DOCSLIB.ORG

Nyt Universitetstidsskrift Om Film Nu Kommer Den! Teori

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Nyt Universitetstidsskrift Om Film Nu Kommer Den! Teori K L I P i NYT UNIVERSITETSTIDSSKRIFT OM FILM NU KOMMER DEN! anledning af filmens hundrede­ Goteborg-produktion Mysteriet osmorama omtalte allerede i nr. årsdag har Stockholms Universi­ Natten till den 25te (1915) og dan­ K211 den amerikanske film tet,I Filmvetenskapliga Institutioner ske instruktørers (Axel Breidahl og Clerks. Filmen er instrueret af den startet udgivelse af et fornemt tids­ Fritz Magnussen) film for Svenska unge Kevin Smith, og trods det skrift “Aura” under ledelse af profes­ Bio i perioden 1913-16. mildt sagt beskedne budget er den sor Jan Olsson. Det har et internati­ Det andet indlæg med dansk affi­ blevet fantastisk flot modtaget af onalt råd bestående af Tom Gun- nitet er Astrid Soderbergh Widdings både publikum og presse. Her i ning (USA), Yuri Tsvvian gennemgang af Gerf/W-kritikken og Danmark er det Camera Films for­ (Riga/USA), Bjørn Sørensen -forskningen. Peter Wollen skriver tjeneste, at vi endelig får Smiths vel­ (Trondheim) og Lars Gustav An- udførligt om Viking Eggeling, der lykkede debutfilm at se. Og Clerks dersson (Lund). stammer fra Lund. David Bordwell vil uden tvivl også få en pæn fan­ Kulturfænomenet Harry Schein står for “Aura“s mest teoretisk af­ skare her i landet - dels fordi den er samlede Filmhistoriska Samlingarna marcherede artikel omkring fæno­ veldrejet og underholdende, men og Institutionen for Teater- och menet neostrukturalisme med ud­ også fordi den er et smukt vidnes­ Filmvetenskap i Filmhuset, Stock­ gangspunkt i de fransksprogede An­ byrd om, at filmkunsten ikke kun holm. Filmvidenskab blev spaltet ud dré Gaudreault og Christian Metz. tilhører de pengestærke, midal­ som selvstændig disciplin på “Aura” nr. to er helt helliget rus­ drende forretningsmænd med stue­ Stockholms Universitet i 1995. Man sisk og sovjetisk film, hvor artik­ rene meninger og beskidte tricks er således i den lykkelige situation, lerne sågar i redaktionen belyser indbygget i cigaren. at Filmvidenskab nu er en selvstæn­ hinanden kronologisk fra Maxim Clerks får premiere i Grand Tea­ dig disciplin og ikke som i Køben­ Gorkis reaktion på Lumiéres Kine- tret, København og Øst for Paradis, havn langsomt blevet udmarvet og matograph 1896 (der for øvrigt ikke Århus den 21. juni. opslugt af massekommunikation. var positiv - filmbilledet opfattes Maren Pust Som Københavns Universitets som et gråt skyggerige) til Ilja “Tryllelygten” og til dels “Sekvens” Ehrenburgs novelle 'Den sjette er “Aura” et forum for nationale og pibe' (1925). Vuri Tsivian bidrager TEORI OG ÆSTETIK internationale originalbidrag (teori med en artikel om baggrunden for og analyse) samt introducerede Eisensteins “intellektuelle filmbe­ osmoramalæsere kunne i løbet oversættelser af klassiske tekster og greb” i 1910erne. Den inddrager be­ Kaf 1994-95 glæde sig over Bir­ urimeligt negligerede dokumenter. tragtninger over tidlige, nu glemte, ger Langkjærs teoretisk/æstetisk Første nummer har ikke egentlig tekstforskere før de egentlige russi­ funderede artikelrække om filmens tematisk sammenhæng. Danskere ske formalister (Anton Kartasjeb, lyd og musik. Den 1. maj i år tog kan med særlig interesse studere Jan Jakov Lintsbach) med visioner om Langkjær skridtet fuldt ud og ud­ Olssons indlæg: “Svart på vitt: film, et universielt sprog. “Auras” største sendte et større bogværk om samme makt och censur” der behandler den bidrag er en nybearbejdet oversæt­ emne. Forlaget, Museum Tuscula- svenske censurdebat fra 1904 frem telse af Eisensteins “Lappcoon” ved nums Forlag, lancerer bogen med til etableringen af den svenske kvali­ Jan Holmberg. ordene: ”Det vi tror vi har set, er tetstradition midt under 1. Verdens­ “Aura” koster 200 svenske kroner ofte noget vi har hørt.” Lyden er krig. De danske langfilm (fortrinsvis for fire numre og sælges for 70 sven­ med andre ord en meget vigtig del erotiske melodramaer) fra 1910 og ske kroner i løssalg. af den generelle filmoplevelse. Alli­ fremefter var svensk censurs største Carl Nørrested gevel er emnet kun sjældent be­ anstødssten og der gives adskillige handlet i faglitteraturen - så sjæl­ eksempler også på direkte svenske dent at forlaget fremhæver værket producentaflæggere såsom Frans som ”...den første systematiske og Lundberg (Malmo/København) og historiske fremstilling af filmlydens N. P. Nilsson (Stockholm), som og filmmusikkens betydning for den sammenfattende af censuren blev audiovisuelle filmoplevelse.” betegnet som 'Nick Carter og sensa­ Maren Pust tionsfilmsproducenter' . Olsson argumenterer overbevi­ Birger Langkjær: Filmlyd & Filmmusik. sende om, at den hårde svenske Museum Tudculanums Forlag, 1996. Køben­ filmcensur ligefrem fik Charles havn. 191 sider, illustreret. Pris: kr. 193,1996. København. 191 sider, illustreret. Pris: kr. Magnusson og Oscar Hemberg mo­ 193,- tiveret til at omlægge Svenska Bio tilkvalitetstraditionen 1916-17 med Mauritz Stillers Ballettprimadonnan og Vingama samt Victor Sj ostroms Denne side: Brian O'Halloran og Marilyn Terje Vigen ved både at likvidere Ghigliotti i ‘Clerks’. Frans Lundberg samt Pathés svenske Næste side: Fra ‘Zombi 2 ’ - den uofficielle filial, forbyde Georg af Klerckers efterfølger til ‘Dawn of the Dead'. 4 Nekrolog: LUCIO FULCI [1927 - 1996] en 13. marts, 1996, kl. 14:00, D mindre end 24 timer efter, at Krzysztof Kieslowski døde af hjer­ testop, måtte verden sige farvel til filmhistoriens velnok mest ud­ skældte instruktør. Italienske Lucio Fulci, kendt i horror-kredse som The Godfather of Gore, døde af, hvad der i de officielle medier blev beskrevet som følgerne af ’sukkersyge-relate- ret-coma”?! Fulci, der blev født i Rom, den 17. juni 1927, startede sin karriere som medicin-studerende og funge­ rede en overgang som kunstkritiker, inden han nærmest ved en tilfældig­ hed kastede sig over filmmediet. blandt klassikerne, når det gælder Manhattan Baby (1982), Murde- Farverige kilder fortæller, at Fulci i ægte Euro-trash &c Exploitation, og er rock: Uccide a Passo di Danza (aka nedtrykt sindstilstand over at være givetvis nogle af motiverne til, at Murderock - Dancing Death, 1984) blevet droppet af kæresten og der­ Fulci blev betragtet som voldsfor- og Ænigma (1987), spyttede Fulci udover at være uden en øre på lom­ herligende og chauvanistisk. den ene mere mislykkede film ud men, så lyset, da han opdagede, at Måske derfor tog instruktøren det efter den anden: Conquest (1983) Centret for Eksperimentalfilm snart næste skridt i en hel anden retning. var et forsinket Conan-rip-off og I åbnede for en ny sæson. Her skulle Zanna Bianca (1973) og fortsættel­ Guerrieri Dell Anno 2072 (aka Fulci senere have gennemgået un­ sen, Il Ritomo di Zanna Bianca Rome, 2072 A.D.: The New Gladia­ dervisning og bestået uddannelsen (1974), var en flad filmatisering af tors, 1983) en pinlig science fiction­ under så prominente lærere som Vi- Jack Londons Ulvehunden, og gav fiasko. Fulci nåede tilmed at vove sig sconti og Antonioni, hvorefter han i ikke Fulci den ønskede anerken­ ud i soft-core-genren med II Miele en årrække arbejdede som instruk­ delse. Så efter endnu et par tåbelige del Diavolo (aka The Devil’s Honey; tør-assistent for bl.a. Max Ophiils, (sex-)komedier vendte Fulci tilbage 1986), før han i 1988 desperat for­ Marcel L’Herbier og Stefano til gyser-genren med den vellykkede søgte at få et comeback med Zombi ”Steno” Vanzino (manden bag utal­ Sette Note in Nero (aka The Psychic, 3, der dog hurtigt viste sig at være lige Terence Hili & Bud Spencer­ 1977). blottet for lige dele talent og blod. I film og far til Carlo Vanzino). Fulci Men det var Zombi 2 (aka Zombie det hele taget var de sidste syv-otte skrev utallige manuskripter til itali­ FleshEaters, 1979), Fulcis uofficielle år af firserne en sørgelig tid fyldt enske folkekomedier og lavede en efterfølger til George A. Romeros med sørgelige film. række dokumentar-film med Carlo Dawn of the Dead (1978), der med Demonia (aka Liza, 1990) og Un Romano, inden han i 1959 debute­ sin overflod af udpenslede effekter Gatto nel Cervello: I Volti del Terrorel rede som instruktør med hele to skulle skaffe instruktøren sin tapre, (aka Nightmare Concert, 1990) gav film: Den platte komedie, I Ladri, blodhungrende fanskare, og de ef­ for en stund nyt håb for instruk­ samt rock’n’roll-filmen, I Ragazzi terfølgende produktioner hamrede tøren, der på dette tidspunkt alle­ del Juke Box. med tolvtommer-søm Fulcis navn rede havde tilbragt en del tid i syge­ Komedier ville i det hele taget fast som filmhistoriens enfant terri­ sengen. Men Fulcis sidste film, Le fylde meget i landskabet i Fulcis ble og en sikker leverandør af ren­ Porte del Silenzio (aka The Door to Si- spæde år som instruktør, men snart dyrkede splatter-film. Paura Nella lence, 1992), er en film, der hellere blev repertoiret udvidet til også at Gitta dei Morti Viventi (aka City of end gerne må gå direkte i glemme­ omfatte genrerne science fiction og the Living Dead, 1980), ...E Tu bogen fremfor at blive husket som spaghetti-westerns. Vi-vrai nel Terrorel LAldila (aka The instruktørens svanesang. I 1969 kastede Fulci sig så over Beyond, 1981), Il Gatto Nero (aka Kort før sin død havde den tem­ Giallo-genren, de italienske thril­ The Black Gat, 1981), Quella Villa peramentsfulde instruktør netop lere. Una Sull’Atra (aka One on Top Accanto al Cimitero (aka The House annonceret, at han og kollegaen Da­ of the Other aka Perversion Story) og by the Cemetery, 1981) og Lo Squ- rio Argento havde indgået et samar­ Beatrice Cenci markerer starten for artatore di New York (aka The New bejde om en genindspilning af klas­ instruktørens årlange spekulation i York Ripper, 1982) er alle milepæle sikeren, The House of Wax. Argento gys og gru (tilsat en pæn portion indenfor genren og har bidraget ak­ skulle producere og Fulci atter diri­ sex). Titler som Una Lucertola con tivt til dannelsen af begrebet ”video- gere. M en desværre spillede tangen­ Pelle di Donna (aka A Lizard in a vold”. terne ikke helt som planlagt. Woman’s Skin, 1971) og M on si Se- Desværre var perioden herefter Fulci blev begravet den 16.
Load more

Recommended publications
  • Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs
    Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs The thesis is submitted in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy of the University of Portsmouth. September 2014 Declaration Whilst registered as a candidate for the above degree, I have not been registered for any other research award. The results and conclusions embodied in this thesis are the work of the named candidate and have not been submitted for any other academic award. Word count: 85,810 Abstract Extreme art cinema, has, in recent film scholarship, become an important area of study. Many of the existing practices are motivated by a Franco-centric lens, which ultimately defines transgressive art cinema as a new phenomenon. The thesis argues that a study of extreme art cinema needs to consider filmic production both within and beyond France. It also argues that it requires an historical analysis, and I contest the notion that extreme art cinema is a recent mode of Film production. The study considers extreme art cinema as inhabiting a space between ‘high’ and ‘low’ art forms, noting the slippage between the two often polarised industries. The study has a focus on the paratext, with an analysis of DVD extras including ‘making ofs’ and documentary featurettes, interviews with directors, and cover sleeves. This will be used to examine audience engagement with the artefacts, and the films’ position within the film market. Through a detailed assessment of the visual symbols used throughout the films’ narrative images, the thesis observes the manner in which they engage with the taste structures and pictorial templates of art and exploitation cinema.
    [Show full text]
  • From the Classical Polis to the Neoliberal Camp: Mapping the Biopolitical Regimes of the Undead in Dawn of the Dead, Zombi 2 and 28 Days Later
    TAMAS NAGYPAL York University, Toronoto FROM THE CLASSICAL POLIS TO THE NEOLIBERAL CAMP: MAPPING THE BIOPOLITICAL REGIMES OF THE UNDEAD IN DAWN OF THE DEAD, ZOMBI 2 AND 28 DAYS LATER Introduction he aim of this paper is to map the (bio)political conflicts around the undead body that emerged in early postmodern zombie films and to look T at a possible contemporary resolution of these conflicts in the genre’s currently dominant form. The theoretical starting point of the analysis is the Lacanian psychoanalytic concept of the living dead developed by Slavoj Žižek1 that links the sublime bodies of the undead, situated outside normative social boundaries, to a revolutionary mode of subjectivity. His model allows to read these films as allegories for popular uprisings against the global neoliberal consensus forming in the late 1970s that stroke a heavy blow at underprivileged populations by advocating the dismantling of the welfare state and the deregulation of the market through an increase of privatization and individual responsibility.2 At the time of George Romero’s Dawn of the Dead (1978) and Lucio Fulci’s Zombi 2 (1979) the new status quo is not yet solidified, which is why, I suggest, these films try to locate the problem of the emergent global mass of bodies, deemed superfluous for the entrepreneurial logic of neoliberal production, in the framework of the classical exclusory politics of the city-state threatened by the revolution of the proletariat. It is Fulci’s film which takes an ultra-leftist stance here by supporting, with the risk of appearing ridiculous, the political takeover of the world by its underclass zombies while Romero’s Dawn remains skeptical about the power of the masses, retreating rather to a conservative position of established middle class family values and patriarchy.
    [Show full text]
  • ABSTRACT Title of Document: COMMUNICATING FEAR in FILM
    ABSTRACT Title of Document: COMMUNICATING FEAR IN FILM MUSIC: A SOCIOPHOBIC ANALYSIS OF ZOMBIE FILM SOUNDTRACKS Pedro Gonzalez-Fernandez Master of Arts, 2014 Directed By: Dr. Patrick Warfield, Musicology The horror film soundtrack is a complex web of narratological, ethnographic, and semiological factors all related to the social tensions intimated by a film. This study examines four major periods in the zombie’s film career—the Voodoo zombie of the 1930s and 1940s, the invasion narratives of the late 1960s, the post-apocalyptic survivalist fantasies of the 1970s and 1980s, and the modern post-9/11 zombie—to track how certain musical sounds and styles are indexed with the content of zombie films. Two main musical threads link the individual films’ characterization of the zombie and the setting: Othering via different types of musical exoticism, and the use of sonic excess to pronounce sociophobic themes. COMMUNICATING FEAR IN FILM MUSIC: A SOCIOPHOBIC ANALYSIS OF ZOMBIE FILM SOUNDTRACKS by Pedro Gonzalez-Fernandez Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Master of Arts 2014 Advisory Committee: Professor Patrick Warfield, Chair Professor Richard King Professor John Lawrence Witzleben ©Copyright by Pedro Gonzalez-Fernandez 2014 Table of Contents TABLE OF CONTENTS II INTRODUCTION AND LITERATURE REVIEW 1 Introduction 1 Why Zombies? 2 Zombie Taxonomy 6 Literature Review 8 Film Music Scholarship 8 Horror Film Music Scholarship
    [Show full text]
  • Barron, Lee (2020) Ultraviolent Gothic Visions : Lucio Fulci’S ‘Gates of Hell’ Trilogy As Derridean Cinematic Haunted Spaces
    Northumbria Research Link Citation: Barron, Lee (2020) Ultraviolent Gothic Visions : Lucio Fulci’s ‘Gates of Hell’ Trilogy as Derridean Cinematic Haunted Spaces. Gothic Studies, 22 (2). pp. 197-213. ISSN 1362-7937 Published by: UNSPECIFIED URL: This version was downloaded from Northumbria Research Link: http://northumbria-test.eprints- hosting.org/id/eprint/52267/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/pol i cies.html This document may differ from the final, published version of the research and has been made available online in accordance with publisher policies. To read and/or cite from the published version of the research, please visit the publisher’s website (a subscription may be required.) Ultraviolent Gothic Visions: Lucio Fulci’s ‘Gates of Hell’ Trilogy as Derridean Cinematic Haunted Spaces So no one can live there.
    [Show full text]
  • From Voodoo to Viruses: the Evolution of the Zombie in Twentieth Century Popular Culture
    From Voodoo to Viruses: The Evolution of the Zombie in Twentieth Century Popular Culture By Margaret Twohy Adviser: Dr. Bernice Murphy A thesis submitted in partial fulfilment of the Degree of Master’s of Philosophy in Popular Literature Trinity College Dublin Dublin, Ireland October 2008 2 Abstract The purpose of this thesis is to explore the evolutionary path the zombie has followed in 20th Century popular culture. Additionally, this thesis will examine the defining characteristics of the zombie as they have changed through its history. Over the course of the last century and edging into the 21st Century, the zombie has grown in popularity in film, videogames, and more recently in novels. The zombie genre has become a self-inspiring force in pop culture media today. Films inspired a number of videogames, which in turn, supplied the film industry with a resurgence of inspirations and ideas. Combined, these media have brought the zombie to a position of greater prominence in popular literature. Additionally, within the growing zombie culture today there is an over-arcing viral theme associated with the zombie. In many films, games, and novels there is a viral cause for a zombie outbreak. Meanwhile, the growing popularity of zombies and its widening reach throughout popular culture makes the genre somewhat viral-like as well. Filmmakers, authors and game designers are all gathering ideas from one another causing the some amount of self- cannibalisation within the genre. 3 Table of Contents Introduction 4 Chapter One 7 Evolution of the Dead Chapter Two 21 Contaminants, Viruses, and Possessions—Oh my! Chapter Three 34 Dawn of the (Digital) Dead Chapter Four 45 Rise of the Literary Zombie Conclusion 58 Bibliography 61 4 Introduction There are perhaps few, if any fictional monsters that can rival the versatility of the humble zombie (or zombi)1.
    [Show full text]
  • B Movies and Beyond: the Crippled Masters 2 (1980, Shia Yue)
    2/9/2011 B Movies and Beyond: The Crippled Ma… Share Report Abuse Next Blog» Create Blog Sign In MONDAY, JANUARY 24, 2011 ABOUT ME The Crippled Masters 2 (1980, Shia Yue) STARMUMMY My name is Starmummy. I am not from Earth. I do live here though. I like to review movies, particularly ones that will offend the average person. I review whatever movie I feel like reviewing whenever I want. I will gladly take suggestions and free stuff. VIEW MY COMPLETE PROFILE SITES YOU SHOULD CHECK OUT 3B Theater Micro-brewed Reviews Attack from Planet B B Movie Central B Movie Film Vault Bad Movie Realm Political correctness is a touchy subject in today's world. It seems BadMovies.org the only time you see anything politically incorrect nowadays is either deliberately offensive or an homage to the innocent days when the Basement of Ghoulish Decadence world just "didn't know any better". Sometimes when you are BugEyedMovies.com watching an older film, you have to take that into consideration. Cani Arrabbiati (Italian Genre Other times though, a film will just be so inexcusably/unbelievably Cinema) politically incorrect that you can't believe your eyes. This isn't always Classic-Horror.com a bad thing either, as this film proves. Darksider's Realm Dire Wit Films As the oh so politically incorrect title states, The Crippled Masters 2 DVD Holocaust (aka Two Crippled Heroes) centers around two martial arts experts Eccentric Cinema who also happen to be handicapped. The first (Frankie Shum) has Full Moon Reviews one (malformed) arm and the other (Jackie Conn) has diminutive legs Giallo Fever that don't work.
    [Show full text]
  • Religionshistoria – Magisterkurs, AN, 30 Hp Delkurs 2: Metod Och Teori II, 7,5 Hp
    Religionshistoria – Magisterkurs, AN, 30 hp Delkurs 2: Metod och teori II, 7,5 hp Zombier och vodou – fördjupningslitteratur Religionshistoria – Magisterkurs, AN, 30 hp Delkurs 2: Metod och teori II, 7,5 hp Zombier och vodou – fördjupningslitteratur Källtexter: Hurston, Zora Neale, Tell My Horse: Voodoo and Life in Haiti and Jamaica, Harper & Row, New York etc, 1938/1990. Seabrook, W. B., The Magic Island, Geirge Harrap & Co, London, Bombay, Sydney, 1929. Wheatley, Dennis, The Devil and All His Works, Book Club Associates, London, 1971/1977. Vetenskaplig litteratur: Apter, Andrew, “On African Origins: Creolization and Connaissance in Haitian Vodou”, Amercian Ethnologist, Vol. 29, No. 2 (May 2002). Bishop, Kyle, American Zombie Gothic: The Rise and Fall (and Rise) of the Walking Dead in Popular Culture, McFarland & Company, Jefferson, London, 2010. Bishop, Kyle, “The Sub-Subaltern monster: Imperialist Hegemony and the Cinematic Voodoo Zombie”, The Journal of American Culture, 31:2, 2008. Davis, Wade, The Serpent and the Rainbow, Collins, London, 1986 [på svenska 1987 med titeln Ormen och regnbågen: resan in i Haitis gåtfulla värld av voodoo, zombier och magi, skulle även kunna sorteras som källtext eftersom dess vetenskaplighet är starkt ifrågasatt]. Davis, Wade, Passage of Darkness: The Ethnobiology of the Haitian Zombie, University of North Carolina Press, Chapel Hill, 1988 (skulle även denna kunna sorteras som källtext eftersom dess vetenskaplighet är starkt ifrågasatt). Faxneld, Per, “They won’t stay dead!”: Zombiefilmens utveckling”, ur: Berghorn, Rickard & Fyhr, Mattias (red.), I nattens korridorer: artiklar om skräck och mörk fantasy, Aleph, Saltsjö-boo, 2004. Hainard, Jacques och Mathez, Philippe (red.), Vodou (utställningskatalog), Etnografiska museet, Stockholm, 2011.
    [Show full text]
  • Elenco Dei Titoli Interessati Ai Compensi “Copia Privata” Per L’Anno 2008 (*) Per I Film Esteri Usciti in Italia L’Anno Corrisponde All’Anno Di Importazione
    Elenco dei titoli interessati ai compensi “copia privata” per l’anno 2008 (*) Per i film esteri usciti in Italia l’anno corrisponde all’anno di importazione titolo paese anno(*) 11:11 - La paura ha un nuovo numero Canada 2006 1408 USA 2007 2001 un'astronave spuntata nello spazio Canada/Germania 2000 2 Fast 2 Furious USA 2003 2 giorni a Parigi Francia 2007 30 anni in 1 secondo USA 2004 3 STRIKES USA 2000 400 colpi (I) Francia 1959 45 USA 2007 4 bastardi per un posto all'inferno USA 1973 4 mesi, 3 settimane 2 giorni Romania 2007 4 per Cordoba USA 1970 5 corpi senza testa USA 1964 5 facce della violenza (Le) USA 1972 8 amici da salvare USA 2006 98 OTTANI Portogallo 2006 9 SONGS GB 2004 A/R andata + ritorno Italia 2004 A 007, dalla Russia con amore USA 1964 A 30 milioni di km. dalla terra USA 1957 A 30 secondi dalla fine USA 1986 A.A.A. Achille Italia 2001 Abbandonati nello spazio USA 1970 ABC Africa Francia 2001 A.B.C....Manhattan USA 1997 A Better Tomorrow II Hong Kong 1987 A Better Tomorrow III Hong Kong 1989 A Beverly Hills... signori si diventa USA 1994 Abominevole dr. Phibes (L') USA 1972 About a boy USA 2002 Elenco dei titoli interessati ai compensi “copia privata” per l’anno 2008 (*) Per i film esteri usciti in Italia l’anno corrisponde all’anno di importazione Abramo Lincoln USA 1946 Absolute beginners GB 1986 Abuso di potere USA 1993 Abyss (The) (Abisso) USA 1989 Acapulco, prima spiaggia..
    [Show full text]
  • White Zombie, I Walked with a Zombie, Night of the Living Dead, Dawn of the Dead, Day of the Dead, Victor Halperin, Georges A
    Resisting Bodies: Power Crisis / Meaning Crisis in the Zombie Film from 1932 to Today David Roche To cite this version: David Roche. Resisting Bodies: Power Crisis / Meaning Crisis in the Zombie Film from 1932 to Today. Textes & Contextes, Université de Bourgogne, Centre Interlangues TIL, 2011, Discours autoritaires et résistances aux XXe et XXIe siècles, https://preo.u- bourgogne.fr/textesetcontextes/index.php?id=327. halshs-00682096 HAL Id: halshs-00682096 https://halshs.archives-ouvertes.fr/halshs-00682096 Submitted on 23 Mar 2012 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Resisting Bodies: Power Crisis / Meaning Crisis in the Zombie Film from 1932 to Today David Roche Maître de conférences, Centre Interlangues Texte, Image, Langage (EA 4182), Université de Bourgogne, 2 boulevard Gabriel, 21000 Dijon, mudrock [at] neuf.fr Critics have repeatedly focused on the political subtexts of the living dead films of George A. Romero, revealing, notably, how they reflect specific social concerns. In order to determine what makes the zombie movie and the figure of the zombie so productive of political readings, this article examines, first, the classic zombie movies influenced by voodoo lore, then Romero’s initial living dead trilogy (1968-1985), and finally some of the most successful films released in the 2000s.
    [Show full text]
  • MONDO TARANTINO MONDO TARANTINO COLEÇÃO CINUSP – Volume 4 Coordenação Geral Tradução Esther Hamburger E Patricia Moran David Donato
    MONDO TARANTINO MONDO TARANTINO COLEÇÃO CINUSP – vOLUME 4 COORDENAÇÃO GERAL TRADUÇÃO Esther Hamburger e Patricia Moran David Donato ORGANIZAÇÃO REVISÃO Marcos Kurtinaitis Luciana Tonelli PRODUÇÃO PROJETO GRÁFICO E DIAGRAMAÇÃO Thiago de André André Noboru Siraiama Uva Costriuba PESQUISA Henrique Figueiredo ILUSTRAÇÃO DA CAPA Yasmin Afshar Vitor Morinishi Kurtinaitis, Marcos (org.) Mondo Tarantino / Marcos Kurtinaitis São Paulo: Pró-reitoria de Cultura e Extensão Universitária – USP, 2013. 256 p.; 21 x 15,5 cm. ISBN 978-85-62587-09-2 1. Cineastas 2. Tarantino, Quentin (1963- ) I. Título CDD 791.43092 CDU 791 Ministério da Cultura apresenta Banco do Brasil apresenta e patrocina MONDO TARANTINO CCBB DF CCBB SP CINUSP 15 FEV A 17 MAR 20 FEV A 17 MAR 25 FEV A 15 MAR SCES, Trecho 2 Rua Álvares Penteado, 112 Rua do Anfiteatro, 181 61 3108 - 7600 Centro Colmeia Favo 04 twitter.com/ccbb_df 11 3113 - 3651 / 3652 11 3091 - 3540 fb.com/ccbb.brasilia twitter.com/ccbb_sp www.usp.br/cinusp fb.com/ccbbsp fb.com/cinusp.pauloemilio CORREALIZAÇÃO REALIZAÇÃO Pró-Reitoria de Cultura e Extensão Universitária da USP São Paulo – Fevereiro de 2013 O Ministério da Cultura e o Banco do Brasil apresentam, em parceria com o CINUSP Paulo Emílio, a mostra MONDO TARANTINO, ampla retrospectiva em homenagem ao cineasta que completa 20 anos de carreira. Prestes a completar também 50 anos de idade e contando com enorme prestígio, Quentin Tarantino é, sem dúvida, um dos mais influentes cineastas em atividade. Seus filmes, tamanha a originalidade, sempre provocam as mais acaloradas discussões. E, mais que isso, propiciam uma significativa mudança no cinema.
    [Show full text]
  • The Crime Fiction Genre Was Relatively Slow to Catch Hold in It
    The Italian Detective Novel: The Literary and Cinematic Giallo Joseph Eynaud (University of Malta) Introduction The crime fiction genre was relatively slow to catch hold in Italy although it gradually became very popular and eventually influenced some of the country’s most talented writers. As in most other countries the mystery entered Italy in the form of translations of American and especially British stories. There were, however, some very early local mystery writers including Francesco Mastriani who published The Blind Woman from Sorrento (Bietti, Milan, 1973) in serial form in 1852. Emilio De Marchi published an inverted mystery (one in which the guilty person is known at the outset) entitled The Priest’s Hat in 1858 (republished in 1927 by Fratelli Treves, Milan, 1927). The genre was really begat, however, in 1929 when the publishing house Mondadori began to turn out mysteries and especially translations of U.S. and British mysteries in the “pulp” style with yellow covers. These were christened “I libri gialli” or the “yellow books”. Thus “giallo” caught on as shorthand for the crime fiction genre, a term that eventually expanded to mean also thrillers and suspense and was also extended to films. Giallo (gialli, plural) became, as in most countries and especially Italy, a mass-market, popular type of literature. Gradually, indigenous writers were attracted in larger numbers to the genre. For example, Alessandro Varallo adopted an ironic tone in a number of his works (e.g. Dramma e Romanzo Poliziesco, Comoedia, 1932). Arturo Lanocita published Forty Million (Mondadori, Milan) in 1931 with comedy as the main theme.
    [Show full text]
  • Catalogo Editoriale Gruppo Bixio
    Tabella 1 TITOLO COMPOSITORE AUTORE EDITORE IL GIOVANE TOSCANINI Granadine AGENZIA R. FINZI PRATICAMENTE DETECTIVE GUIDO DE ANGELIS Granadine LA NOTTE DEGLI SQUALI GALE ITALIANA s.r.l. FATTI DI GENTE PER BENE MORRICONE ENNIO BIXIO CEMSA PRONTO CHI PARLA Bixio Sam LE SORELLE GASLINI GIORGIO BIXIO CEMSA METTI UNA SERA A CENA MORRICONE ENNIO BIXIO CEMSA AMAZZONI BIANCHE D'Elia Antonio Bixio Sam AMICIZIA SIMONETTI ENRICO Bixio Sam MIMI' METALLURGICO FERITO NELL'ONORE PICCIONI GIAN PIERO BIXIO CEMSA PAPRIKA Bixio Cesare Andrea Cherubini Bixio BIXIO CEMSA AMORE LIBERO FABIO FRIZZI Bixio Sam AMORE MIO NON FARMI MALE SIMONETTI ENRICO BIXIO CEMSA STROGOFF USUELLI TEO BIXIO CEMSA ANDREMO IN CITTA VANDOR IVAN BIXIO CEMSA GLI ORDINI SONO ORDINI BUONGUSTO ALFREDO BIXIO CEMSA LA BATTAGLIA DELL'ULTIMO PANZER LAVAGNINO ANGELO FRANCESCO BIXIO CEMSA L'ASSOLUTO NATURALE MORRICONE ENNIO Bixio Sam ASSOLUTO NATURALE ENNIO MORRICONE Bixio Sam UN OMICIDIO PERFETTO A TERMINE DI LEGGE GASLINI GIORGIO BIXIO CEMSA MEZZANOTTE D'AMORE MALATESTA LUIGI/BIXIO CARLO ANDREA BIXIO CEMSA BALI FILM GASLINI GIORGIO Bixio Sam MARIONETTE Bixio Sam LES BICHES BIXIO FRANCO BIXIO CEMSA SECONDO PONZIO PILATO BRANDUARDI ANGELO Bixio Sam ANGELI SENZA PARADISO LAVAGNINO ANGELO FRANCESCO BIXIO CEMSA LE CINQUE GIORNATE Bixio Sam REQUIEM PER UN GRINGO LAVAGNINO ANGELO FRANCESCO BIXIO CEMSA LA COLLINA DEGLI STIVALI RUSTICHELLI CARLO BIXIO CEMSA GATTA CI COVA Bixio Sam LA MORTE BUSSA DUE VOLTE UMILIANI PIERO BIXIO CEMSA URSUS NELLA TERRA DI FUOCO SAVINA CARLO-BIXIO C.A. Bixio Sam SANTA SANGRE Bixio Sam ERODE ANTIPA Bixio Sam LA CRIPTA E L'INCUBO SAVINA CARLO-BIXIO C.A.
    [Show full text]