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Zur Geschichte Des Italienischen Stummfilms
PD. Dr. Sabine Schrader Geschichte(n) des italienischen Stummfilms Sor Capanna 1919, S. 71 1896 Erste Vorführungen der Brüder Lumières in Rom 1905 Spielfilm La presa di Roma 1910-1915 Goldenes Zeitalter des italienischen Stummfilms 1920er US-amerikanische Übermacht 1926 Erste cinegiornali 1930 Erster italienischer Tonfilm XXXVII Mostra internazionale del Cinema Libero IL CINEMA RITROVATO Bologna 28.6.-5.7.2008 • http://www.cinetecadibologna.it/programmi /05cinema/programmi05.htm Istituto Luce a Roma • http://www.archivioluce.com/archivio/ Museo Nazionale del Cinema a Torino (Fondazione Maria Prolo) • http://www.museonazionaledelcinema.it/ • Alovisio, Silvio: Voci del silenzio. La sceneggiatura nel cinema muto italiano. Mailand / Turin 2005. • Redi, Riccardo: Cinema scritto. Il catalogo delle riviste italiane di cinema. Rom 1992. Vita Cinematografica 1912-7-15 Inferno (1911) R.: Francesco Bertolini / Adolfo Padovan / Giuseppe De Liguoro Mit der Musik von Tangerine Dream (2002) Kino der Attraktionen 1. „Kino der Attraktionen“ bis ca. 1906 2. Narratives Kino (etabliert sich zwischen 1906 und 1911) Gunning, Tom: „The Cinema of Attractions: Early Film, Its Spectator and the Avant-Garde”, in: Thomas Elsaesser (Hg.): Early Cinema: Space Frame Narrative. London 1990, S. 56-62 Vita Cinematografica 1913, passim Quo vadis? (1912/1913) R.: Enrico Guazzoni Mit der Musik von Umberto Petrin/ Nicola Arata La presa di roma (1905) Bernardini 1981 (2), 47. Cabiria (1914) R.: Giovanni Pastrone; Zwischentitel: u.a. D„Annunzio Kamera: u.a. Segundo de Chomòn -
"To Rely on Verdi's Harmonies and Not on Wagnerian Force." the Reception of Ltalian Cinema in Switzerland, 1 939-45
GIANNI HAVER "To Rely on Verdi's Harmonies and not on Wagnerian Force." The Reception of ltalian Cinema in Switzerland, 1 939-45 Adopting an approach that appeals to the study of reception means em- phasising an analysis of the discourses called forth by films rather than an analysis of the films themselves. To be analysed, these discourses must have left certain traces, although it is of course difficult to know what two spectators actually said to one another on leaving a cinema in L939. The most obvious, visible, and regular source of information are film reviews in the daily press. Reception studies have, moreover, often privileged such sources, even if some scholars have drawn attention to the lack of com- pliance between the expression of a cultured minority - the critics - and the consumption of mass entertainment (see Daniel 1972, 19; Lindeperg 1997, L4). L. *y view, the press inevitably ranks among those discourses that have to be taken into consideratiorL but it is indispensable to confront it with others. Two of these discourses merit particular attentiory namely that of the authorities, as communicated through the medium of censor- ship, and that of programming, which responds to rules that are chiefly commercial. To be sure, both are the mouthpieces of cultural, political, and economic elites. Accordingly, their discourses are govemed by the ruling classes, especially with regard to the topic and period under investiga- tion here: the reception of Italian cinema in Switzerland between 1939 and 1945. The possibilities of expressing opposition were practically ruled out, or at least muted and kept under control. -
Ivol. Blom Ft Fuoco Or the Fatal Portrait. the Xixth
VU Research Portal Il Fuoco or the fatal portrait : the XIXth century in the Italian silent cinema Blom, I.L. published in Iris : a journal of theory on image and 1992 document version Publisher's PDF, also known as Version of record Link to publication in VU Research Portal citation for published version (APA) Blom, I. L. (1992). Il Fuoco or the fatal portrait : the XIXth century in the Italian silent cinema. Iris : a journal of theory on image and, 55-66. General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. E-mail address: [email protected] Download date: 30. Sep. 2021 IvoL. Blom ft Fuoco or the Fatal Portrait. The XIXth Century in the Italian Silent Cinema Introduction «The femme fatale is almost always in décolleté. She is often armed with a hypodermic or aflacon of ether. She sinuously turns her serpent' s neck toward the spectator. -
IL CINEMA RITROVATO 2008 Cineteca Del Comune Di Bologna
XXXVII Mostra Internazionale del Cinema Libero IL CINEMA RITROVATO 2008 Cineteca del Comune di Bologna XXII edizione / 22nd Edition Sabato 28 giugno - Sabato 5 luglio / Saturday 28 June - Saturday 5 July Questa edizione del festival è dedicata a Vittorio Martinelli This festival’s edition is dedicated to Vittorio Martinelli IL CINEMA RITROVATO 2008 Via Azzo Gardino, 65 - tel. 051 219 48 14 - fax 051 219 48 21 - cine- XXII edizione [email protected] Segreteria aperta dalle 9 alle 18 dal 28 giugno al 5 luglio / Secretariat Con il contributo di / With the financial support of: open June 28th - July 5th -from 9 am to 6 pm Comune di Bologna - Settore Cultura e Rapporti con l'Università •Cinema Lumière - Via Azzo Gardino, 65 - tel. 051 219 53 11 Fondazione Cassa di Risparmio in Bologna •Cinema Arlecchino - Via Lame, 57 - tel. 051 52 21 75 Ministero per i Beni e le Attività Culturali - Direzione Generale per il Cinema Modalità di traduzione / Translation services: Regione Emilia-Romagna - Assessorato alla Cultura Tutti i film delle serate in Piazza Maggiore e le proiezioni presso il Programma MEDIA+ dell’Unione Europea Cinema Arlecchino hanno sottotitoli elettronici in italiano e inglese Tutte le proiezioni e gli incontri presso il Cinema Lumière sono tradot- Con la collaborazione di / In association with: ti in simultanea in italiano e inglese Fondazione Teatro Comunale di Bologna All evening screenings in Piazza Maggiore, as well as screenings at the L’Immagine Ritrovata Cinema Arlecchino, will be translated into Italian -
All the Same Or Strategies of Difference: Early Italian Comedy in International Perspective Blom, I.L
VU Research Portal All the Same or Strategies of Difference: Early Italian Comedy in International Perspective Blom, I.L. published in Il film e i suoi multipli / Film and Its Multiples 2003 document version Publisher's PDF, also known as Version of record Link to publication in VU Research Portal citation for published version (APA) Blom, I. L. (2003). All the Same or Strategies of Difference: Early Italian Comedy in International Perspective. In A. Antonini (Ed.), Il film e i suoi multipli / Film and Its Multiples (pp. 465-480). FORUM. General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. E-mail address: [email protected] Download date: 28. Sep. 2021 Ivo Blom, Universiteit Amsterdam Ali the Same or Strategies of Difference. Early ltalian Comedy in Intemational Perspective "Early comedy is repetitive;" this label sticks to early Italian comedy too. Series with Cretinetti, Robinet and Kri Kri alllook alike, and are not so different from their French counterparts, is the statement. -
Diva: Early Film Culture and Image Theory in Italy
Dalle Vacche, Angela. Diva: Defiance and Passion in Early Italian Cinema. Austin: University of Texas Press, March 2008. Introduction. Mater Dolorosa A “diva” is the most important woman singer, the prima donna on the stage of opera, but this word can also describe an arrogant or temperamental woman. Close to the English word divine, “diva” means goddess, while the label “diva” competes for the spotlight with God, the ultimate divine maker of stars. Whereas God coincides with eternity, stars live and die. The point here is that the word diva strives for timelessness and infinity. By contrast, the word star is about someone special or exceptional or super-human (1), but not comparable to a divinity. In her best moments, the diva involves a certain kind of ineffable spirituality, ritualistic otherness, and an intuitive aura about transcendence. In short, the diva is an anomalous “star” in comparison to the Hollywood model which has defined film stardom for the rest of the world. The diva’s unusual contribution to the history of stardom stems from the cultural specificities of Italian modernity. In early Italian cinema, “diva” meant female star in a “long” feature film of at least sixty minutes, with some close- ups for the heroine and a fairly static use of the camera. The 12 point-of-view shot and the shot reverse shot, two basic features of classical American cinema, did not exist in the Italian films made between 1913 and 1918. However, the point-of-view shot begins to appear around 1919 or 1920 in diva-films. The three most famous divas of this period were Francesca Bertini (1892-1985), Lyda Borelli (1887-1959), and Pina Menichelli (1890-1984). -
(Waco) Blaine R. Pasma MA Co-Mentor
ABSTRACT A Critical Analysis of Neorealism and Writing the Screenplay, Mid-Sized City (Waco) Blaine R. Pasma M.A. Co-Mentor: Christopher J. Hansen, M.F.A. Co-Mentor: James M. Kendrick, Ph.D. This thesis outlines both the historical and theoretical background to Italian neorealism and its influences specifically in global cinema and modern American independent cinema. It will also consist of a screenplay for a short film inspired by neorealist practices. Following this, a detailed script analysis will examine a variety of cinematic devices used and will be cross-examined with the research done before. The thesis will also include personal and professional goals. A Critical Analysis ofNeorealism and Writing the Screenplay, Mid-Sized City (Waco) by Blaine Pasma, B.A. A Thesis Approved by the Department of Film and Digital Media Christopher J. Hansen, M.F.A., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements forthe Degree of Master of Arts Approved by the Thesis Committee Christopher J. Hansen, M.F.A., Chairperson James M. Kendrick Ph.D., Chairperson Tiziano Cherubini, Ph.D. Accepted by the Graduate School May 2021 J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School. Copyright © 2021 by Blaine R. Pasma All rights reserved TABLE OF CONTENTS CHAPTER ONE .............................................................................................................................................. 1 INTRODUCTION ........................................................................................................................................... -
Where Can I Find Italian Silent Cinema? Ivo Blom 317 Chapter 30 Cinema on Paper: Researching Non-Filmic Materials Luca Mazzei 325
Italian Silent Cinema: AReader Edited by Giorgio Bertellini iv ITALIAN SILENT CINEMA: A READER British Library Cataloguing in Publication Data Italian Silent Cinema: A Reader A catalogue entry for this book is available from the British Library ISBN: 9780 86196 670 7 (Paperback) Cover: Leopoldo Metlicovitz’s poster for Il fuoco [The Fire, Itala Film, 1915], directed by Piero Fosco [Giovanni Pastrone], starring Pina Menichelli and Febo Mari. Courtesy of Museo Nazionale del Cinema (Turin). Credits Paolo Cherchi Usai’s essay, “A Brief Cultural History of Italian Film Archives (1980–2005)”, is a revised and translated version of “Crepa nitrato, tutto va bene”, that appeared in La Cineteca Italiana. Una storia Milanese ed. Francesco Casetti (Milan: Il Castoro, 2005), 11–22. Ivo Blom’s “All the Same or Strategies of Difference. Early Italian Comedy in International Perspective” is a revised version of the essay that was published with the same title in Il film e i suoi multipli/Film and Its Multiples, ed. Anna Antonini (Udine: Forum, 2003), 465–480. Sergio Raffaelli’s “On the Language of Italian Silent Films”, is a translation of “Sulla lingua dei film muti in Italia”, that was published in Scrittura e immagine. La didascalie nel cinema muto ed. Francesco Pitassio and Leonardo Quaresima (Udine: Forum, 1998), 187–198. These essays appear in this anthology by kind permission of their editors and publishers. Published by John Libbey Publishing Ltd, 3 Leicester Road, New Barnet, Herts EN5 5EW, United Kingdom e-mail: [email protected]; web site: www.johnlibbey.com Direct orders (UK and Europe): [email protected] Distributed in N. -
Il Fuoco Or the Fatal Portrait: the Xixth Century in the Italian Silent Cinema
IvoL. Blom ft Fuoco or the Fatal Portrait. The XIXth Century in the Italian Silent Cinema Introduction «The femme fatale is almost always in décolleté. She is often armed with a hypodermic or aflacon of ether. She sinuously turns her serpent' s neck toward the spectator. And - more rarely - having first revealed enormously wide eyes, she slowly veils them with soft lids, and before disappearing in the mist of afade-out risks the most daring gesture that can be shown on the screen ... Easy now ...! What I mean to say is that she slowly and guiltily bites her lower lip. (...) She also uses other weapons - I have already mentioned poison and drugs - such as the dagger, the revolver, the anonymous letter, andfinally, elegance. Elegance? I mean by elegance that which the woman who treads on hearts and devours brains can in no way do without: I) a clinging black velvet dress; 2) a dressing gown ofthe type known as «exotic» on which one often sees embroidery and designs of seaweed, insects, reptiles, and a death' s head; 3) afloral display that she tears at cruelly. (...) And between the apotheosis and the fall of the femme fatale, isn' t there room on the screenfor numerous passionate gestures? Numerous, to say the least. The two principal ones involve the hat and the rising gorge. Pretend that /' ve never seen them. The femme fatale' s hat spares her the necessity, at the absolute apex of her wicked career, ofhaving to expend herseifin pantomine. When the spectator sees the evil woman coiffing herseifwith a spread-winged owl, the head ofa stuffedjaguar, a bifid aigrette, or a hairy spida, he no longer has any doubts; he knows just what she is capable of And the rising gorge? The rising gorge is the imposing and ultimate means by which the evil woman informs the audience that she is about to weep, that she is hesitating on the brink of crime, that she is struggling against steely necessity, or that the police have Rotten their hands on the letter. -
Wings of Desire: Aviation, Fashion, and Circus Stunts
Dalle Vacche, Angela. Diva: Defiance and Passion in Early Italian Cinema. Austin: University of Texas Press, March 2008. Chapter 4. Wings of Desire: Aviation, Fashion, and Circus Stunts The first Italian airplane flew in 1908, when the cinema had just taken off; together the airplane and the cinema redefined the boundaries of vision and, consequently, of subjectivity. (1) Both media, one for transportation, the other for communication, accommodated the possibility of living beyond one’s body, in defiance of gravity and history. Italy excelled in the design of airplanes, just as it did in racing cars. The famous brand names, Ferrari and Fiat, found their aerial counterparts in the Savoia-Marchetti, the Macchi, the Monfalconi. (2) The analogy, however, between earthbound and airbound vehicles stops at the cult of elegant design. The perceptual model conjured by the airplane was even more unsettling than the one involved in terrestrial transportation. To be sure, the train, like the cinema, is about time passing and movement through space, but the airplane and the cinema together showed the possibility of flying up further and further, to the point of making everything look small. The invention of the airplane marks the twinning of modern technology with a visual vertigo. In line with the Futurists’ glorification of machines, 219 flying quickly took on cosmic and visionary connotations which are more appropriate for science fiction than for military or commercial applications. In Pirandello’s Shoot!, this quasi- divine version of technology emerges through the special social privileges enjoyed by a professor of astronomy whose last name is Zeme, a strange variation on seme or seed. -
Curso La Chispa, La Llama, La Ceniza. El Cine Mudo Italiano En Sus Años De Oro
Curso La chispa, la llama, la ceniza. El cine mudo italiano en sus años de oro. Objetivo: Se propone hacer un recorrido de temas específicos que permitirán conocer y analizar el desarrollo del lenguaje y la estética cinematográfica desde el año 1905 hasta el final de los años 10. Se abordarán temas como: cine del Risorgimento, representación de eventos históricos (la Primera Guerra Mundial), nacimiento del fenómeno de las Divas (su influencia en la sociedad mexicana) hasta llegar a arquetipos típicamente italianos como el cinema storico y el nacimiento del hombre valiente, Maciste. Con el intento de alcanzar los objetivos del curso serán proyectados diferentes títulos; que han sido rescatados por Cinetecas y laboratorios de restauración. Para la realización de este curso fue fundamental el apoyo brindado por la Cineteca y el Museo del Cine de Turin (Italia). Imparte: Gabriele Angelo Perrone Actualmente, es el Coordinador área de restauración de imagen en el Laboratorio de restauración digital Elena Sánchez Valenzuela – Cineteca Nacional México. Licenciado en Ciencias de la Información: editorial y periodismo por la universidad de Messina (Italia). Inscrito a la lista de los periodistas publicitarios del ODG Sicilia. Licenciado en curso de postgrado en Representación audiovisual y multimedia: lenguajes, formas, teorías por la universidad de Turín (Italia). Master I nivel de restauración digital audio/video en la Sapienza, Universidad de la ciudad de Roma, con la colaboración del Centro Experimental de Cinematografía -Cineteca Nacional- e Instituto Luce. Ha colaborado con la Cineteca de Turín en el desarrollo de la tesis de postgrado sobre los casos de restauración de las películas mudas “Bodas de oro” (S.A. -
The Oxford History of World Cinema EDITED by GEOFFREY NOWELL-SMITH
The Oxford History of World Cinema EDITED BY GEOFFREY NOWELL-SMITH OXFORD UNIVERSITY PRESS Great Clarendon Street, Oxford OX2 6DP Oxford University Press is a department of the University of Oxford. It furthers the University's objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Athens Auckland Bangkok Bogota Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris Sao Paulo Singapore Taipei Tokyo Toronto Warsaw and associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the UK and certain other countries Published in the United States by Oxford University Press Inc., New York © Oxford University Press 1996 The moral rights of the author have been asserted Database right Oxford University Press (maker) First published 1996 First published in paperback 1997 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organizations. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose the same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Data available ISBN 0-19-811257-2 ISBN 0-19-874242-8 (Pbk.) 7 9 10 8 6 Printed in Great Britain on acid-free paper by Butler & Tanner Ltd Frome and London I should like to dedicate this book to the memory of my father, who did not live to see it finished, and to my children, for their enjoyment.