DOCSLIB.ORG

IL CINEMA RITROVATO 2006 Cineteca Del Comune Di Bologna

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

01-colophon 16-06-2006 18:53 Pagina 1 XXXV Mostra Internazionale del Cinema Libero IL CINEMA RITROVATO 2006 Cineteca del Comune di Bologna XX edizione / 20th Edition Sabato 1 luglio - sabato 8 luglio / Saturday 1 July - Saturday 8 July 01-colophon 16-06-2006 18:53 Pagina 2 IL CINEMA RITROVATO 2006 Biglietto per fasce orarie (mattino o pomeriggio) intero: Euro 6 Un ricordo a Daniele Capelli XX edizione e Boris Mangialardi Riduzione soci FICC, accreditati, studenti universitari e anziani: Euro 3 compagni di molti festival Le proiezioni serali in Piazza Maggiore sono gratuite; gli accreditati avranno accesso ai posti riservati fino a 10 minuti dall’inizio del film Con il contributo di / with contributions from: Tutte le proiezioni, tranne indicazioni contrarie, sono vietate ai minori Comune di Bologna - Settore Cultura e Rapporti con l'Università di 18 anni Ministero per i Beni e le Attività Culturali - Direzione Generale per il Proiezione con orchestra al Teatro Comunale (tel.: 051 52 99 58) Cinema Il ventaglio di Lady Windermere – Sabato 1 luglio 2006, ore 21. Regione Emilia-Romagna - Assessorato alla Cultura Biglietto numerato intero: Euro 13. Biglietto ridotto per gli accreditati Programma Media+ dell’Unione Europea del festival: Euro 8, in prevendita alla cassa del Cinema Lumière il 1° Fondazione Cassa di Risparmio in Bologna luglio fino alle 18 Porsche Groupama Access to screenings Ascom Festival Pass: 50 Euro Aeroporto di Bologna Reduced Festival Pass for University Students and Senior Citi- Bologna Art Hotels zens: 20 Euro (upon presentation of the relevant identification) Festival Pass holders will have access to all screenings held at the Con la collaborazione di / in association with: Cinema Arlecchino and at both theatres of the Cinema Lumière Dipartimento di Musica e Spettacolo - Università di Bologna Tickets for morning or afternoon screenings General: 6 Euro Fondazione Teatro Comunale, Bologna FICC members, accredited guests, Senior Citizens, and University stu- L’Immagine Ritrovata dents: 3 Euro. Rai Radio 3 Evening screenings in the Piazza Maggiore are free. Accredited Europa Cinemas guests may take advantage of reserved seating up to 10 minutes prior to the start of the film I luoghi del festival / Festival locations: All screenings, except where otherwise indicated, are prohibited to • Proiezioni mattutine e pomeridiane / Morning and afternoon screen- anyone under the age of 18 ings: Cinema Arlecchino (via Lame, 57) e Cinema Lumière (via Azzo Screening with orchestra, at the Opera House (Tel. 051 52 99 58) Gardino, 65) Lady Windermere’s Fan – Saturday 1 July 2006, 9 pm. Reserved • Proiezioni serali / Evening screenings: Piazza Maggiore e Teatro seating. Advance booking from the Lumière box office on 1 July until Comunale (Largo Respighi, 1) 6 pm. Full price: 13 Euro. Reduced price for accredited festival guests: In caso di pioggia al Cinema Arlecchino (info al 333 879 34 77) 8 Euro In case of rain, at the Cinema Arlecchino IV Mostra mercato dell’editoria cinematografica: libri, Dvd, Vhs, Per informazioni / Information: Antiquariato • Segreteria del Festival - Ufficio Ospitalità e Accrediti / Festival Secret- Biblioteca Renzo Renzi, via Azzo Gardino, 65 – da sabato 1° luglio a ariat – Guest Office martedì 4 luglio - dalle 10.30 alle 20 – ingresso libero Via Azzo Gardino 65 - Bologna – Tel. 051 219 48 14 - Fax 051 219 48 21 Libreria Il Leuto di Roma e NDA di Rimini (per Dvd). Librerie antiquarie: - [email protected] Metropolis (Roma), Il Labirinto (Bologna), Libreria Parolini (Bologna), segreteria aperta dalle 9 alle 18 dal 1 all’8 luglio / Secretariat open Marco Dall’Occa (Bologna), Seab (Bologna), Tesori di Carta (Bologna) 1 July – 8 July. Hours: 9 am - 6 pm • Cinema Lumière - Via Azzo Gardino, 65 - Bologna - tel. 051 219 53 11 Film Publishing Fair IV: Books, DVDs, VHS, Antiquarian and Vin- • Cinema Arlecchino - Via Lame, 57 - Bologna - tel. 051 52 21 75 tage Materials Renzo Renzi Library, 65 Via Azzo Gardino – from Saturday 1 July to Modalità di traduzione / Translation services: Tuesday 4 July - from 10:30 am to 10 pm - free entry Tutti i film delle serate (Piazza Maggiore e Teatro Comunale) e le proie- Bookshop Il Leuto from Rome. DVD shop: NDA from Rimini. Vintage zioni presso il Cinema Arlecchino hanno sottotitoli elettronici in italia- bookshops: Metropolis (Roma), Il Labirinto (Bologna), Libreria Parolini no e inglese (Bologna), Marco Dall’Occa (Bologna), Seab (Bologna), Tesori di Carta Tutte le proiezioni e gli incontri presso il Cinema Lumière sono tradot- (Bologna) ti in simultanea in italiano e inglese All evening screenings (Piazza Maggiore and Opera House), as well as Mostra fotografica screenings at the Cinema Arlecchino, will be translated into Italian and “Gli italiani si voltano: la bellezza secondo Lattuada” English by subtitling La mostra è stata curata da Piera Detassis All screenings and events at the Cinema Lumière will be translated into con la collaborazione di Paolo Mereghetti, dell’Archivio Fotografico Italian and English by simultaneous interpreting della Cineteca di Bologna (Angela Tromellini e Margherita Cecchini) e dell’Archivio Fotografico della Fondazione Cineteca Italiana (Luisa Modalità di accesso Comencini) Abbonamento festival: Euro 50 Mostra promossa da Cineteca di Bologna e Fondazione Cineteca Ita- Abbonamento festival ridotto per studenti universitari e anziani: liana Euro 20 (necessaria la presentazione del tesserino universitario o del- Sala espositiva della Cineteca in via Riva di Reno, 72 la Carta d’Argento) Tutti i giorni dal 1° all’8 luglio - dalle 10 alle 19 Consente l’accesso a tutte le proiezioni al Cinema Arlecchino e nelle Giorni feriali dall’11 al 28 luglio - dalle 10 alle 17.30 - ingresso libero due sale del Cinema Lumière 01-colophon 16-06-2006 18:53 Pagina 3 Photographic exhibition Negli atrii del Cinema Lumière e del Cinema Arlecchino, verranno espo- “The Italians Turn Around: Beauty According to Lattuada” sti manifesti e documenti d’epoca, a cura del collezionista Vincenzo The exhibition is curated by Piera Detassis Bellini, in collaborazione con Roberto Benatti (Archivio Grafico della in collaboration with Paolo Mereghetti, Archivio Fotografico della Cineteca). Cineteca di Bologna (Angela Tromellini and Margherita Cecchini), and Archivio Fotografico della Fondazione Cineteca Italiana (Luisa Exhibition in the lobbies of the Cinema Lumière and Cinema Arlecchi- Comencini) no of original posters from the private collection of Vincenzo Bellini, in Exhibition promoted by the Cineteca di Bologna and the Fondazione collaboration with Roberto Benatti (Graphic Arts Archive of the Cinete- Cineteca Italiana ca di Bologna) Cineteca Exhibition Hall, 72 Via Riva di Reno Open 1-8 July, every day, 10am - 9pm. Free entry Copertina: Elaborazioni grafiche di Gianluigi Toccafondo. Progetto Open 11-28 July, weekdays only, 10am - 7,30pm. Free entry Grafico: Marco Molinelli Cover: Graphics by Gianluigi Toccafondo. Graphic Design: Marco Molinelli Istituzione Cineteca del Comune di Bologna La messa in scena della guerra fredda / The mise-en-scène of the Presidente: Giuseppe Bertolucci Cold War Direttore: Gian Luca Farinelli A cura di Peter von Bagh Consiglio di amministrazione: Giuseppe Bertolucci (Presidente), Luca Un ringraziamento particolare a Oksana Bulgakowa, Edith Kramer, Bitterlin, Gian Piero Brunetta, Alberto Clò, Fabio Fefè Greil Marcus, Julie Cazenave, David Ellwood, Rainer Rother, Marcello Baldi, Pier Luigi Raffaelli, Tatti Sanguineti, Goffredo Fofi Ente Mostra Internazionale del Cinema Libero Fondatori: Cesare Zavattini e Leonida Repaci Il cinema più grande della vita (terza parte) - Omaggio a Vincente Consiglio di amministrazione: Gian Paolo Testa (presidente), Gino Ago- Minnelli / Cinema Larger than Life (Part 3 ) – Homage to Vincente stini, Giuseppe Bertolucci, Sergio Sabatini, Luciano Pinelli Minnelli Segretario: Gianni Biagi A cura di Peter von Bagh Un particolare ringraziamento a Martin Scorsese, Mark McElhatten, IL CINEMA RITROVATO 2006 Raffaele Donato, Geoff Brown, Caroline Yeager, Ed Stratmann, Juha Promosso da Cineteca del Comune di Bologna Kindberg, Hervé Dumont Direttore artistico: Peter von Bagh Direzione culturale: Nico de Klerk, Gian Luca Farinelli, Vittorio Martinelli, De Kri-Kri à Dandy: Raymond Frau dans tous ses états Nicola Mazzanti, Mark-Paul Meyer, Peter von Bagh A cura di Eric Le Roy (Archives Françaises du Film) in collaborazione Coordinatore: Guy Borlée con Davide Pozzi (L’Immagine Ritrovata) e Paolo Caneppele (Österrei- chisches Filmmuseum). Sezioni del festival Un particolare ringraziamento a Laurent Frau, Jacques Richard, Cristina Ritrovati & Restaurati / Recovered & Restored Zanasi, Caroline Patte A cura di Peter von Bagh, Gianluca Farinelli e Guy Borlée Progetto Chaplin / The Chaplin Project William S. Hart: Star of the West Responsabile: Cecilia Cenciarelli A cura di Richard e Diane Koszarski Trattamento dei documenti, segreteria: Michela Zegna Un particolare ringraziamento a Kevin Brownlow, David Shepard e Catalogazione: Priscilla Zucco, Clara Maldini Mike Pogorzelski Digitalizzazione: Monia Malaguti, Andrea Dresseno Catalogo in inglese: Enrico Roveri Performing Passions: Sarah Bernhardt and the Silent Screen Sistemi Informativi: Marzia Mancuso sotto la direzione degli SSI T A cura di Victoria Duckett (Università Cattolica di Milano) Comune di Bologna Software: Nexus Sistemi Informativi S.p.A Germaine Dulac, Cinéma pur Hardware e Implementazione del Portale: Hewlett-Packard Italia s.r.l. A cura di Tami Williams
Recommended publications
  • C H R I S T Y &

    C H R I S T Y &

    C h r i s t y & C ooC Since 1773 History and Legacy by Irra K With special thanks to The Stockport library and hat museum FamilyFamily Six reigns of Royals, and Eight generations of the Christy family have forged the brand of Christys London since it’s foundation by Miller Christy in 1773, 237 years ago Following his apprenticeship to a Hatter in Edinburgh, Miller Christy created a company that would survive for generations, outliving thousands of hat makers across the former British Empire: by 1864 for example there were 53 hatting firms in Stockport alone. Throughout hundreds of years, the factory was still managed by direct descendants of the founder of the Firm ValuesValues 1919 Christys readily registered their own The Christy Collection in Stockport is appreciation testament to the influence the company of workers’ had. At its height, it employed 3000 excellent local people leaving a valuable legacy service < - During World War II, hats were not rationed in order to boost morale, and Christys supported the effort within their family-run company, effectively running it like an extended family Celebrating Victory as well as mourning the fallen at the -> end of World War I Trade MarksTrade Marks The Stockport Collection With business of Christy Papers includes a expanding to 500 page booklet detailing foreign lands, trade marks registered safeguarding around the world at the the insignia in height of the British Empire. all it’s forms These involve registering the full name, letters 'C', it’s became vital – insignia, shape, and colours as we shall see In the early days, < - several variations - > of company marks and insignia were circulated, later consolidating into the Christy crown and heraldry which is now recognised the world over Trade Marks iiiiTrade In many territories, Trade Marks were either disputed or had to be re-registered.
  • Two-Gun Bill: the Story of William S. Hart, 1987

    Two-Gun Bill: the Story of William S. Hart, 1987

    TWO-GUN BILL The Story of Williatn S. Hart by KATHERINE H. CHILD illiam S. Hart not only got "While playing in Cle. veland [in 1913], I attended that chance to make West­ a picture show. I saw a Western picture. W ern motion pictures, he It was awful! I talked with the manager of made the best of it. In spite of their early popularity, Western films were, as Hart the theater and he told me it was one of the best had seen, exercises in mediocrity. When Hart came to California in 1914, he Westerns he had ever had. Npne of the impossibilities brought with him a fresh approach to or libels on the West meant anything to him-it was Western film making. He added authen­ tic costumes and locales to a heretofore drawing the crowds .... I was so sure that I had made popular, highly idealized image of the West to create a truly original style for a big discovery that I was frightened that some one his films. Much as the work of Frederic would read my mind and find it out. Remington and Charles Russell has come to be emblematic of the West in the Here were reproductions of the Old West being art world, so does the work of William seriously presented to the public-in almost a bur­ S. Hart symbolize the West on film. Though he was not the first Western lesque manner-and they were successful. It made me actor/ film maker nor the last, he was surely one of the most important, tremble to think of it.
  • Monitor Ccpa

    Monitor Ccpa

    CCPA MONITOR ECONOMIC, SOCIAL AND ENVIRONMENTAL PERSPECTIVES Volume 21 No. 7 Canadian Centre for Policy Alternatives December 2014 / January 2015 Maher Arar – Ten Years Later Still waiting for proper oversight of security and intelligence activities By Gar Pardy (Photo by Adam(Photo Scotti) Former ambassador and long-serving diplomat Gar Pardy delivered t has been a long day. It has been an even a longer the following speech to a conference in Ottawa on October 29 called week in the affairs of our country. The events, last week, Arar+10: National Security and Human Rights, A Decade Ileading to the murder of two members of the Canadian Later. The day-long event, co-organized by Amnesty International, Armed Forces, have provoked commentaries ranging from the International Civil Liberties Monitoring Group, the Human Rights the ridiculous to the profound. Each in its own way provides Research and Education Centre, and the Centre for International a tragic backdrop to the substance of this conference. Policy Studies, brought together judges, lawyers, journalists and It is important we dismiss the idea that something called rights defenders to discuss the personal dimension of national Canadian “innocence” has been lost in the midst of these security–related human rights violations, challenges for the legal tragic events. Unfortunately, a Canada “innocent” from the profession, and ongoing concerns related to oversight of national troubles of the world is one of our national conceits that do security activities. Pardy, a self-described son of the Rock, was the head not withstand close examination. of consular affairs at the Department of Foreign Affairs at the time of A more telling observation may have come from an ad Canadian citizen Maher Arar’s rendition from the United States to in last Thursday’s Globe and Mail.
  • DOCUMENT RESUME RC 021 689 AUTHOR Many Nations

    DOCUMENT RESUME RC 021 689 AUTHOR Many Nations

    DOCUMENT RESUME ED 424 046 RC 021 689 AUTHOR Frazier, Patrick, Ed. TITLE Many Nations: A Library of Congress Resource Guide for the Study of Indian and Alaska Native Peoples of the United States. INSTITUTION Library of Congress, Washington, DC. ISBN ISBN-0-8444-0904-9 PUB DATE 1996-00-00 NOTE 357p.; Photographs and illustrations may not reproduce adequately. AVAILABLE FROM Superintendent of Documents, U.S. Government Printing Office, Washington, DC 20402. PUB TYPE Books (010) Guides Non-Classroom (055) -- Reference Materials Directories/Catalogs (132) EDRS PRICE MF01/PC15 Plus Postage. DESCRIPTORS *Alaska Natives; American Indian Culture; *American Indian History; American Indian Languages; *American Indian Studies; *American Indians; Annotated Bibliographies; Federal Indian Relationship; *Library Collections; *Resource Materials; Tribes; United States History IDENTIFIERS *Library of Congress ABSTRACT The Library of Congress has a wealth of information on North American Indian people but does not have a separate collection or section devoted to them. The nature of the Librarv's broad subject divisions, variety of formats, and methods of acquisition have dispersed relevant material among a number of divisions. This guide aims to help the researcher to encounter Indian people through the Library's collections and to enhance the Library staff's own ability to assist with that encounter. The guide is arranged by collections or divisions within the Library and focuses on American Indian and Alaska Native peoples within the United States. Each
  • Feature Films

    Feature Films

    NOMINATIONS AND AWARDS IN OTHER CATEGORIES FOR FOREIGN LANGUAGE (NON-ENGLISH) FEATURE FILMS [Updated thru 88th Awards (2/16)] [* indicates win] [FLF = Foreign Language Film category] NOTE: This document compiles statistics for foreign language (non-English) feature films (including documentaries) with nominations and awards in categories other than Foreign Language Film. A film's eligibility for and/or nomination in the Foreign Language Film category is not required for inclusion here. Award Category Noms Awards Actor – Leading Role ......................... 9 ........................... 1 Actress – Leading Role .................... 17 ........................... 2 Actress – Supporting Role .................. 1 ........................... 0 Animated Feature Film ....................... 8 ........................... 0 Art Direction .................................... 19 ........................... 3 Cinematography ............................... 19 ........................... 4 Costume Design ............................... 28 ........................... 6 Directing ........................................... 28 ........................... 0 Documentary (Feature) ..................... 30 ........................... 2 Film Editing ........................................ 7 ........................... 1 Makeup ............................................... 9 ........................... 3 Music – Scoring ............................... 16 ........................... 4 Music – Song ...................................... 6 ..........................
  • Berkeley Art Museum·Pacific Film Archive W in Ter 20 19

    Berkeley Art Museum·Pacific Film Archive W in Ter 20 19

    WINTER 2019–20 WINTER BERKELEY ART MUSEUM · PACIFIC FILM ARCHIVE UNIVERSITY OF CALIFORNIA PROGRAM GUIDE ROSIE LEE TOMPKINS RON NAGLE EDIE FAKE TAISO YOSHITOSHI GEOGRAPHIES OF CALIFORNIA AGNÈS VARDA FEDERICO FELLINI DAVID LYNCH ABBAS KIAROSTAMI J. HOBERMAN ROMANIAN CINEMA DOCUMENTARY VOICES OUT OF THE VAULT 1 / 2 / 3 / 4 / 5 / 6 CALENDAR DEC 11/WED 22/SUN 10/FRI 7:00 Full: Strange Connections P. 4 1:00 Christ Stopped at Eboli P. 21 6:30 Blue Velvet LYNCH P. 26 1/SUN 7:00 The King of Comedy 7:00 Full: Howl & Beat P. 4 Introduction & book signing by 25/WED 2:00 Guided Tour: Strange P. 5 J. Hoberman AFTERIMAGE P. 17 BAMPFA Closed 11/SAT 4:30 Five Dedicated to Ozu Lands of Promise and Peril: 11:30, 1:00 Great Cosmic Eyes Introduction by Donna Geographies of California opens P. 11 26/THU GALLERY + STUDIO P. 7 Honarpisheh KIAROSTAMI P. 16 12:00 Fanny and Alexander P. 21 1:30 The Tiger of Eschnapur P. 25 7:00 Amazing Grace P. 14 12/THU 7:00 Varda by Agnès VARDA P. 22 3:00 Guts ROUNDTABLE READING P. 7 7:00 River’s Edge 2/MON Introduction by J. Hoberman 3:45 The Indian Tomb P. 25 27/FRI 6:30 Art, Health, and Equity in the City AFTERIMAGE P. 17 6:00 Cléo from 5 to 7 VARDA P. 23 2:00 Tokyo Twilight P. 15 of Richmond ARTS + DESIGN P. 5 8:00 Eraserhead LYNCH P. 26 13/FRI 5:00 Amazing Grace P.
  • The Gouzenko Affair and the Cold War Soviet Spies in Canada An

    The Gouzenko Affair and the Cold War Soviet Spies in Canada An

    The Gouzenko Affair and the Cold War Soviet Spies in Canada On the evening of September 5, 1945 Igor Gouzenko, a cipher clerk for the military attaché, Colonel Nikolai Zabotin of the Soviet embassy in Ottawa, left the embassy carrying a number of secret documents. Gouzenko tried to give the documents to the Ottawa Journal and to the Minister of Justice, Louis St. Laurent, but both turned him away. Frustrated and fearful, he returned to his Somerset Street apartment on the evening of September 6 with his wife and child and appealed to his neighbors for help. One of them alerted the Ottawa City Police while another took the Gouzenko family in for the night. Meanwhile, officials from the Soviet embassy forced their way into Gouzenko's apartment. When Ottawa City Police arrived on the scene, there was an angry exchange and the Soviets left without their cipher clerk or the stolen documents. On the advice of the Undersecretary of State for External Affairs, Norman Robertson, Gouzenko was taken by the city police to RCMP headquarters on the morning of September 7 for questioning. Once there, he officially defected. More importantly, he turned over the documents that he had taken from the Soviet embassy to the RCMP. These papers proved the existence of a Soviet spy network operating inside several government departments in Canada and in the British High Commission in Ottawa. The Soviets also had a spy network in the joint Canadian-British atomic research project to obtain secret atomic information from Canada, Great Britain and the United States.
  • A Propósito De La Filosofía Del Cine Como Educación De Adultos: La Lógica Del Matrimonio Frente Al Absurdo En La Filmografía De Gregory La Cava Hasta 1933

    A Propósito De La Filosofía Del Cine Como Educación De Adultos: La Lógica Del Matrimonio Frente Al Absurdo En La Filmografía De Gregory La Cava Hasta 1933

    A PROPÓSITO DE LA FILOSOFÍA DEL CINE COMO EDUCACIÓN DE ADULTOS: LA LÓGICA DEL MATRIMONIO FRENTE AL ABSURDO EN LA FILMOGRAFÍA DE GREGORY LA CAVA HASTA 1933 José Alfredo Peris Cancioa Fechas de recepción y aceptación: 2 de junio de 2015, 8 de julio de 2015 Resumen: Desde una concepción de la filosofía del cine como educación de adultos, se puede proponer que la aportación más genuina de la filmografía de La Cava a la expresión de la interrelación entre matrimonio y crisis económica se encuentra en la figura de los antihéroes. Con estos personajes, La Cava plantea tanto la necesidad que experimenta el ser humano de las sociedades industriales de remediar la angustia que le produce su propia debilidad y vulnerabilidad, como la necesidad de entablar relaciones de ayuda. Desde su participación en el cine de animación, así como en sus películas de cine mudo y en sus películas habladas, los protagonistas superan sus propias limitaciones gracias a relaciones de confianza con los demás, de las que el matrimonio igualitario y de mutua ayuda entre el varón y la mujer es el modelo más pleno. Palabras clave: matrimonio, confianza, antihéroes, vulnerabilidad, igualdad y com- plementariedad entre varón y mujer, ayuda, filosofía del cine, educación de adultos. Abstract: From a conception of philosophy of films education of grownups, it can be proposed that the most genuine contribution of the films of La Cava to the expression of the interrelation between marriage and economic crisis is found in the figure of the anti-heroes. With these characters La Cava presents both the need experienced by peo- ple in industrial societies to remedy the distress caused by his own weakness and vulner- a Facultad de Filosofía, Antropología y Trabajo Social, Universidad Católica de Valencia San Vicente Mártir.
  • Papéis Normativos E Práticas Sociais

    Papéis Normativos E Práticas Sociais

    Agnes Ayres (1898-194): Rodolfo Valentino e Agnes Ayres em “The Sheik” (1921) The Donovan Affair (1929) The Affairs of Anatol (1921) The Rubaiyat of a Scotch Highball Broken Hearted (1929) Cappy Ricks (1921) (1918) Bye, Bye, Buddy (1929) Too Much Speed (1921) Their Godson (1918) Into the Night (1928) The Love Special (1921) Sweets of the Sour (1918) The Lady of Victories (1928) Forbidden Fruit (1921) Coals for the Fire (1918) Eve's Love Letters (1927) The Furnace (1920) Their Anniversary Feast (1918) The Son of the Sheik (1926) Held by the Enemy (1920) A Four Cornered Triangle (1918) Morals for Men (1925) Go and Get It (1920) Seeking an Oversoul (1918) The Awful Truth (1925) The Inner Voice (1920) A Little Ouija Work (1918) Her Market Value (1925) A Modern Salome (1920) The Purple Dress (1918) Tomorrow's Love (1925) The Ghost of a Chance (1919) His Wife's Hero (1917) Worldly Goods (1924) Sacred Silence (1919) His Wife Got All the Credit (1917) The Story Without a Name (1924) The Gamblers (1919) He Had to Camouflage (1917) Detained (1924) In Honor's Web (1919) Paging Page Two (1917) The Guilty One (1924) The Buried Treasure (1919) A Family Flivver (1917) Bluff (1924) The Guardian of the Accolade (1919) The Renaissance at Charleroi (1917) When a Girl Loves (1924) A Stitch in Time (1919) The Bottom of the Well (1917) Don't Call It Love (1923) Shocks of Doom (1919) The Furnished Room (1917) The Ten Commandments (1923) The Girl Problem (1919) The Defeat of the City (1917) The Marriage Maker (1923) Transients in Arcadia (1918) Richard the Brazen (1917) Racing Hearts (1923) A Bird of Bagdad (1918) The Dazzling Miss Davison (1917) The Heart Raider (1923) Springtime à la Carte (1918) The Mirror (1917) A Daughter of Luxury (1922) Mammon and the Archer (1918) Hedda Gabler (1917) Clarence (1922) One Thousand Dollars (1918) The Debt (1917) Borderland (1922) The Girl and the Graft (1918) Mrs.
  • October 5, 2010 (XXI:6) Federico Fellini, 8½ (1963, 138 Min)

    October 5, 2010 (XXI:6) Federico Fellini, 8½ (1963, 138 Min)

    October 5, 2010 (XXI:6) Federico Fellini, 8½ (1963, 138 min) Directed by Federico Fellini Story by Federico Fellini & Ennio Flaiano Screenplay by Ennio Flaiano, Tullio Pinelli, Federico Fellini & Brunello Rondi Produced by Angelo Rizzoli Original Music by Nino Rota Cinematography by Gianni Di Venanzo Film Editing by Leo Cattozzo Production Design by Piero Gherardi Art Direction by Piero Gherardi Costume Design by Piero Gherardi and Leonor Fini Third assistant director…Lina Wertmüller Academy Awards for Best Foreign Picture, Costume Design Marcello Mastroianni...Guido Anselmi Claudia Cardinale...Claudia Anouk Aimée...Luisa Anselmi Sandra Milo...Carla Hazel Rogers...La negretta Rossella Falk...Rossella Gilda Dahlberg...La moglie del giornalista americano Barbara Steele...Gloria Morin Mario Tarchetti...L'ufficio di stampa di Claudia Madeleine Lebeau...Madeleine, l'attrice francese Mary Indovino...La telepata Caterina Boratto...La signora misteriosa Frazier Rippy...Il segretario laico Eddra Gale...La Saraghina Francesco Rigamonti...Un'amico di Luisa Guido Alberti...Pace, il produttore Giulio Paradisi...Un'amico Mario Conocchia...Conocchia, il direttore di produzione Marco Gemini...Guido da ragazzo Bruno Agostini...Bruno - il secundo segretario di produzione Giuditta Rissone...La madre di Guido Cesarino Miceli Picardi...Cesarino, l'ispettore di produzione Annibale Ninchi...Il padre di Guido Jean Rougeul...Carini, il critico cinematografico Nino Rota...Bit Part Mario Pisu...Mario Mezzabotta Yvonne Casadei...Jacqueline Bonbon FEDERICO FELLINI
  • 1895. Mille Huit Cent Quatre-Vingt-Quinze, 31 | 2000, « Abel Gance, Nouveaux Regards » [En Ligne], Mis En Ligne Le 06 Mars 2006, Consulté Le 13 Août 2020

    1895. Mille Huit Cent Quatre-Vingt-Quinze, 31 | 2000, « Abel Gance, Nouveaux Regards » [En Ligne], Mis En Ligne Le 06 Mars 2006, Consulté Le 13 Août 2020

    1895. Mille huit cent quatre-vingt-quinze Revue de l'association française de recherche sur l'histoire du cinéma 31 | 2000 Abel Gance, nouveaux regards Laurent Véray (dir.) Édition électronique URL : http://journals.openedition.org/1895/51 DOI : 10.4000/1895.51 ISBN : 978-2-8218-1038-9 ISSN : 1960-6176 Éditeur Association française de recherche sur l’histoire du cinéma (AFRHC) Édition imprimée Date de publication : 1 octobre 2000 ISBN : 2-913758-07-X ISSN : 0769-0959 Référence électronique Laurent Véray (dir.), 1895. Mille huit cent quatre-vingt-quinze, 31 | 2000, « Abel Gance, nouveaux regards » [En ligne], mis en ligne le 06 mars 2006, consulté le 13 août 2020. URL : http:// journals.openedition.org/1895/51 ; DOI : https://doi.org/10.4000/1895.51 Ce document a été généré automatiquement le 13 août 2020. © AFRHC 1 SOMMAIRE Approches transversales Mensonge romantique et vérité cinématographique Abel Gance et le « langage du silence » Christophe Gauthier Abel Gance, cinéaste à l’œuvre cicatricielle Laurent Véray Boîter avec toute l’humanité Ou la filmographie gancienne et son golem Sylvie Dallet Abel Gance, auteur et ses films alimentaires Roger Icart L’utopie gancienne Gérard Leblanc Etudes particulières Le celluloïd et le papier Les livres tirés des films d’Abel Gance Alain Carou Les grandes espérances Abel Gance, la Société des Nations et le cinéma européen à la fin des années vingt Dimitri Vezyroglou Abel Gance vu par huit cinéastes des années vingt Bernard Bastide La Polyvision, espoir oublié d’un cinéma nouveau Jean-Jacques Meusy Autour de Napoléon : l’emprunt russe Traduit du russe par Antoine Cattin Rachid Ianguirov Gance/Eisenstein, un imaginaire, un espace-temps Christian-Marc Bosséno et Myriam Tsikounas Transcrire pour composer : le Beethoven d’Abel Gance Philippe Roger Une certaine idée des grands hommes… Abel Gance et de Gaulle Bruno Bertheuil Étude sur une longue copie teintée de La Roue Roger Icart La troisième restauration de Napoléon Kevin Brownlow 1895.
  • MARCELO EDUARDO MARCHI META-TERROR: O Uso Da Metalinguagem Como Recurso Narrativo No Slasher Movie

    MARCELO EDUARDO MARCHI META-TERROR: O Uso Da Metalinguagem Como Recurso Narrativo No Slasher Movie

    UNIVERSIDADE FEDERAL DE SÃO CARLOS CENTRO DE EDUCAÇÃO E CIÊNCIAS HUMANAS DEPARTAMENTO DE ARTES E COMUNICAÇÃO MARCELO EDUARDO MARCHI META-TERROR: o uso da metalinguagem como recurso narrativo no slasher movie SÃO CARLOS - SP 2020 MARCELO EDUARDO MARCHI META-TERROR: o uso da metalinguagem como recurso narrativo no slasher movie Dissertação apresentada ao Programa de Pós-Graduação em Imagem e Som, da Universidade Federal de São Carlos, para obtenção do título de Mestre em Imagem e Som. Orientador: Prof. Dr. Alessandro Constantino Gamo São Carlos-SP 2020 Dedicado aos arquitetos desse fascinante universo que é o gênero terror. Que sua inesgotável imaginação e ousadia estejam sempre grudadas em mim, como o sangue de porco na doce Carrie. AGRADECIMENTOS Nem mesmo as cento e tantas páginas desta dissertação seriam suficientes para expressar minha gratidão às mulheres que, todos os dias, fazem de mim o que eu sou. Elas permanecem zelando para que eu alcance os meus sonhos, e, mais importante ainda, para que eu nunca deixe de sonhar. Minha mãe, Dirce, minhas irmãs, Márcia e Marta, e minha sobrinha, Júlia, amo vocês com todas as minhas forças! Ao meu falecido pai, Benedito: sei que sua energia ainda está conosco. Agradeço também aos meus colegas de mestrado. Tão precioso quanto o conhecimento adquirido nessa jornada é o fato de tê-la compartilhado com vocês. Desejo-lhes um futuro sempre mais e mais brilhante. Aos amigos de tantos anos, obrigado por me incentivarem a abraçar mais essa etapa e por estarem presentes também nos momentos de esfriar a cabeça e jogar conversa fora: Jefferson Galetti e Vanessa Bretas, Dú Marques, Vitão Godoy, Led Bacciotti e Giovana Bueno, Nico Stolzel e Paulinha Gomes, Miller Guglielmo, e a galera da república Alcatraz em São Carlos.