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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 18H30 - RT Ruggine De Vittorio Cottafavi, 1981, 123’, couleur L’industriale Andrea Segre 97’ Luigi Sardiello 100’ Daniele Gaglianone 109’ Compétition L’ARIA SERENA DELL’ovest Giuliano Montaldo 94’ fiction De Silvio Soldini, 1989, 100’, couleur 22H00 - E È stato il figlio 21H30 - RV Senso 20H45 - CF Workers 20H30 - CF Il pasticciere 20H45 - RT L’uomo in più TUTTI I RUMORI DEL MARE CONDOMINIO Cipri Daniele 90’ Luchino Visconti 124’ Lorenzo Vignolo 105’ Luigi Sardiello 100’ Paolo Sorrentino 102’ De Federico Brugia, 2011, 95’, couleur De Felice Farina, 1991, 100’, couleur X, un homme sans identité, travaille pour une VERSO SUD 10H30 - CF Tutti i rumori 10H30* - RT 10H00 - CD Ritals 10H00*- ODAC Annalisa 10H30 - RT Maria Zef Annalisa organisation criminelle. De Pasquale Pozzessere, 1992, 88’ couleur Pippo Mezzapesa del mare Federico Brugia 95’ L’uomo in più Sophie et Annalisa Chiarello Pippo Mezzapesa 82’ Vittorio Cottafavi 123’ TRA 5 MINUTI IN SCENA Portami VIA Paolo Sorrentino 102’ 75’ 20H30 - CDPC De Laura Chiossone, 2012, couleur De Gianluca Maria Tavarelli, 1994, 105’, 11H00 Rencontre Montaldo St-jorioz Une tendre histoire de dépendance entre couleur 21H - Ciné Actuel une femme – actrice de théâtre – et sa Pizzicata 14H30* - CF 14H30* Le notti bianche 14H00 - CD 14H00* - RV 14H30* - RV mère viellissante. La kryptonite nella borsa Luchino Visconti 101’ Le perle di ritorno Pane e tulipani Signore e signori Annemasse De Edoardo Winspeare, 1996, 93’, couleur Ivan Cotroneo 98’ Franco Basaglia 62’ Silvio Soldini 117’ Pietro Germi 120’ TRANSEUROPE Hotel FUORI DAL MONDO jeudi De Luigi Cinque, 2011, couleur De Giuseppe Piccioni, 1999, 100’, couleur 17H00* - CF Tra cinque 17H00 - RT L’aria serena 16H30 - CD 17H30* - RV Le voyage musical d’un percussionniste IL DOLCE RUMORE DELLA vita minuti in scena dell’ovest Noi bruciamo gli elefanti Il fornaretto di Venezia brésilien. De Giuseppe Bertolucci, 1999, 92’, couleur Laura Chiossone 90’ Silvio Soldini 108’ Giuseppe Valentino 87’ Duccio Tessari 96’ 4 LA KRYptonite NELLA BORSA I cento passi 19H30 - E 19H00 - RV 18H30 - CF 18H30 - RT D’Ivan Cotroneo, 2011, 98’, couleur De Marco Tullio Giordana, 2000, 114’, couleur Romanzo di una strage Dieci Inverni Tutti i rumori del mare La bella gente Naples, 1973, Peppino, 9 ans, découvre les TORNANDO A CASA Marco Tullio Giordana 129’ Valerio Mieli 101’ Federico Brugia 95’ Ivano De Matteo 106’ années hippies. De Vincenzo Marra, 2001, 88’, couleur I PADRONI DI CASA SOLE NEGLI OCCHI 22H00 - E 21H30 - RT 20H45 - E 20H30 - CF 20H45 - RV D’Edoardo Gabbriellini, 2012, 90’, couleur D’Andrea Porporati, 2000, 96’, couleur Gli equilibristi Annalisa L’industriale Tutti i rumori del mare Morte a venezia Cosimo et Elia, deux frères, partent dans un L’UOMO IN PIÙ Ivano De Matteo 100’ Pippo Mezzapesa 82’ Giuliano Montaldo 94’ Federico Brugia 95’ Luchino Visconti 132’ petit village de montagne pour restructurer la De Paolo Sorrentino, 2001, 95’, couleur maison d’un chanteur populaire. 10H30 - CF 10H30* - RT 10H00 - CD Africa nera 10H00* - RT 10H30 - RT Annalisa GENTE DI ROMA Cavalli Gente di Roma marmo bianco La bella gente L’uomo in più Pippo Mezzapesa Cavalli De Ettore Scola, 2003, 100’, couleur De Michele Rho, 2011, 94’, couleur Michele Rho 120’ Ettore Scola 94’ Clemente Bicocchi 79’ Ivano De Matteo 106’ Paolo Sorrentino 102’ 14H - Ciné Actuel LA spettatrice Annemasse A la mort de leur mère, Alessandro et Pietro De Paolo Franchi, 2003, 98’, couleur 14H30* - CF 14H30* 14H00 - CD 14H00* - CF 14H30 - CF reçoivent chacun un très beau cheval. 20H30 - Cinébus MI PIACE lavorare I padroni di casa L’étranger 148 Stefano Tra cinque minuti in La kryptonite nella borsa IL pasticciere Cusy - à l’issue de la De Francesca Comencini, 2003, 89’, couleur Edoardo Gabbriellini 90’ Luchino Visconti 105’ Maurizio Cartolano 64’ scena Laura Chiossone 90’ Ivan cotroneo 98’ De Luigi Sardiello, 2011, 100’, couleur séance un échange LA FEBBRE vendredi 17H00* - CF 17H00 16H30 - CD 17H30 - CF Achille, un gentil pâtissier diabétique, se D’Alessandro D’Alatri, 2005, 122’, couleur aura lieu avec le retrouve au milieu d’une affaire criminelle. Transeurope hotel Velocità massima Cadenas Cavalli réalisateur ou un NON PENSARCI Luigi Cinque - 90’ Daniele Vicari 112’ Francesca Balbo 60’ Michele Rho 120’ intervenant spécialiste WORKERS. PRONTI A tutto De Gianni Zanasi, 2007, 105’, couleur 5 du cinéma italien. De Lorenzo Vignolo, 2012, 105’, couleur 19H30 Diaz 19H00 - CD 18H30 - CF 18H30 - RV LA BELLA GENTE A l’agence interim Workers, 3 jeunes ont D’Ivano De Matteo, 2009, couleur Vicari Daniele 127’ Lasciando la baia del re Transeurope hotel La giusta distanza 21H accepté des emplois différents de ce dont Claudia Cipriani 78’ Luigi Cinque 90’ Carlo Mazzacurati 117’ Le Vox Chamonix ils rêvaient… SCIALLA ! De Francesco Bruni, 2011, 95’, couleur 22H00 - E 21H30 - CD 20H45 - CF 20H30 - CF 20H45 - E Compétition RUGGINE Isole Isqat al nizam La kryptonite nella borsa I padroni di casa L’industriale Documentaire De Daniele Gaglianone, 2011, 109’, couleur Stefano Chiantini 92’ Antonio Martino 78’ Ivan Cotroneo 98’ Edoardo Gabbriellini 90’ Giuliano Montaldo 94’ CADENAS IL paese DELLE SPOSE INFELICI De Pippo Mezzapesa, 2011, 82’, couleur 10H00 10H30 - CF Annalisa De Francesca Balbo, 2012, 60’, couleur Il mundial dimenticato Transeurope hotel Pippo Mezzapesa En Sardaigne, les gardes-barrières ont tou- Événements Garzella et Macelloni 92’ Luigi Cinque 90’ 20H30 - Ciné Actuel jours été des femmes. Annemasse GLI EQUILIBRISTI 14h30 - E 14H00 - CD Ritals 14H00 - CF 14H30 - CF LE PERLE DI ritorno D'Ivano De Matteo, 2012, 100’, couleur - à l’issue de la Un giorno speciale S. et A. Chiarello 75’ I padroni di casa Workers De Franco Basaglia, 2012, 62’, couleur Giulio, quadragénaire, mène une vie tranquille séance un échange Francesca Comencini 89’ Edoardo Gabbriellini 90’ Lorenzo Vignolo 105’ Moulaye, immigré sénégalais, cherche un qui s’écroule du jour au lendemain. aura lieu avec le maître de l’art du verre à Murano. réalisateur ou un ROMANZO DI UNA STRAGE samedi 16H30 Rencontre C. Cardinale 16H30 - CD 16H15 Diaz 17H30 - CF Tra cinque AFRICA NERA MARMO BIANCO De Marco Tullio Giordana, 2011, 129’, intervenant spécialiste 17H00 Sandra Luchino Le perle di ritorno Daniele Vicari 127’ minuti in scena De Clemente Bicocchi, 2012, 78’, couleur couleur du cinéma italien. Visconti 101’ - Revue Positif Franco Basaglia 62’ Laura Chiossone 90’ Cent ans après la mort de Pietro Brazzà, fon- Milan, 12 déc. 1969. A 16h37, une bombe 6 dateur de Brazzaville, le président du Congo explose Piazza Fontana. C’est le début des 20H00 Palmarès 19H00 - CD 18H30 - E décide de transférer les restes de l’explora- années dites « de plombs », en Italie. Cesare deve morire Noi bruciamo gli elefanti Isole teur au grand mausolée de la ville. UN GIORNO SPECIALE Paolo et Vittorio Taviani 76’ Giuseppe Valentino 87’ Stefano Chiantini 92’ 148 Stefano. MOSTRI DELL’INERZIA De Francesca Comencini, 2012, 89’, couleur 22H30 - Rediffusion 21H30 - CD Africa nera 20H45 - CF 20H30 - RT De Maurizio Cartolano, 2011, 64’, couleur Gina et Marco, 20 ans, se rencontre durant un jour spécial: leur premier jour de travail. Cesare deve morire marmo bianco Cavalli La bella gente Le 22 oct. 2009, six jours après son arres- Taviani Paolo et Vittorio 76’ Clemente Bicocchi 79’ Michele Rho 120’ Ivano De Matteo 106’ tation, Stefano Cucchi, 31 ans, est la 148ème È stato IL FIGLIO personne à mourir « de prison ». De Daniele Ciprì, 2011, 90’, couleur 10H30 Diaz Annalisa Ritals, DOMANI ME NE vado Palerme, années 1970, une petite fille est Daniele Vicari 127’ Pippo Mezzapesa tuée lors d’une fusillade. La famille s’offre De Sophie et Anna-Lisa Chiarello, 2011, une nouvelle voiture. 18H30 - Ciné Actuel 78’, couleur 14H30 - RT 14H30 - E 10H30 RENCONTRE 14H00 14H00 La pièce Annemasse Ritals retrace l’épopée de Vincenzo et Maria, ISOLE Trintignant l’italien Mario Brenta et Denis Brotto Portami via Isole émigrants italien, des Pouilles à la banlieue De Stefano Chiantini, 2011, 92’, couleur avec 20H30 - Rouge et LES FRÈRES Taviani Emmanuel Barnault 54’ 106’ Gianluca Maria Tavarelli 105’ Stefano Chiantini 92’ parisienne. Ivan, un immigré clandestin, tombe amou- dimanche Noir St Julien reux de Martina, une jeune fille qui ne pro- Les Haras de Bonlieu 16H30 - CD 16H15 17H30 - RT 16H30 - RV LASCIANDO LA BAIA DEL RE nonce plus un seul mot.
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    The Museum of Modern Art VITTORIO DE SICA The French film critic Andre Bazin wrote of Vittorio De Sica, "To explain De Sica, we must go back to the source of his art, namely, his tenderness, his love. The quality shared in common by Miracle in Milan and The Bicycle Thief...is the author's inexhaustible affection for his characters." Born in 1902 in Sora, near Rome, Vittorio De Sica spent his early years in Naples. His father, Umberto De Sica, was a bank clerk and former journalist who knew many show business people and used these contacts to launch his son's career. In his teens De Sica made his screen debut and was popular as a singer of Neapolitan songs in amateur entertainments. De Sica studied accounting in Rome and completed his military service before taking a job in a theater company. He progressed from playing clowns and old men to leading roles in romantic comedies, and by 1930 he was a matinee idol. Throughout the thirties, he teamed frequently with director Mario Camerini, the most prestigious Italian director of the era, in a series of lighthearted films such as I'd Give a Million (1935). In the years 1940-42, De Sica directed several minor films in the "white telephone" film genre, developing his directorial and technical skills. In 1943 he directed The Children are Matching Us, which he wrote with Cesare Zavattini. It launched a life-long collaboration between the two that was instrumental in the development of neorealism. - more - 11 West 53 Street, New York, N.Y.
  • Hliebing Dissertation Revised 05092012 3

    Hliebing Dissertation Revised 05092012 3

    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.
  • Download Download

    Download Download

    PATRIZIA BETTELLA COLLODI'S PUPPET IN FILM: DISNEY, COMENCINI, BENIGNI Geppetto's initial wish in Collodi's Le avventure di Pinocchio was to build a wonderful puppet who could perform acrobatics and help him earn a liv- ing touring the world. Ho pensato di fabbricarmi da me un bel burattino di legno; ma un burat- tino meraviglioso, che sappia ballare, tirare di scherma e fare i salti mor- tali. Con questo burattino voglio girare il mondo, per buscarmi un tozzo 1 di pane e un bicchier di vino . Since Geppetto created Pinocchio with performance and entertain- ment in mind, it is not surprising to note how much interest the boy-pup- pet has attracted in cinema, theatre, and television. Cinema and television have given Pinocchio undivided attention for almost a century. Data shows that the story of the puppet generated approximately twenty feature film adaptations, 2 to which one should add the European co-production direct- ed by Steve Barron ( 1 996) and, of course, Roberto Benigni's Pinocchio, released in October 2002. Pinocchio the character attracts the media and continues to inspire cinema. It is worth noting, for example, Federico Fellini's predilection for Pinocchio—although he may have viewed the story of the puppet as a nightmare—and the presence of motifs from Collodi's story in many of his films. 3 Pinocchio has had a large impact in Collodi, Le avventure di Pinocchio, p. 8. Data from Laura, "Pinocchio nel cinema mondiale." ^One could mention the presence of a Collodian big fish/whale in Casanova, the attraction for the circus and automata in numerous of Fellini's films, or the direct association of actor Roberto Benigni to Pinocchio in his last film La voce della luna.