Giorni Di Gloria – Regia Mario Serandrei

Total Page:16

File Type:pdf, Size:1020Kb

Giorni Di Gloria – Regia Mario Serandrei Film: https://vimeo.com/303284185 Giorni di Gloria – Regia Mario Serandrei, Luchino Visconti, Giuseppe De Santis e Marcello Pagliero – Italia – 1945 https://www.archivioannamagnani.it/blog/roma-citta-aperta-streaming/ Roma città aperta – Regia Roberto Rossellini – Italia – 1945 http://www.rai.it/dl/RaiTV/programmi/media/ContentItem-681aa7d8-652a-46fd-8cf7-43d8bb3bf2b8- cinema.html Paisà – Regia Roberto Rossellini – Italia – 1946 https://www.youtube.com/watch?v=XSV2nQZo35k Il sole sorge ancora – regia Aldo Vergano – Italia – 1946 https://www.youtube.com/watch?v=mx_OTPcNe6I Achtung! Banditi! – Regia Carlo Lizzani – Italia – 1951 https://www.youtube.com/watch?v=bJv9m8WWB5w Cronache di poveri amanti - regia Carlo Lizzani – Italia – 1954 https://www.youtube.com/watch?v=aZDW1qP_pu4 I sette contadini – regia Elio Petri – Italia – 1958 https://www.youtube.com/watch?v=Ee0ShjXI5kM I due marescialli - regia Sergio Corbucci – Italia – 1961 https://www.youtube.com/watch?v=rUt4zxWuxXU Le quattro giornate di Napoli . regia Nanni Loy – Italia – 1962 https://www.raiplay.it/video/2016/05/I-sette-fratelli-Cervi-bd49289b-1288-4dee-8681-e003cee80be0.html I sette fratelli Cervi – regia Gianni Puccini – Italia – 1968 https://www.youtube.com/watch?v=PxSPu25xbQw l giardino dei Finzi Contini, regia Vittorio De Sica – Italia – 1970 https://www.youtube.com/watch?v=cLLtq04M3tI Libera, amore mio! - regia Mauro Bolognini - Italia – 1973 https://www.youtube.com/watch?v=wODTo737zVg L'Agnese va a morire, regia Giuliano Montaldo Italia – 1976 https://www.youtube.com/watch?v=0LLt-wVBTik Uomini e no – regia Valentino Orsini – Italia – 1980 https://www.youtube.com/watch?v=RJ12oa5sK_g Jona che visse nella balena - regia Roberto Faenza – Italia – 1993 https://www.youtube.com/watch?v=35GISOB1M4c Porzûs- regia Renzo Martinelli – Italia - 1997 https://www.youtube.com/watch?v=pFrHuLqmjjE La tregua - regia Francesco Rosi – Italia – 1997 https://www.raiplay.it/video/2017/01/Perlasca---Un-eroe-italiano--Ep-1-bcab78e0-e4ad-40a8-93fd- 3cef293bced0.html https://www.raiplay.it/video/2019/10/perlasca---un-eroe-italiano-2-parte-071142d8-6687-44aa-b424- c173183518f4.html Perlasca, un eroe italiano - regia Alberto Negrin – Italia - serie TV – 2002 https://www.raiplay.it/video/2019/09/gino-bartali-lintramontabile---2-parte-9e86f11b-350d-44ad-8dd6- 124b4c8c46e3.html Gino Bartali, l'intramontabile - regia Alberto Negrin Italia - serie TV – 2006 https://www.raiplay.it/video/2017/01/La-buona-battaglia---Don-Pietro-Pappagallo-Ep-1-0f985677-d9fe- 439b-8ce7-2d7bbf5d1839.html https://www.raiplay.it/video/2017/01/La-buona-battaglia---Don-Pietro-Pappagallo-Ep-2--847332f0-79f2- 48ed-ade1-9996a53e9adc.html La buona battaglia : Don Pietro Pappagallo- regia Gianfranco Albano - Italia - serie TV – 2006 https://www.raiplay.it/video/2017/10/Mi-ricordo-Anna-Frank-eee28df3-6b33-47a4-a6ff- 0b3c6bd9cdbc.html Mi ricordo Anna Frank - regia Alberto Negrin – Italia - film TV – 2009 https://www.raiplay.it/video/2017/07/Una-Questione-Privata-20eb1feb-b93d-49c4-aeef- 9cb47dcd3c84.html Una questione privata – Regia Paolo e Vittorio Taviani – Italia/Francia, 2017 – 80 min. https://www.raiplay.it/programmi/figlideldestino Figlie del Destino – Regis Francesco Miccichè, Marco Spagnoli – Italia – 2019 .
Recommended publications
  • 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.
    [Show full text]
  • Paolo Sorrentino
    Pyramide, le Studio Canal and Babe Films present Domenico Procacci and Nicola Giuliano present TTHHEE FFAAMMIILLYY FFRRIIEENNDD a Paolo Sorrentino film An Italo-French co-production Fandango and Indigo Film with Medusa Film In co-production with Babe Films and Studio Canal In Collaboration with CANAL + running time: 1h50 FrenchDistribution: Pyramide 5 rue du Chevalier de Saint-George, 75008 Paris Tel: (33) 1 42 96 01 01 – Fax: (33) 1 40 20 02 21 – www.pyramidefilms.com In Cannes: 6 la Croisette, 06400 Cannes (3rd floor) Tel/Fax: (33) 4 92 59 32 01 – [email protected] World Sales : Wild Bunch 99 RUE DE LA VERRERIE 75004 PARIS France tel +33 1 53 01 50 30 fax +33 1 53 01 50 49 email [email protected] www.wildbunch.biz Wild Bunch Cannes office : 23 rue Macé , 4th floor Phone: +33 4 93 99 31 68 Fax: +33 4 93 99 64 77 VINCENT MARAVAL, cell +33 6 11 91 23 93 [email protected] GAEL NOUAILLE,cell +33 6 21 23 04 72 [email protected] CAROLE BARATON, cell +33 6 20 36 77 72 [email protected] SILVIA SIMONUTTI, cell +33 6 20 74 95 08 [email protected] INTERNATIONAL PRESS LE PUBLIC SYSTEME CINEMA Alexis Delage-Toriel Tel: 33 6 80 21 49 88 - [email protected] IN PARIS IN CANNES 40 rue Anatole France – 92594 Levallois Perret 13, rue d’Antibes – 06400 Cannes - top floor Direct lines: 01 41 34 20 32 / 2201 Fax: 01 41 34 20 Direct lines: 04 93 68 62 70/ 04 93 68 62 18 Directfax: 04 93 68 61 95 Stills from the film can be downloaded from: www.lepublicsystemecinema.com CREDITS NON CONTRACTUELS
    [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]
  • Elenco Titoli Videoteca (N. 306 Dvd)
    CONSOLATO D'ITALIA DETROIT - STATI UNITI: ELENCO TITOLI VIDEOTECA (N. 306 DVD) LIBERATORIE LUCKY TITOLO REGIA RED/QUADRO FILM/DGPC II-RAI 8 1/2 Federico Fellini A ruota libera Vincenzo Salemme Accadde al commissariato Giorgio Simonelli Agata e la tempesta Silvio Soldini Al di là delle nuvole Michelangelo Antonioni, Wim Wenders Almost blue Alex Infascelli Amore è eterno finché dura (L') Carlo Verdone Amore molesto (L') Mario Martone LUCKY RED Anima gemella (L') Sergio Rubini Arcobaleno 1 Arcobaleno 2 Arcobaleno 3 Arcobaleno 4 Arcobaleno 5 Arcobaleno 6 Armata Brancaleone (L') Mario Monicelli Audace colpo dei soliti ignoti (L') Nanni Loy Avventura (L') Michelangelo Antonioni Baci e Abbracci Paolo Virzì Ballo a tre passi Salvatore Mereu LUCKY RED Brancaleone alle crociate Mario Monicelli Camerieri Leone Pompucci Camorrista (Il) Giuseppe Tornatore Canone Inverso Ricky Tognazzi Caravaggio Derek Jarman Cari fottutissimi amici Mario Monicelli Caso Moro (Il) Giuseppe Ferrara Cento passi (I) Marco Tullio Giordana CONSOLATO D'ITALIA DETROIT - STATI UNITI: ELENCO TITOLI VIDEOTECA (N. 306 DVD) C'era un cinese in coma Carlo Verdone Certi bambini Andrea e Antonio Frazzi Che fine ha fatto Totò baby? Ottavio Alessi Che ora è Ettore Scola Chi si ferma è perduto Sergio Corbucci Chiedo asilo nido Andrea Bruno Savelli Ciociara (La) Vittorio De Sica Cofanetto "Autori Italiani" (3 DVD): Il partigiano Johnny Guido Chiesa Cofanetto "Autori Italiani" (3 DVD): L'imbalsamatore Matteo Garrone Cofanetto "Autori Italiani" (3 DVD): Nemmeno il destino Daniele Gaglianone
    [Show full text]
  • Le Quattro Giornate Di Napoli" Rosa Maria Celeste Pace University
    Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College 8-22-2005 Beyond The yM th: The rT uth About "Le Quattro Giornate di Napoli" Rosa Maria Celeste Pace University Follow this and additional works at: http://digitalcommons.pace.edu/honorscollege_theses Recommended Citation Celeste, Rosa Maria, "Beyond The yM th: The rT uth About "Le Quattro Giornate di Napoli"" (2005). Honors College Theses. Paper 9. http://digitalcommons.pace.edu/honorscollege_theses/9 This Article is brought to you for free and open access by the Pforzheimer Honors College at DigitalCommons@Pace. It has been accepted for inclusion in Honors College Theses by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. Beyond The Myth: The Truth About “Le Quattro Giornate di Napoli” Robert Capa’s photograph of a scugnizzi Rosa Maria Celeste 1 Caesar died, and tyranny lived on. For the seat of tyranny was not in the heart of Caesar: it was in the heart of the Romans. Not from others will the Italians receive freedom, but from themselvesthemselves.themselves --- G.A. Borgese, 1937 2 Dedicazione Per il mio padre, AntonioAntonio CCelesteelesteeleste,eleste che mi ha insegnata tutto del’ Italia e mi ha fatto amarla, alla memoria dell’ mio nonno, GaetanoGaetano CelesteCeleste, un vero Napoletano, e aiai Naploetani ---- perchèperchè non dimenticiamo MAI…..….. 3 Beyond The Myth: The Truth About “Le Quattro Giornate di Napoli” The Italian Fascist State, surrendered unconditionally to the Allies on September 8th 1943. There were many steps that led up to the surrender of the Italian state to the Allied forces.
    [Show full text]
  • Depliant Stampa Ingl
    Matera, Murgia Timone The Passion of the Christ Mel Gibson Photo credits Concept Cover, Philippe Antonello Mariateresa Cascino www.mtcom.info p. 1 - Domenico Notarangelo APT BASILICATA REGIONE BASILICATA UNIONE EUROPEA Archivio Blu Video AZIENDA DI PROMOZIONE TURISTICA p. 2 - Francesco Foschino Graphic design DI BASILICATA Sassi Web Antonio Andrisani p. 3 - Philippe Antonello www.antonioandrisani.com p. 5 - Tonino Capena p. 6 - Domenico Notarangelo Printing Archivio Blu Video Antezza Tipografi p. 7 - Archivio APT Matera P. 9 - Philippe Antonello P. 11 - Archivio APT Translation PP. 12-13 - Philippe Antonello Elizabeth Jennings Inside Cover, Blu Video APT BASILICATA AZIENDA DI PROMOZIONE TURISTICA DI BASILICATA BASILI via del Gallitello, 89 via Spine Bianche, 22 85100 Potenza 75100 Matera Tel. 0971 507611 - Fax 0971 507600 Tel. 0835 331817 - Fax 0835 345402 CATA A FILM [email protected] [email protected] www.aptbasilicata.it www.basilicata.travel SET APT BASILICATA AZIENDA DI PROMOZIONE TURISTICA DI BASILICATA BASILI CATA A FILM SET FERRANDINA MATERA MOVIES FILMED IN 1998 DEL PERDUTO AMORE Michele Placido 2007 LO STALLO Silvia Ferreri (Coming soon) CRACO 2006 THE NATIVITY STORY Catherine Hardwicke BASILICATA THE OMEN John Moore 2006 THE NATIVITY STORY Catherine Hardwicke 2005 IL RABDOMANTE Fabrizio Cattani 2004 TERRA BRUCIATA Fabio Segatori 2004 THE PASSION OF THE CHRIST Mel Gibson THE PASSION OF THE CHRIST Mel Gibson 1995 THE STAR MAKER Giuseppe Tornatore 1979 CHRIST STOPPED AT EBOLI Francesco Rosi 1990 IL SOLE ANCHE DI NOTTE
    [Show full text]
  • Cinema in Basilicata: Impatti Su Economia E Turismo
    Le produzioni cinematografiche determinano un impatto economico considerevole nei luoghi in cui i film vengono girati, a cui si aggiunge la possibilità di diventare strumenti di promozione territoriale, attraverso la distribuzione nelle sale e in tv, incrementando i flussi turistici. Con il termine film-induced tourism o cineturismo, infatti, si indica il fenomeno di visita delle destinazioni utilizzate come location dei film. Dal 2011 la Fondazione Eni Enrico Mattei ha realizzato una serie di studi sull’impatto economico e turistico del cinema in Basilicata che trovano in questo volume una sistematizzazione complessiva. Tale pubblicazione vuol offrire una ricognizione generale sul tema e l’analisi specifica in Basilicata di alcuni casi studio di cineturismo, del ruolo dell’immagine cinematografica nella costruzione della destination image e delle ricadute in termini economici e occupazionali dei recenti film prodotti in regione. Infine, viene presentata la realizzazione di percorsi cinematografici, a cui FEEM Percorsi FEEM ha collaborato attivamente, all’interno di un progetto nazionale per la costruzione di itinerari culturali del Sud: “Basilicata Movie Tourism”. Cinema in Basilicata: impatti su economia e turismo A cura di Delio Colangelo 2/2018 Cinema in Basilicata: impatti su economia e turismo Fondata nel 1989, la Fondazione Eni Enrico Mattei (FEEM) è un centro di ricerca internazionale, no profit, orientato alla policy e un think tank che produce ricerca di alta qualità, innovativa, interdisciplinare e scientificamente rigorosa nell’ambito dello sviluppo sostenibile. La Fondazione contribuisce alla qualità del processo decisionale nelle sfere del pubblico e del privato attraverso studi analitici, consulenza alla policy, divulgazione scientifica e formazione di alto livello.
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Misery is the True Script for Comedy: A Study of Italian Film Comedy in the 1950s Permalink https://escholarship.org/uc/item/52s6f970 Author White, Christopher Burton Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California 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.
    [Show full text]
  • Socio-Economic Critique, Cognitive Engagement and Gender Roles in Carlo Lizzani’S La Celestina P
    Socio-economic critique, cognitive engagement and gender roles in Carlo Lizzani’s La Celestina P.. R..1 Marco Paoli Carlo Lizzani (1922-2013) was one of Italy’s most prolific film directors but he has rarely attracted the degree of critical attention that has been afforded to his contemporaries. However, Lizzani’s films are fascinating visual documents of the stylistic influences absorbed by Italian cinema in the post-war period, and they contain unorthodox and sometimes controversial social critiques which merit greater critical attention as various recent publications on the diverse cinematic oeuvre of the director demonstrates.2 Most notably, Lizzani’s films provide a range of portrayals of the evolving criminal scene in the post-war period, depictions which are closely connected to different manifestations of Italian cinematic genres or filoni.3 In particular, his comedies including Il carabiniere a cavallo (1961), La vita agra (1964), La Celestina P.. R.. (1964) and L’autostrada del sole, Lizzani’s episode in Thrilling (1965), reflect Italian style comedy’s capacity to draw attention to topical subjects and to the most recent social transformations by exploring the implications of emerging forms of criminality and gendered tensions in the early-mid 1960s and by engaging viewers from an emotional and intellectual perspective.4 This article discusses the director’s capacity to exploit the potential of comedy at the peak of the 1960s to elaborate a detailed portrayal of contemporary Italy and, at the same time, to highlight the contradictions and deleterious effects of the changing nature of society as a consequence of the economic miracle.
    [Show full text]
  • Appunti Per Un Progetto Di Ricerca Sul Cinema in Sardegna
    Appunti per un progetto di ricerca sul cinema in Sardegna A chi parte a chi arriva a chi ritorna1 1 Da Tutto torna (Enrico Pitzianti, Italia, 2008). “La Sardegna non fa una lira” Nanni Loy All'attuale momento lo stato di salute del cinema italiano non è facilmente comprensibile. A parte lo profonda crisi finanziaria del Paese, di cui è inutile occuparsi in questa sede, la produzione di nuove pellicole si divincola tra uscite di nomi già affermati e fin troppo sponsorizzati, e una proliferazione di titoli di giovani filmakers, aiutati dalla facile accessibilità delle nuove tecnologie, prodotti che però rimangono incastrati tra l'immensità dell'archivio della Rete e una distribuzione fisica ormai inesistente. In questo panorama, è difficile individuare nuove tendenze del cinema contemporaneo italiano, tra i suoi perpetui riferimenti, citazioni e ciechi “occhiolini” ai grandi del Neorealismo e al solito Fellini (Sorrentino), le commedie urlate senza voce (Muccino) e opere prime che rimangono esercizi di stile e prive di profondità2. Restano ancora originali invece le vecchie firme provenienti dagli anni Settanta e Ottanta (Moretti, Bertolucci). Se da una parte vige ancora una produzione romanocentrista, dall'altra o si cerca di internazionalizzare e quindi disitalianizzare il testo filmico oppure, all'opposto, di estremizzare caricaturalmente l'appartenenza regionale e locale. Tra questi ultimi casi di film dalla forte identità territoriale, da qualche anno abbiamo assistito a una sorta di rinascita del cinema sardo, una “Nouvelle Vague”, come definita da molti, che ha riportato all'attenzione una storia audio-visiva travagliata, povera ma sempre solidissima, sofferta nelle sue tematiche, soprattutto dallo stesso popolo sardo.
    [Show full text]
  • La Criminalità Napoletana Nel Cinema Italiano Degli Anni '70 E
    Recibido: 12.3.2018 Aceptado: 14.4.2018 LA CRIMINALITÀ NAPOLETANA NEL CINEMA ITALIANO DEGLI ANNI ’70 E ’80 NEAPOLITAN CRIME IN 70S AND 80S ITALIAN FILM Paolino NAPPI* L’articolo prende in considerazione una parte della produzione cinematogra- fica che, tra gli anni Settanta e Ottanta del secolo scorso, ha rappresentato la criminalità napoletana. Dal poliziesco all’italiana al melodramma occhieg- giante alla sceneggiata di Pasquale Squitieri, fino all’impegno civile di Nanni Loy e Lina Wertmüller, i film analizzati giocano tra stereotipi ormai consoli- dati e la rappresentazione di un presente ―e di un futuro― all’insegna della negatività. Parole chiave: cinema italiano, criminalità, poliziesco, Napoli, camorra. This article considers a number of films which depicted Neapolitan crime in the Seventies and the Eighties. From Italian action movies to Pasquale Squi- tieri’s sceneggiata–melodrama and the social commitment cinema of Nanni Loy and Lina Wertmüller, the analysed works seem to play with some con- solidated stereotypes. At the same time, they attempt to convey a dark image of the present, and the future. Keywords: italian cinema, crime, crime drama, Naples, camorra. «La camorra è il mestiere del futuro» * Facultat de Filologia, Traducció i Comunicació. Universitat de València. Correspondencia: Universitat de València. Facultat de Filologia, Traducció i Comu- nicació. Avda. de Blasco Ibáñez 32. 46010 Valencia. España. e-mail: [email protected] Lıburna 12 [Mayo 2018], 73–96, ISSN: 1889-1128 Paolino NAPPI Introduzione no dei fenomeni più vistosi del cinema italiano degli anni Settanta è il grande successo popolare del film poliziesco, Utalvolta chiamato ―per rimarcarne la specificità italiana ri- spetto al modello americano― “poliziottesco”.
    [Show full text]
  • Extract2011.Pdf
    Matera - The Passion, by Mel Gibson (2004) 4 Index Introduction ..............................................................................................p. 5 1964 – The Gospel according to St. Matthew ......p. 9 2004 – The Passion of the Christ .........p. 15 2006 – The Omen ..................p. 23 2006 – The Nativity Story .......................p. 25 2009 – Basilicata Coast to Coast .............................p. 35 Itineraries Movie Tour 1: Matera like Jerusalem .......................p. 27 Movie Tour 2: Basilicata Coast to Coast ..............................p. 38 Highlights The most important films made in Basilicata ..............p. 39 3 val d’Agri, landscape Introduction “When you look at Basilicata you see fields, vineyards, beautiful scenery. You see the earth as it was supposed to be” ì Francis Ford Coppola In over 50 years, more than forty films have been made in Basilicata, or Lucania as it was once called. Neo-re- alism, true stories, biblical films of awe- inspiring spirituality, stories of universally recognisable monsters. And then demons, portraits of the farming world, comedies all’italiana, costume dramas, dreams, mira- cles and magic. The world of great filmmaking has passed through here. For more than half a century, this land of a thousand faces has contin- ued to amaze Italian and international filmmakers alike with its delights and its haunting qualities. Basili- cata is home to places and stories whose grandeur is well suited to the silver screen. The Sassi of Matera, the moon-like landscape of the ravines, the sun-drenched lands of Mount Vulture, the tiny villages studded into the mountainsides. The whole of Basilicata is a stage set. The scenery of Lucania, in the eyes of the seventh art, represents the soul of the South, it is perceived as a historical experience, as a theatrical setting which inspires authors, scriptwriters and directors.
    [Show full text]