin, 1971), The Conversation (Francis Ford Coppola, 1974) and American Gigolo (Paul Schrader, 1980). The article will suggest that these films should not be analyzed as isolated texts but rather as composite elements within a super-text and that cross-referential study reveals the incremental layers of resonance each film’s reciprocity brings. This thesis will be explored through recurring themes such as surveillance and alienation expressed in parallel scenes, for example the subway chases in Le Samourai and The French Connection, and the protagonist’s apartment in Le Samourai, The Conversation and American Gigolo. A recent review of a Michael Moorcock novel described his work as “so rich, each work he produces forms part of a complex echo chamber, singing beautifully into both the past and future of his own mythologies” (Warner 2009). -
The Age of Innocence Showcase Tribute to Claudia Cardinale
PRESS RELEASE The age of innocence showcase Tribute to Claudia Cardinale From Monday 5 to Monday 26 March 2018, 3.30 p.m. “Mario Gromo” Library/Mediatheque – Events Room - Via Matilde Serao 8/A, Turin tel. +39 011 8138 599 - email: [email protected] Following the success of the showcases offered by the Mario Gromo Library/Mediatheque over the past months, in March it is the turn of a tribute to one of the most representative and beloved Italian actresses: Claudia Cardinale. Focusing on the time span between 1959 and 1961, during which the actress shot a good 15 films, The age of innocence. Tribute to Claudia Cardinale is proposing a significant selection of titles which illustrate this thespian’s maturity well and her sensitive capability for offering intensely dramatic introspective characters. Fragility and determination, naiveté and innocence, awareness and disenchantment are the emotional and- personality traits that young Cardinale – provided with charm, allure and a natural, luminous beauty – expresses in this first phase of her long and fortunate career. Extraordinarily photogenic, the actress imposed herself at the beginning of the Sixties as a new female diva model in Italian cinema, working with some of the most important authors of that period, who found a degree of expressiveness that was both sunny and enigmatic in her person, capable of expressing the establishment of a new, signally modern type of woman. The showcase will be inaugurated by the screening of Vento del sud, the only film by Enzo Provenzale (a trusted collaborator of Francesco Rosi), in which Cardinale plays the role of an aristocratic and unhappy Sicilian scion. -
In Nanni Moretti's La Stanza Del Figlio
09-Mary Ann_0Syrimis 2/10/14 10:31 AM Page 113 MORETTI ’S CHILDREN : T HE NEXT GENERATION ? MARY ANN MCDONALD CAROLAN Summary : Nanni Moretti’s La stanza del figlio/The Son’s Room (2001) reveals the effects of a child’s death on the protagonist Giovanni (a psy - coanalyst played by Moretti) and his family. This film appears after Aprile/April (1998), which narrates both the birth of the director’s son Pietro as well as the Italian electoral campaign in 1996 in the month of the title. The arrival of a biological son followed by the death of a fic - tional one in Moretti’s oeuvre suggests greater implications for the par - ent-child relationship in Italy. This phenomenon also comments on the relationship between generations of Italian directors. An examination of Moretti’s earlier autobiographical film Caro diario/Dear Diary (1994) gives insight into this director’s relationship to other artists and also sug - gests implications for the future of Italian filmmaking. In Nanni Moretti’s La stanza del figlio /The Son’s Room (2001), the death of a child allows the narrative to explore the highly personal realm of grief. The title of Moretti’s film refers to a now uninhabited space that serves as a metaphor for the void in the family created by Andrea’s (Giuseppe Sanfelice) accidental drowning while scuba diving. The son’s death devas - tates his father Giovanni (Nanni Moretti), mother Paola (Laura Morante), and sister Irene (Jasmine Trinca). Moretti examines the family members’ reactions to this unimaginable loss that leads ultimately to a redefinition of self. -
Ein Film Von NANNI MORETTI MIT MARGHERITA
Ein Film von NANNI MORETTI MIT MARGHERITA BUY - JOHN TURTURRO GIULIA LAZZARINI - NANNI MORETTI BEATRICE MANCINI AB 17. DEZEMBER IM KINO 2 Dauer: 106 min Presse: http://www.frenetic.ch/espace-pro/details//++/id/969 Pressebetreuung DISTRIBUTION Rike Radtke FRENETIC FILMS prochaine sa Bachstrasse 9 • 8038 Zürich Tel. 044 488 44 24 Tel. 044 488 44 00 • Fax 044 488 44 11 [email protected] www.frenetic.ch SYNOPSIS Margherita hat es nicht leicht. Während sie sich um ihre alte Mutter Sorgen macht, muss sie als Regisseurin am Set ihres neusten Films ihre Autorität behaupten. Sie plagt sich mit den Launen des extra aus den USA eingeflogenen Hauptdarstellers (John Turturro) herum, wird von der pubertierenden Tochter vor den Kopf gestossen und ihr Bruder, gespielt von Nanni Moretti, ist mit seinen gut gemeinten, aber unnötigen Ratschlägen auch nicht immer die grosse Hilfe. GESPRÄCH MIT NANNI MORETTI Ist die von Margherita Buy in MIA MADRE gespielte Figur Ihr Double? Ich habe nie daran gedacht, die Hauptrolle meines Filmes zu spielen. Ich mache das schon seit einiger Zeit nicht mehr und ich bin auch froh darüber. Früher amüsierte es mich, heute habe ich nicht mehr die fixe Idee, meine Figur in jedem Film zu konstruieren. Ich habe immer eine Frau und eine Regisseurin vor Augen gehabt. Und dass diese Frau von Margherita Buy gespielt werden musste, hat einen einfachen Grund: Ein Film mit Margherita Buy in der Hauptrolle wird besser sein als einer mit mir in der Hauptrolle… Sie spielt viel besser als ich! Margherita hat das ganze Gewicht der Arbeit auf ihren Schultern getragen: Bei 70 Drehtagen war sie nur einen Tag abwesend – für eine Szene, die ich schliesslich wegeschnitten habe.