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Piazza XXV Aprile, 8 PER L’INTERA GIORNATA tel. 02 6597732 TUTTE LE PROIEZIONI AL PREZZO SPECIALE DI € 2,50 8 MAGGIO 2019 BUON COMPLEANNO ANTEO! BUON COMPLEANNO ANTEO! Sala Sala Sala Sala ore 11.00 Colazione al cinema: VICE - ore 11.00 GRAZIE, SIGNORA TATCHER ore 11.00 NUOVOMONDO L’UOMO NELL’OMBRA di Mark Herman ore 19.00 Anteprima: TUTTI PAZZI A TEL di Emanuele Crialese di Adam McKay ore 13.30 LATIN LOVER AVIV di Sameh Zoabi – CENA + ore 13.15 L’AMORE MOLESTO ore 13.30 ORO VERDE di Cristina Comencini TORTA 40 ANNI ANTEO di Mario Martone C’ERA UNA VOLTA IN ore 16.00 NELLA VALLE DI ELAH ore 20.30 I FRATELLI SISTERS di Jacques ore 15.45 RATATAPLAN di Maurizio Nichetti COLOMBIA di Paul Haggis Audiard – CENA + TORTA 40 ANNI ore 19.30 I CENTO PASSI di Ciro Guerra e Cristina Gallego ore 19.15 UNA SEPARAZIONE ANTEO di Marco Tullio Giordana ore 16.30 LA CADUTA DELL’IMPERO di Asghar Farhadi ore 21.30 I LUNEDÌ AL SOLE AMERICANO di Denys Arcand ore 21.15 LA STANZA DEL FIGLIO Sala di Fernando León de Aranoa ore 19.40 Anteprima: TUTTI PAZZI A TEL di Nanni Moretti AVIV di Sameh Zoabi Sala ore 21.30 SARAH E SALEEM - LÀ DOVE Sala ore 10.40 FUOCOAMMARE di Gianfranco Rosi NULLA È POSSIBILE ore 13.00 GRAN TORINO di Clint Eastwood di Muayad Alayan ore 15.15 I VESTITI NUOVI DELL’IMPERATORE ore 11.00 MARE DENTRO di Alejandro ore 11.00 DILILI A PARIGI di Michel Ocelot di Alan Taylor Amenábar Sala ore 13.15 CYRANO MON AMOUR di Alexis ore 17.30 Incontro con Maurizio Nichetti ore 13.00 LADRO DI BAMBINI di Gianni Michalik ore 19.30 Incontro con Silvio Soldini Amelio ore 16.30 UN AFFARE DI FAMIGLIA di ore 20.40 Incontro con Gabriele Salvatores ore 15.00 IL GRANDE COCOMERO di a seguire proiezione del film ore 10.50 FUORI DAL MONDO Hirokazu Kore’eda Francesca Archibugi di Giuseppe Piccioni ore 19.40 LE INVISIBILI di Louis-Julien Petit IO NON HO PAURA ore 16.50 PANE E TULIPANI di Silvio Soldini ore 13.00 IL MESTIERE DELLE ARMI ore 21.50 GREEN BOOK di Peter Farrelly ore 19.30 RIFF RAFF di Ken Loach di Ermanno Olmi Sala ore 21.30 LA PAZZA GIOIA di Paolo Virzì ore 15.00 DEPARTURES di Yojiro Takita Sala ore 17.20 CESARE DEVE MORIRE di Vittorio e Paolo Taviani ore 11.00 BUONGIORNO, NOTTE Via Milazzo ore 19.15 BUENA VISTA SOCIAL CLUB di Marco Bellocchio Dalle 18.30 in via Milazzo ore 10.50 LA CLASSE di Laurent Cantet di Wim Wenders ore 13.00 IL CONFORMISTA Taglio della torta brindisi e dj set a cura ore 21.15 Anteprima: I FIGLI DEL FIUME ore 13.15 ALICE NELLE CITTÀ di Wim di Bernardo Bertolucci di Missin Red Wenders GIALLO di Jia Zhangke ore 15.00 IL DIVO di Paolo Sorrentino ore 15.30 IL CERCHIO diJafar Panahi ore 17.00 DOPO MEZZANOTTE L’accesso agli incontri con Maurizio Nichetti ore 20.00 RADIO ON di Christopher Petit di Davide Ferrario ore 22.00 FA’ LA COSA GIUSTA di Spike Lee e con Silvio Soldini sarà libero e gratuito, ore 20.00 LA CASA SUL MARE previa prenotazione su di Robert Guédiguian www.spaziocinema.info ore 22.00 CAFARNAO di Nadine Labaki fino ad esaurimento dei posti disponibili. .

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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.
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Italian (ITAL) 1
Italian (ITAL) 1 ITAL 104B. Introduction to Italian Cinema II. 3 Units ITALIAN (ITAL) Term Typically Offered: Fall, Spring ITAL 1A. Elementary Italian. 4 Units Focuses on Italian Cinema from the 1980's and the 1990's. The "New Term Typically Offered: Fall only Generation" of Italian Directors will be considered (Nanni Moretti, Gabriele Salvatores, Maurizio Nichetti, Giuseppe Tornatore, Roberto Benigni, Liliani Focuses on the development of the four basic skills (understanding, Cavani, Fiorenza Infascelli, Francesca Archibugi, etc.) as well as current speaking, reading, writing) through the presentation of many cultural productions. Films will be shown in Italian with English subtitles. components (two per week) which illustrate the Italian "modus vivendi:" ITAL 110. Introduction to Italian Literature I. 3 Units social issues, family, food, sports, etc. Prerequisite(s): Upper division status and instructor permission. ITAL 1B. Elementary Italian. 4 Units Term Typically Offered: Fall only Prerequisite(s): ITAL 1A or instructor permission. General Education Area/Graduation Requirement: Humanities (Area C2), Beginning and major developments of the literature of Italy from the Foreign Language Graduation Requirement Middle Ages through the Baroque period of the 17th Century. Analyzes Term Typically Offered: Fall, Spring the literary movements with emphasis on their leading ﬁgures, discussion of literary subjects, instruction in the preparation of reports on literary, Continuation of ITAL 1A with greater emphasis on reading, writing. biographical and cultural topics. Taught in Italian. Addition of one reader which contains more cultural material (geography, ITAL 111. Introduction to Italian Literature II. 3 Units political issues, government, fashion, etc.). Prerequisite(s): Upper division standing and instructor permission.
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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
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La Formazione D'autore
Vuoi lavorare nel mondo del cinema? Non perdere le selezioni 2018 per ill CCsscc!! VViivveerree i La formazione d’autore Sommario 5 Presentazione 7 Dove siamo 12 Vivere il CSC 20 Perché studiare alla Scuola Nazionale di Cinema I nostri corsi 24 Animazione 30 Costume 36 Documentario 42 Fotografia 48 Montaggio 54 Produzione 60 Pubblicità e Cinema d’Impresa 66 Recitazione 72 Regia 78 Reportage Audiovisivo 84 Sceneggiatura 90 Scenografia 96 Suono 102 Visual Effects Supervisor & Producer 106 CSC Lab: workshop intensivi 108 Frequenta la Scuola 109 Facilities 110 Service Cast Artistico 110 Associazione Alumni 112 Il CSC ieri e oggi 118 Alcuni dei “nostri” premi La Fondazione Centro Sperimentale di Cinematografia (CSC), presieduta da Felice Laudadio , diretta da Marcello Foti , comprende la Scuola Nazionale di Ci - nema, luogo storico di formazione d’eccellenza per le professioni del cinema, e la Cineteca Nazionale, uno dei più antichi e importanti archivi cinematografici del mondo. Fondato nel 1935, il CSC, parte viva del contesto scien - tifico-culturale contemporaneo, è imprescindibile punto di riferimento per il cinema italiano e mondiale. La Scuola Nazionale di Cinema , membro fondatore del CILECT (Centre International de Liaison des Ecoles de Cinéma et de Télévision), è luogo di for - mazione primaria per gli operatori nel campo della cinematografia: attori, registi, direttori della fotografia, scenografi, costumisti, sceneggiatori, montatori, pro - duttori, musicisti, tecnici del suono, esperti della ci - nematografia digitale e artisti
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Elenco Titoli Videoteca (N. 306 Dvd)
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Copyright by Hans-Martin Liebing 2012 The Dissertation Committee for Hans-Martin Liebing certifies that this is the approved version of the following dissertation: Transforming European Cinema : Transnational Filmmaking in the Era of Global Conglomerate Hollywood Committee: Thomas Schatz, Supervisor Hans-Bernhard Moeller Charles Ramírez Berg Joseph D. Straubhaar Howard Suber Transforming European Cinema : Transnational Filmmaking in the Era of Global Conglomerate Hollywood by Hans-Martin Liebing, M.A.; M.F.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2012 Dedication In loving memory of Christa Liebing-Cornely and Martha and Robert Cornely Acknowledgements I would like to thank my committee members Tom Schatz, Charles Ramírez Berg, Joe Straubhaar, Bernd Moeller and Howard Suber for their generous support and inspiring insights during the dissertation writing process. Tom encouraged me to pursue this project and has supported it every step of the way. I can not thank him enough for making this journey exciting and memorable. Howard’s classes on Film Structure and Strategic Thinking at The University of California, Los Angeles, have shaped my perception of the entertainment industry, and having him on my committee has been a great privilege. Charles’ extensive knowledge about narrative strategies and Joe’s unparalleled global media expertise were invaluable for the writing of this dissertation. Bernd served as my guiding light in the complex European cinema arena and helped me keep perspective. I consider myself very fortunate for having such an accomplished and supportive group of individuals on my doctoral committee.
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Torre Del Greco, 21
Arriva la banda 31 luglio – 5 agosto Arriva la banda sul Lungomare Caracciolo. La musica tra la gente, di sera, a un metro dal golfo. Protagonisti 9 gruppi per 6 giornate di spettacoli, coordinati da La Bazzarra, che daranno allegria all’intero Lungomare. Si inizia martedì 31 luglio (alle 21.30) con la Banda Osiris, ensemble che fa della leggerezza, dell’ironia e della saggezza la sua carta d’identità. Nelle serate successive, tante parate per vivere insieme il ritmo afro e folk, i suoni della tradizione e il Dixieland-jazz. Fino al funky e alla batucada-reggae. Nel cast, gli etiopi del Fekat Circus con le loro acrobazie e le improvvisazioni della Salerno Street Parade. La miscellanea de La Contrabbanda e i riti medioevali degli Sbandieratori di Cava. Poi il samba-capoeira dei gruppi Pegaonda, Vulcao e Il Batuke di Ogum. Infine la musica black della Magicaboola Brass Band per la scoppiettante chiusura. 31 luglio _ BANDA OSIRIS 1 agosto _ FEKAT CIRCUS (Etiopia) 2 agosto _ LA CONTRABBANDA di Luciano Russo + SALERNO STREET PARADE 3 agosto _ SBANDIERATORI CAVENSI 4 agosto _ PEGAONDA + IL BATUKE DI OGUM (capoeira) + VULCAO (capoeira e samba) 5 agosto _ MAGICABOOLA BRASS BAND * Banda Osiris. La Banda Osiris nasce nel 1980 a Vercelli. Nei primi anni di attività si dedica prevalentemente a spettacoli di strada. L’originalità della proposta che fonde musica, teatro e comicità riscuote un immediato successo. Dalla strada il passo successivo è il teatro. Nascono diversi spettacoli: da Storia della Musica vol. 1 e 2 (regia di Gabriele Salvatores) a Le Quattro Stagioni da Vivaldi (regia di Gabriele Vacis), da Sinfonia Fantastica (regia di Maurizio Nichetti) a Roll Over Beethoven con il Quartetto Euphoria, Guarda che Luna con Enrico Rava, Gianmaria Testa e Stefano Bollani, protagonista quest’ultimo anche di Primo Piano, Diabolus in musica con l’orchestra metropolitana di Lisboa, Banda.25, Italiani, Italieni, Italioti con Ugo Dighero e scritto da Michele Serra, un dissacrante Pierino e il Lupo gravemente contaminato.
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Meta-Cinematic Cultism: Between High and Low Culture Fátima Chinita Lisbon Polytechnic Institute, Theater and Film School, Portugal
View metadata, citation and similar papers at core.ac.uk brought to you by CORE AVANCA provided by Repositório Científico do Instituto Politécnico de Lisboa Meta-cinematic Cultism: Between High and Low Culture Fátima Chinita Lisbon Polytechnic Institute, Theater and Film School, Portugal Abstract Nevertheless, both approaches describe the mechanisms of filmmaking; it is essentially the focus Meta-cinema can depict film viewers’ attitudes and the goals that change in each case, but filmson- towards cinema and their type of devotion for films. film tend to be more descriptive. As examples of the One subcategory of viewers - which I call meta- first variety one could mention The Man with the spectators - is highly specialized in its type of Movie Camera (1929, Dziga Vertov, USSR), and consumption, bordering on obsession. I contend that Contempt (1963, Jean-Luc Godard, FRA/ITA). As there are two main varieties of meta-cinematic examples of the second kind one can point to Sunset reception, not altogether incompatible with one Boulevard (1950, Billy Wilder, USA), and The Player another, despite their apparent differences. As both of (1992, Robert Altman, USA). Laurence Soroka (1983) them are depicted on meta-cinematic products, the proposes a synthesis between the two approaches, films themselves are the best evidence of my adopting the expression “Hollywood Modernism” to typology. My categories of film viewers are the refer to artefacts that obey a hybrid aesthetics: they ‘cinephile’, an elite prone to artistic militancy and the are simultaneously self-conscious about the form adoration of filmic masters; and the ‘fan’, a low culture (enunciation) and manifest a thematic reflexivity that consumer keen on certain filmic universes and their exposes the meanderings of filmmaking (7).
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Accio, La Teigne (Elio Germano) crée le confrontation sans fi n, une période de leur désespoir de ses parents. Il est farouche, vie faite de fugues, de retours, d’échanges polémique, bagarreur et a les nerfs à fl eur de coups et de grandes passions. de peau. Il agit par instinct, vivant chaque C’est l’histoire de leur parcours pendant bataille comme une guerre. 15 ans d’une histoire italienne. Accio et Son frère Manrico (Riccardo Scamarcio) Manrico, deux frères très différents, mais est beau, charismatique, aimé de tous, peut-être pas tant que ça... mais tout aussi dangereux... Dans la province italienne des années 60 et 70, les deux jeunes hommes se battent sur deux fronts politiques opposés, ils aiment la même femme et traversent, dans une 3 Comment et quand avez-vous choisi de sonne n’avait le temps de s’occuper, de vous dédier à ce projet ? garçons intelligents qui ont emprunté une mauvaise voie, qui ont obéi à des mots Au tout début, ce qui a été complexe pour d’ordre effi caces et superfi ciels seule- moi ce n’est pas vraiment de compren- ment parce qu’ils étaient à la recherche dre comment je voulais faire le fi lm mais d’une identité, d’un ami qui puisse les les raisons profondes pour lesquelles la écouter, de quelqu’un avec qui partager lecture du roman m’avait passionné. La leur temps. Ce point de vue «humain» et réponse à cette question est dans le fi lm. pas forcément politique m’a aidé à trou- Avoir individualisé, dans un roman long ver une ligne personnelle et émotive pour et complexe, un possible fi l directeur qui construire cette histoire.
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English Pressbook
Enzo Porcelli Rai Cinema present the house keys a film by Gianni Amelio the house keys cast KIM ROSSI STUART Gianni CHARLOTTE RAMPLING Nicole ANDREA ROSSI Paolo with ALLA FAEROVICH Nadine with the participation of PIERFRANCESCO FAVINO Alberto co-starring (in order of appearance) MANUEL KATZY the taxi driver MICHAEL WEISS Andreas INGRID APPENRODTH the hospital ward sister DIMITRI SÜSIN the boy who watches TV THORSTEN SCHWARZ male nurse ERIC NEUMANN the child in the play area DIRK ZIPPA a young man in a wheelchair BARBARA KOSTER-CHARI a nurse ANITA BARDELEBEN the doctor RALF SCHLESENER the newspaper seller CAMILLA ERBLICH the lady on the tram BERND WEIKERT the policeman the house keys credits director GIANNI AMELIO story and screenplay GIANNI AMELIO SANDRO PETRAGLIA STEFANO RULLI cinematography LUCA BIGAZZI original music FRANCO PIERSANTI film editing SIMONA PAGGI production design GIANCARLO BASILI costume design PIERO TOSI CRISTINA FRANCIONI sound mixing ALESSANDRO ZANON production manager STEFANO BENAPPI collaborator to the director LILLO IACOLINO assistant director GIANLUCA VALLERO camera operator MARIO MASINI editing assistant CARLO SIMEONI sound editing DOMENICO GRANATA assistant camera SALVATORE BOGNANNI FRANCESCO DI GIACOMO 2nd assistant camera DARIA D’ANTONIO LUAN AMELIO UJKAJ RAFAEL JENERAL hairdresser CARLO BARUCCI makeup artist BJORN REHBEIN property master STEFANO “ZAZU” OLIVIERI still photographer CLAUDIO IANNONE the house keys credits line producer in Germany MICHAEL SCHWARZ line producer GIANFRANCO BARBAGALLO co-producers
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Les Films En Projection
Les films en projection ouverture Morte A VENEZIA (Mort à Venise) décavision décavision Les Nemours La Turbine Auditorium MJC Novel tournée 1971, 130’, couleur salle 1 salle 3 Seynod Département L’INDUSTRIALE A Venise, le compositeur Gustav von Aschen- De Giuliano Montaldo, 2011, 94’, couleur bach s’éprend du bel adolescent Tadzio. Annalisa 10H30 - RT Sole negli A Turin, Nicola, la quarantaine, possède occhi Andrea Porporati 92’ Pippo Mezzapesa 82’ GRUPPO DI famiglia IN UN une usine sur le point de fermer. Laura, sa INTERNO 20H30 - CDPC femme, est de plus en plus distante. (Violence et passion) 1974, 126’, couleur 14H30 - CF Il pasticciere 14H30 - RV 14H00 - CD Lasciando 14H30* - RT Non 14H30* - RV Il terrorista Faverges Un professeur en retraite voit son quotidien Luigi Sardiello 100’ La giusta distanza la baia del re Claudia pensarci Gianfranco De Bosio 94’ 18H30 - Ciné Actuel palmarès perturbé par l’arrivé de bruyants locataires… Carlo Mazzacurati 106’ Cipriani 78’ Gianni Zanasi 105’ Annemasse CESARE DEVE MORIRE De Paolo et Vittorio Taviani, 2011, 76’, 30 ans rétrospective mercredi 17H00 - CF Workers 17H00 - RT Il dolce 16H30 - CD Isqat al 17H30 - RT Pizzicata 16H30* - RT Ratataplan couleur et nb Lorenzo Vignolo 105’ rumore delle vita Nizam Edoardo Winspeare 95’ Maurizio Nichetti 95’ Ratataplan Les prisonniers de la prison de Rebibbia à De Maurizio Nichetti, 1979, 93’, couleur Giuseppe Bertolucci 92’ Antonio Martino 78’ Rome rejouent « Jules César » de Shake- 3 speare. MARIA ZEF 19H30 Ouverture 19H00 - RV Io sono Li 18H30 - CF Il pasticciere
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