DOCSLIB.ORG

Download the Monthly Film & Event Calendar

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download the Monthly Film & Event Calendar SAT MON SAT MON FRI 10:20 Family THU MON 4:30 Film A Closer Look for The Audience. T2 Film & Event Calendar 1 3 8 10 14 Kids. Education & 20 24 Events & Programs 7:30 Film 10:20 Family 7:00 Film 10:20 Family 7:00 Film Film Research Building Film 1:00 Film The Big Feast. T2 Gallery Sessions A Closer Look for Kids: Real and Tours for Fours. Modern Mondays: Tours for Fours. Modern Mondays: An The Contenders The Contenders Property Is No 1:00 Art Making Daily, 11:30 a.m. & 1:30 p.m. Imagined Places Education & An Evening with Education & Evening with Bogosi 2018. For details, 2018. For details, Longer a Theft. T1 Explore This! Museum galleries Saturdays & Sundays, Dec 1–16, Research Building Nazlı Dinçel. T2 Research Building Sekhukhuni. T2 see moma.org/film. see moma.org/film. Activity Stations. 10:20–11:30 a.m. TUE Join us for conversations and 10:20 Family 10:20 Family 1:30 Film Museum galleries 1:30 Film Education & Research Building activities that offer insightful and A Closer Look for TUE A Closer Look for TUE Our Modern Maidens. Sinbad the Sailor. T2 25 1:00 Film unusual ways to engage with art. Kids and adults participate in lively Kids. Education & 4 Kids. Education & 11 T2 Come Have Coffee 4:00 Film Christmas Day discussions and activities while Research Building Research Building SAT Limited to 25 participants 7:30 Event Film 4:00 Film with Us. T2 Come Have Coffee Museum closed looking at art. 1:30 Film Andy Warhol at 1:00 Film The Contenders Pigsty. T2 with Us. T2 29 For kids ages five to 10 and adult 3:30 Film Art Lab: Nature Max Linder, Judson. T2 The Seventh Floor. T1 2018. For details, WED companions. Free tickets are distributed Lady Caliph. T2 6:30 Film Film Daily, 10:30 a.m.–4:30 p.m.; Part One. T2 see moma.org/film. SAT on a first-come, first-served basis starting 1:30 Art Making Splendori e miserie 26 The Contenders Fri, until 6:30 p.m. at 10:00 a.m. on the day of the program. WED 6:00 Film 4:30 Film Charles White 1:30 Art Making di Madame Royale. T2 2018. For details, Education & Research Building 15 The Fascist. T2 Film Marcel Perez. T2 Printmaking Charles White see moma.org/film. 5 Film The Contenders Discover how artists and designers Family Films: Tales of Magic Workshops. Printmaking FRI 7:30 Film 7:30 Event The Contenders 2018. For details, 1:30 Film are inspired by the natural world in and Mystery Education & Workshops. MON Max Linder, Quiet Mornings. 2018. For details, see moma.org/film. We Want the this hands-on, multisensory Sat, Dec 15, 12:00–1:00 p.m. T3 Research Building Education & 21 Part Two. T2 Museum galleries see moma.org/film. 17 Colonels. T2 installation. All ages are welcome. Research Building Film 1:30 Film Watch and discuss live-action and 4:00 Film 4:00 Film 1:30 Film 10:20 Family The Contenders Gunga Din. T2 4:00 Film animated short films. The Conjugal Bed. T1 4:00 Film Lady Caliph. T2 D A Woman of Affairs. Tours for Fours. 2018. For details, Come Home and VW Sunday Sessions For kids ages five and up and adult The Climax. T1 4:00 Film T1 4:30 Event Education & 6:30 Film see moma.org/film. Meet My Wife. T2 Various dates and times companions. Free tickets are distributed We Want the on a first-come, first-served basis at Andy Warhol at Research Building In the Name of the MoMA PS1 4:30 Film 1:30 Film Colonels. T2 6:30 Film 10:00 a.m. on the day of the program. Judson. T2 WED Italian People. T2 Portrait of My Father. 10:20 Family The Dawn Patrol. T2 Weak Spot. T2 Embracing performance, music, 12 6:30 Film dance, conversations, and film, SUN T1 6:30 Film A Closer Look for Andy Warhol at Judson TUE 4:00 Film Come Home and VW Sunday Sessions supports and The Ape Woman. T1 Film Kids. Education & SUN Tue, Dec 4, 7:30 p.m., Sat, Dec 8, 7:00 Film The Ape Woman. T2 Meet My Wife. T2 2 The Contenders Research Building 18 commissions new work, inviting 4:30 p.m. T2 Tragedy of a 30 artists, curators, and others to Film SUN 2018. For details, 6:30 Film Ridiculous Man. T1 12:00 Family Film This screening features Andy The Contenders see moma.org/film. The Conjugal Bed. T2 THU Film share their projects. 9 Family Films: Tales of The Contenders Warhol’s Jill And Freddy Dancing 2018. For details, The Contenders Visit moma.org/sundaysessions for details Magic and Mystery. 2018. For details, 27 (1963) and brings together see moma.org/film. THU Film 2018. For details, and ticketing info. T3 see moma.org/film. SAT Film Warhol’s Screen Tests featuring The Contenders see moma.org/film. 10:20 Family 6 22 The Contenders Judson participants, including the 2018. For details, 1:00 Art Making 4:00 Film Quiet Mornings Tours for Fours. 1:30 Film 2018. For details, 1:00 Film choreographer Lucinda Childs and see moma.org/film. Explore This! In the Name of the Film Wed, Dec 5, 7:30–9:00 a.m. Education & The Young in Heart. see moma.org/film. The Big Feast. T2 the lighting designer Billy Linich. E Activity Stations. Italian People. T2 The Contenders Museum galleries Research Building T2 10:20 Family 1:30 Film Museum galleries 2018. For details, 1:30 Film 4:00 Film Adults $15, members and Corporate Tours for Fours. The Barker. T2 6:30 Film See your favorite works from members $10, seniors, full-time students 10:20 Family 4:30 Film see moma.org/film. Little Caesar. T2 Tragedy of a Education & 1:30 Film The Monsters. T2 MoMA’s collection and take in with current ID, and staff of other A Closer Look for The Fascist. T2 4:00 Film Ridiculous Man. T2 museums $5 Research Building The Climax. T2 1:00 Film 4:30 Film selected new exhibitions, all without Kids. Education & It’s a Hard Life. T2 7:00 Film WED Portrait of My Father. Weak Spot. T2 the crowds. Guided meditation Research Building 10:20 Family 4:00 Film MON Pigsty. T2 6:30 Film T2 takes place at 8:30 a.m. Charles White Printmaking A Closer Look for The Monsters. T2 19 7:30 Film Workshops 1:30 Film Police Chief Pepe. T2 31 Adults $15, seniors $12, full-time students Kids. Education & 3:30 Film The Mazurka of the Transatlantic 7:00 Film Film with current ID $10, children (16 and Sat, Dec 8 & Tue, Dec 11, FRI Research Building Property Is No Baron, the Saint and Film under) free. Free for members, with the 1:30–3:00 p.m. Teamwork. T2 THU The Magnificent The Contenders Longer a Theft. T2 the Florentine Fig The Contenders ability to bring guests for $5 7 1:30 Film Cuckold. T2 2018. For details, Education & Research Building, 3:00 Event 13 Tree. T2 2018. For details, Classrooms A Question of Honor. see moma.org/film. 6:30 Film VW Sunday Sessions: Film see moma.org/film. Tours for Fours: Movement in Art T2 Film SUN The Audience. T2 Make drypoint prints inspired by Talking Nauman. The Contenders 1:30 Film FRI Saturdays & Sundays, Dec 1–16, The Contenders Images, from left: Charles White’s innovative work in MoMA PS1 2018. For details, 3:00 Event 16 The Exile. T2 10:20–11:15 a.m. 2018. For details, Max Linder and Francine see moma.org/film. VW Sunday Sessions: SUN 28 this medium. Sessions are led by 4:00 4:30 Larrimore in Max Wants a Education & Research Building C Performance see moma.org/film. Film Film Talking Nauman. 23 Film Divorce (1917); Hereditary. an artist and planned with the EFA VW Sunday Sessions: 1:30 Film The Contenders The Magnificent MoMA PS1 1:30 Film The Contenders 2018. USA. Directed by Look, listen, and share ideas Robert Blackburn Printmaking Sarah Kinlaw, The Lady in Ermine. 2018. For details, Cuckold. T2 1:30 Film Ari Aster. Courtesy of A24; Ghost Story. T2 2018. For details, while you explore art through Workshop. Unboxing The T2 4:30 Film see moma.org/film. Splendori e miserie The Big Feast. Courtesy 7:30 Film see moma.org/film. Continental Distributing movement, drawing, and more. Free, on a first-come, first-served basis. Compass, Bending Police Chief Pepe. T2 4:30 Film di Madame Royale. T1 4:00 Film 10:20 Family The Mazurka of the Inc./Photofest. Cover: For four-year-olds and adult companions. Sign-up begins half an hour prior to each The Axis. MoMA PS1 The Seventh Floor. T2 1:30 Film If Beale Street Could Talk. workshop. For adults, but children are It’s a Hard Life. T2 Tours for Fours. Baron, the Saint and 4:00 Film Free tickets are distributed on a The Corsican 2018. USA. Directed by first-come, first-served basis at welcome if accompanied by an adult. 4:30 Film 7:30 Film Education & the Florentine Fig La Cage aux folles. T1 Barry Jenkins. Courtesy of 6:30 Film Brothers. T2 10:00 a.m. on the day of the program. The British Are A Question of Honor. Research Building Tree.
Load more

Recommended publications
  • Before the Forties
    Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY
    [Show full text]
  • Full Text (PDF)
    Document generated on 09/28/2021 1:52 p.m. Séquences La revue de cinéma Palmarès des festivals ’64 Angoisse et peur Number 39, December 1964 URI: https://id.erudit.org/iderudit/51839ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this document (1964). Palmarès des festivals ’64. Séquences, (39), 63–65. Tous droits réservés © La revue Séquences Inc., 1964 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ PALMARÈS DES FESTIVALS '64 BUENOS AIRES Prix spécial du jury : Suna no onna (La Femme des dunes), de Grand Prix : I Compagni (Les Hiroshi Teshigahara (Japon). Camarades) de Mario Monicelli (Italie). Prix d'interprétation : Barbara Prix d'interprétation : Natalie Barrie dans One Potato, Two Po­ Wood dans Love with the Proper tato, de Larry Peerce (Etats-Unis), Stranger de Robert Mulligan (E- Anne Bancroft dans The Pumpkin tats-Unis), Vittorio Gassman et Eater, de Jack Cardiff (Grande Ugo Tognazzi dans / Mostri de Bretagne), Saro Urzi dans Sedotta Dino Risi (Italie). e abandonata, de Pietro Germi (Italie) et Antal Pager dans Pacsir- Prix de mise en scène : Karel ta (L'Alouette), de Laszlo Ranody Kachyna pour l'Espoir (Pologne).
    [Show full text]
  • DINO RISI I Mostri? Sono Quelli Che Nascono in Tv
    ATTUALITÀ GRANDI VECCHI PARLA DINO RISI I mostri? Sono quelli che nascono in tv Era uno psichiatra, l foglio bianco av- Intervista sorpasso e Profumo di donna, che squaderna sotto gli occhi con gelosa de- poi è diventato il padre volge il rullo del- ebbe due nomination all’Oscar, licatezza. È il campionario umano da cui Ila Olivetti Studio non riesce più a fermarsi, come sono nati i suoi film: «Suocera in fuga della commedia. 46, pronto a raccogliere una se fosse rimasto prigioniero di uno dei con la nuora sedicenne», «Eletto mister Oggi, alla soglia trama, un’invettiva, un ri- suoi film a episodi. È questa l’arte di Ri- Gay e la famiglia scopre la verità», «A cordo, ma nessuno può di- si, medico psichiatra convertito al cine- Villar Perosa due nomadi sorpresi in ca- dei 90 anni, il regista re se prima di sera sarà ne- ma, è questo che ha sempre fatto delle sa Agnelli», «Il killer s’innamora: don- spiega come vede ro d’inchiostro. Un quadro staccato dal- nostre esistenze: un collage apparente- na salva». Pubblicità di Valentino. I to- questa Italia 2006. la parete ha lasciato l’ombra sulla tap- mente senza senso, un puzzle strava- pless statuari di Sabrina Ferilli, Saman- pezzeria e il regista Dino Risi s’è risol- gante dove alla fine ogni tessera va a oc- tha De Grenet, Martina Colombari. Dai politici a Vallettopoli... to a coprire l’alone di polvere con un cupare il posto esatto assegnatole dal L’imprenditore Massimo Donadon che di STEFANO LORENZETTO patchwork di 21 immagini ritagliate dai grande mosaicista dell’universo o dal dà la caccia ai topi e il serial killer Gian- giornali.
    [Show full text]
  • CENTRAL PAVILION, GIARDINI DELLA BIENNALE 29.08 — 8.12.2020 La Biennale Di Venezia La Biennale Di Venezia President Presents Roberto Cicutto
    LE MUSE INQUIETE WHEN LA BIENNALE DI VENEZIA MEETS HISTORY CENTRAL PAVILION, GIARDINI DELLA BIENNALE 29.08 — 8.12.2020 La Biennale di Venezia La Biennale di Venezia President presents Roberto Cicutto Board The Disquieted Muses. Luigi Brugnaro Vicepresidente When La Biennale di Venezia Meets History Claudia Ferrazzi Luca Zaia Auditors’ Committee Jair Lorenco Presidente Stefania Bortoletti Anna Maria Como in collaboration with Director General Istituto Luce-Cinecittà e Rai Teche Andrea Del Mercato and with AAMOD-Fondazione Archivio Audiovisivo del Movimento Operaio e Democratico Archivio Centrale dello Stato Archivio Ugo Mulas Bianconero Archivio Cameraphoto Epoche Fondazione Modena Arti Visive Galleria Nazionale d’Arte Moderna e Contemporanea IVESER Istituto Veneziano per la Storia della Resistenza e della Società Contemporanea LIMA Amsterdam Peggy Guggenheim Collection Tate Modern THE DISQUIETED MUSES… The title of the exhibition The Disquieted Muses. When La Biennale di Venezia Meets History does not just convey the content that visitors to the Central Pavilion in the Giardini della Biennale will encounter, but also a vision. Disquiet serves as a driving force behind research, which requires dialogue to verify its theories and needs history to absorb knowledge. This is what La Biennale does and will continue to do as it seeks to reinforce a methodology that creates even stronger bonds between its own disciplines. There are six Muses at the Biennale: Art, Architecture, Cinema, Theatre, Music and Dance, given a voice through the great events that fill Venice and the world every year. There are the places that serve as venues for all of La Biennale’s activities: the Giardini, the Arsenale, the Palazzo del Cinema and other cinemas on the Lido, the theatres, the city of Venice itself.
    [Show full text]
  • Extinction of a Minor Species Im Bockenheimer Depot
    477-18-06 s Juni 2018 www.strandgut.de für Frankfurt und Rhein-Main D A S K U L T U R M A G A Z I N >> Film Die brilliante Mademoiselle Neïla von Yvan Attal ab 14. Juni >> Special 70 Jahre Luftbrücke Frankfurt-Berlin Gail Halvorsen kommt ins Orfeos Erben >> Tanz Extinction of a Minor Species im Bockenheimer Depot >> Theater Bonjour Tristesse im Kellertheater >> Kunst O Sentimental Machine im Liebieghaus >> Musik Brian Fallon am 10. Juni im Schlachthof Wiesbaden NEUFASSUNG EXTINCTION OF A MINOR SPECIES 2018 8. 10., 13. 16. juni 20Uhr Tickets BOCKENHEIMER DEPOT 069 212 494 94 FRANKFURT AM MAIN dresdenfrankfurtdancecompany.de INHALT Film 4 Die brillante Mademoiselle Neïla von Yvan Atal 5 Kolyma von Stanislaw Mucha 6 Swimming with Men von Oliver Parker 7 abgedreht Tully 8 Der Blick zurück 70 Jahre Luftbrücke Ffm.-Berlin 9 Filmstarts Theater 15 Tanztheater 17 The Invisible Hand im English Theatre Immer das richtige 18 vorgeführt Argument zur Hand Marina Vlady © DIF 18 Woyzeck im Schauspiel Frankfurt »Die brillante Mademoiselle Neïla« 19 Bonjour Tristesse von Yvan Atal im Kellertheater Der Jura-Professor Pierre Ma- 20 Stimmen einer Stadt im Schauspiel Frankfurt 4 zard ist zweifellos ein gebildeter 21 Claube Liebe Hoffnung Mann. Doch ihm fehlt, was man ro- im Staatstheater Darmstadt mantisch Herzensbildung oder et- 22 Dinge, die ich sicher weiß & Die Nibelungen was einfacher Mitgefühl nennt. Weil im Staatstheater Mainz er zusätzlich noch zu sehr von sich Am Strand 23 Premieren überzeugt ist, unterbricht er seine 24 Die Möwe & Nora Vorlesung und redet sich in Rage, als im Staatstheater Wiesbaden 25 Neue Produktionen eine Erstsemester-Studentin zu spät 26 Musiktheater kommt.
    [Show full text]
  • Hands Up! by Steve Massa
    Hands Up! By Steve Massa Raymond Griffith is one of silent come- dy’s unjustly forgotten masters, whose onscreen persona was that of a calm, cool, world-weary bon vivant – some- thing like Max Linder on Prozac. After a childhood spent on stage touring in stock companies and melodramas, he ended up in films at Vitagraph in 1914 and went on to stints at Sennett,- L Ko, and Fox as a comedy juvenile. Not mak- ing much of an impression due to a lack of a distinctive character, he went be- hind the camera to become a gagman, working at Sennett and for other comics like Douglas MacLean. In 1922 he re- turned to acting and became the ele- gant, unflappable ladies’ man. Stealing comedies such as “Changing Husbands,” “Open All Night,” and “Miss Bluebeard” (all 1924) away ing very popular with his character of “Ambrose,” a put- their respective stars Paramount decided to give him his upon everyman with dark-circled eyes and a brush mous- own series, and he smarmed his way through ten starring tache. Leaving Sennett in 1917 he continued playing Am- features starting with “The Night Club” (1925). brose for L-Ko, Fox, and the independent Poppy Come- dies and Perry Comedies. His career stalled in the early “Hands Up!” (1926) soon followed, and is the perfect 1920s when he was blacklisted by an influential produc- showcase for Griffith’s deft comic touch and sly sense of er, but his old screen mate Charlie Chaplin came to the the absurd. The expert direction is by Clarence Badger, rescue and made Mack part of his stock company in films who started in the teens with shorts for Joker and Sen- such as “The Idle Class” (1921) and “The Pilgrim” (1923).
    [Show full text]
  • Marco Ferreri Retrospective 1 – 14 December at Ciné Lumière
    press release nov 06 Marco Ferreri Retrospective 1 – 14 December at Ciné lumière About the Retrospective The Italian Cultural Institute and the Institut français, London, in collaboration with Cinecittà Holding are delighted to present a fortnight-long tribute to maverick Italian director Marco Ferreri. The retrospective features a representative selection of 13 films from all four decades of his filmmaking career, and showcases impressive (and surprising) performances from some of European cinema’s finest actors, including Marcello Mastroianni, Roberto Benigni, Gérard Dépardieu, Catherine Deneuve, Philippe Noiret, Michel Piccoli and Ugo Tognazzi. A highlight of the season will be the two screenings of Ferreri’s masterpiece La Grande Bouffe (Blow-Out) on a newly-restored print provided by Cinecittà especially for the occasion. As many of Ferreri’s films received no, or very limited, UK release, this season represents a valuable opportunity for film fans to assess or re-asses the work of one of Italian – and world – cinema’s most singular talents. L’Ape regina (The Queen Bee) • La Donna scimmia (The Ape Woman) • Dillinger è morto (Dillinger is Dead) • L’Udienza (The Audience) • La Cagna (Love to Eternity) • La Grande Bouffe (Blow-Out) • Touche pas à la femme blanche (Don’t Touch the White Woman!) • La Dernière Femme (The Last Woman) • Ciao Maschio (Bye Bye Monkey) • Chiedo asilo (Pipicacadodo) • Storie di ordinaria follia (Tales of Ordinary Madness) • La Carne (The Flesh) • Diario di un vizio (Diary of a Maniac) Venue: Ciné lumière at the Institut français, 17 Queensberry Place, London SW7 2DT Tickets: £7, conc. £5; double bills £9, conc.
    [Show full text]
  • Portuguese Comedian Sets
    August, 2000 Portuguese Comedian Sets Portugal has long been known for issuing many colorful sets, many of which are very large in number. In 1971-1972, three especially nice sets were issued which featured international comedians. Thus, these covers also overlap into the VIP/Personality category. All three sets feature the same comedians [all male, by the way. You’d think they could have at least stuck Lucille Ball in there. I wonder if that was a Latin macho thing.] 1. Max Linder 9. Stan Laurel 17. Ferdandel 2. Charles Chaplin 10. W. C. Fields 18. Cantinflas 3. Ben Turpin 11. Mickey Rooney 19. Bob Hope 4. Buster Keaton 12. Vasco Santan 20. Danny Kaye 5. Harold Lloyd 13. Antonio Silva 21. Toto 6. Groucho Marx 14. Lou Costello 22. Jerry Lewis 7. Harpo Marx 15. Bud Abbott 23. Terry Thomas 8. Oliver Hardy 16. Jacques Tati 24. Alberto Sordi Set I: (1971) This set numbers 96 covers. There are 24 different comedians portrayed in caricature. There are 24 w/ yellow background, 24 w/ pink background, 24 w/white background, and 24 w/blue background. Single striker; each cover has black edges. Set II: (1971) Only 48 are reported in this set. These covers have double strikers. Backgrounds are pink and blue. 24 covers have blue edges; 24 have red edges. Set III: (1972) This set consists of 72 covers. 24 of these covers have a red edge with a blue background in the center, 24 have a red edge with a white background in the center, and 24 have a blue edge with a yellow background in the center.
    [Show full text]
  • The Films of the Pietrangeli Retrospective at Moma Published on Iitaly.Org (
    The Films of the Pietrangeli Retrospective at MoMA Published on iItaly.org (http://www.iitaly.org) The Films of the Pietrangeli Retrospective at MoMA Natasha Lardera (December 09, 2015) Antonio Pietrangeli: A Retrospective explores the filmmaker’s career from the early 1950s to the mid-1960s. It features 11 films, from Pietrangeli’s best-known work to a number of rediscoveries. As a major father of the Commedia all'Italiana genre and a leading figure of Neorealism, Pietrangeli explored the ever changing role of women in Italian society after the fall of Fascism. They have to deal with a new freedom that is attractive yet at the same time ambiguous and somewhat dangerous. Many say that Antonio Pietrangeli has been forgotten but his films, movies featuring innovative Page 1 of 4 The Films of the Pietrangeli Retrospective at MoMA Published on iItaly.org (http://www.iitaly.org) narrative structures and fine psychological analyses are here to stay and prove them wrong. They are more than enough to earn him a prominent position in the history of Italian cinema, even though many, including the most cultured aficionados tend to bring up other filmmakers' names when talking about Italian cinema in the 1950s & 1960s. His work falls in the category of Commedia all'Italiana, a style of Italian comedy centered on the misadventures of the unfortunate in the period of poverty that followed World War II. The most notable names of directors representative of that cinema are Mario Monicelli, Dino Risi, Luigi Comencini, and Ettore Scola. MoMA celebrates Pietrangeli's cinema, and a career that spans from the early 1950s to the mid-1960s with Antonio Pietrangeli: A Retrospective (December 3–18, 2015).
    [Show full text]
  • Winter Series Art Films and Events January February Filmmarch Film
    Film Program Winter 2008 National Gallery of Art, Washington Winter Series film From the Archives: 16 at 12 England’s New Wave, 1958 – 1964 István Szabó’s 20th Century Alexander Sokurov In Glorious Technicolor Art Films and Events This Sporting Life (Photofest) 19 Sat II March Edward 2:00 England’s New Wave, 1958 – 1964: A Kind of Loving 1 Sat J. M.W. Turner and Film 4:30 England’s New Wave, 1958 – 1964: 2:00 István Szabó’s 20th Century: Mephisto (two-part program) This Sporting Life 4:30 István Szabó’s 20th Century: Colonel Redl 2 Sun The Gates 20 Sun 4:30 England’s New Wave, 1958 – 1964: 4:30 István Szabó’s 20th Century: Hanussen International Festival of Films Saturday Night and Sunday Morning; 4 Tues The Angry Silence on Art 12:00 From the Archives: 16 at 12: The City 22 Tues of Washington Henri Storck’s Legacy: 12:00 From the Archives: 16 at 12: Dorothea 8 Sat Lange: Under the Trees; Eugène Atget (1856 – 1927) Belgian Films on Art 3:00 Event: Max Linder Ciné-Concert 26 Sat 9 Sun 2:00 Event: International Festival of Films on Art England’s Finest Hour: 4:30 Alexander Sokurov: The Sun (Solntse) Films by Humphrey Jennings 27 Sun 11 Tues 4:00 Event: International Festival of Films on Art Balázs Béla Stúdió: 1961 – 1970 12:00 From the Archives: 16 at 12: Washington, 29 Tues City with a Plan Max Linder Ciné-Concert 12:00 From the Archives: 16 at 12: Dorothea 15 Sat Lange: Under the Trees; Eugène Atget (1856 – 1927) 2:30 Alexander Sokurov: Elegy of Life: Silvestre Revueltas: Music for Film Rostropovich Vishnevskaya February 4:30 Alexander
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles Misery Is the True Script For
    UNIVERSITY OF CALIFORNIA Los Angeles Misery is the True Script for Comedy: A Study of Italian Film Comedy in the 1950s A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Italian by Christopher Burton White 2014 © Copyright by Christopher Burton White 2014 ABSTRACT OF THE DISSERTATION Misery is the True Script for Comedy: A Study of Italian Film Comedy in the 1950s by Christopher Burton White Doctor of Philosophy in Italian University of California, Los Angeles, 2014 Professor Thomas J. Harrison, Chair This dissertation fills a lacuna in the history of Italian cinema, formally analyzes a selection of significant film comedies from the 1950s, and challenges many of the assumptions that have been made about postWar Italian cinema. The conservative atmosphere of the fifties, the detrimental effects of censorship on Italian cinema, and the return of popular genres after the end of the widely-acclaimed neorealist period have led to assumptions about a limited engagement With contemporary Italian society in the motion pictures produced in Italy during the 1950s. While most critics and film historians vieW these years in Italian cinema as the disappointing aftermath of neorealism, a decade in Which conservative elements in Italian society pushed national cinema in the direction of facile optimism and escapism, this dissertation demonstrates that many comedies in fact engaged with Italian society, ii offering incisive critiques of contemporary Italy that pinpoint and satirize hypocrisy, inequality, and a host of other ills of the Italian republic in the 1950s. This study considers existing scholarship on Italian cinema and reevaluates films starring the popular Neapolitan actor Antonio De Curtis (Totò), Renato Castellani’s Due soldi di speranza (Two Cents Worth of Hope, 1952) and other examples of neorealismo rosa (rosy or pink neorealism), and the movies directed by Federico Fellini featuring Alberto Sordi, both in terms of aesthetics as well as subject matter.
    [Show full text]
  • 1 Revisiting the Past As a Means of Validation: Bridging the Myth of The
    1 Revisiting the Past as a Means of Validation: Bridging the Myth of the Resistance and the Satire of the Economic Miracle in Two Comedies “Italian style” Giacomo Boitani, National University of Ireland, Galway Abstract: Many commedia all’italiana filmmakers have acknowledged the neorealist mode of production as a source of inspiration for their practice of pursuing social criticism in realistic and satirical comedies between 1958 and 1977. The detractors of the genre, however, have accused the commedia filmmakers of “diluting” the neorealist engagement to a simple description of the habits of Italians during the Economic Miracle, a description which threatened to encourage, through the casting of popular stars, the cynical attitude it sought to satirise. In this article, I shall discuss how two commedia all’italiana directors, namely Dino Risi and Ettore Scola, produced two significant commedie, respectively Una vita difficile (1961) and C’eravamo tanto amati (1974), which bridged the Resistance setting, associated with neorealism, and the Economic Miracle setting of most commedie all’italiana in order to reaffirm their neorealist roots, thus revisiting the past as a response to the critical underestimation from which their cinematic practice suffered. Many filmmakers of the comedy “Italian style” genre (commedia all’italiana) have acknowledged Italian neorealism as a source of inspiration for their practice of pursuing social criticism in realistic and satirical comedies produced in the years between 1958 and 1977. For instance, comedy “Italian style” star Alberto Sordi said that of those involved in the genre that “our project was to reinvent neorealism and to take it in a satirical direction” (Giacovelli, Un italiano 110),1 while director Marco Ferreri stated that “the commedia is neorealism revisited and modified in order to make people go to the movies” (Giacovelli, Commedia 21).
    [Show full text]