Settimana Della Cultura 18 - 26 Aprile 2009
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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. -
Il Mafioso (1962) Directed by Alberto Lattuada (1914-2005)
Il Mafioso (1962) Directed by Alberto Lattuada (1914-2005) Cinematographer: Armando Annuzzi Editor: Nino Baragli Screenplay: Rafael Azcona, Bruno Caruso, Marco Ferreri, Agenore Incrocci, Furio Scarpelli (Age and Scarpelli) Production: Compagnia Cinematografica Antonio Cervi Dino de Laurentiis Cinematografica Cast: Alberto Sordi: Nino Badalamenti Norma Bengell: Marta Badalamenti Ugo Attanasio: Don Vincenzo Armando Tine: Dr. Znchi Carmelo Oliviero: Don Liborio Brief Filmography: Additional production information at IMDb.com: http://www.imdb.com/name/nm0490444/ Questions for Class Discussion: Il Mafioso While viewing the film during in-class screening and outside of class, please take notes on the following questions/prompts. You may not be able to answer all the questions/prompts in one sitting, but try to jot down notes while viewing or directly after viewing. 1. How does the film establish the character (personality) of Antonio (Nino) Badalamenti? What kind of person is he? How does his character change throughout the film? What do you believe he learns about himself? 2. How does the film represent northern Italy (Milan)? Describe how the north is represented in the film? 1 3. How does the film represent Sicily? Describe Nino’s family and his town of Calamo. How does the film represent the clash between the old and new countries? 4. In Sicily, what are the men (Nino’s friends) doing on the beach? What do they discuss? 5. Describe Nino’s experience in the United States? How does he interact with the Italian Americans? What is he forced to do in the name of shared origins? 2 . -
October 5, 2010 (XXI:6) Federico Fellini, 8½ (1963, 138 Min)
October 5, 2010 (XXI:6) Federico Fellini, 8½ (1963, 138 min) Directed by Federico Fellini Story by Federico Fellini & Ennio Flaiano Screenplay by Ennio Flaiano, Tullio Pinelli, Federico Fellini & Brunello Rondi Produced by Angelo Rizzoli Original Music by Nino Rota Cinematography by Gianni Di Venanzo Film Editing by Leo Cattozzo Production Design by Piero Gherardi Art Direction by Piero Gherardi Costume Design by Piero Gherardi and Leonor Fini Third assistant director…Lina Wertmüller Academy Awards for Best Foreign Picture, Costume Design Marcello Mastroianni...Guido Anselmi Claudia Cardinale...Claudia Anouk Aimée...Luisa Anselmi Sandra Milo...Carla Hazel Rogers...La negretta Rossella Falk...Rossella Gilda Dahlberg...La moglie del giornalista americano Barbara Steele...Gloria Morin Mario Tarchetti...L'ufficio di stampa di Claudia Madeleine Lebeau...Madeleine, l'attrice francese Mary Indovino...La telepata Caterina Boratto...La signora misteriosa Frazier Rippy...Il segretario laico Eddra Gale...La Saraghina Francesco Rigamonti...Un'amico di Luisa Guido Alberti...Pace, il produttore Giulio Paradisi...Un'amico Mario Conocchia...Conocchia, il direttore di produzione Marco Gemini...Guido da ragazzo Bruno Agostini...Bruno - il secundo segretario di produzione Giuditta Rissone...La madre di Guido Cesarino Miceli Picardi...Cesarino, l'ispettore di produzione Annibale Ninchi...Il padre di Guido Jean Rougeul...Carini, il critico cinematografico Nino Rota...Bit Part Mario Pisu...Mario Mezzabotta Yvonne Casadei...Jacqueline Bonbon FEDERICO FELLINI -
Film Lives Heresm
TITANUS Two Women BERTRAND BONELLO NEW YORK AFRICAN FILM FESTIVAL MARTÍN REJTMAN TITANUS OPEN ROADS: NEW ITALIAN CINEMA HUMAN RIGHTS WATCH FILM FESTIVAL NEW YORK ASIAN FILM FESTIVAL SPECIAL PROGRAMS NEW RELEASES EMBASSY / THE KOBAL COLLECTION / THE KOBAL EMBASSY MAY/JUN 2015SM FILM LIVES HERE Elinor Bunin Munroe Film Center 144 W 65th St | Walter Reade Theater 165 W 65th St | filmlinc.com | @filmlinc HERE STARTS PROGRAMMING SPOTLIGHT TABLE OF CONTENTS I PUT A SPELL ON YOU: THE FILMS OF BERTRAND BONELLO Festivals & Series 2 I Put a Spell on You: The Films of Bertrand Bonello (Through May 4) 2 PROVOKES PROVOKES Each new Bertrand Bonello film is an event in and of itself.Part of what makes Bonello’s work so thrilling is that, with some exceptions, world cinema has yet to catch up with his New York African Film Festival (May 6 – 12) 4 unique combination of artistic rigor and ability to distill emotion from the often extravagantly Sounds Like Music: The Films of Martín Rejtman (May 13 – 19) 7 stylish, almost baroque figures, places, and events that he portrays. He already occupies Titanus (May 22 – 31) 8 HERE FILM a singular place in French cinema, and we’re excited that our audiences now have the Open Roads: New Italian Cinema (June 4 – 11) 12 opportunity to discover a body of work that is unlike any other. –Dennis Lim, Director of Programming Human Rights Watch Film Festval (June 12 – 20) 16 New York Asian Film Festival (June 26 – July 8) 17 HERE FILM Special Programs 18 INSPIRES TITANUS Sound + Vision Live (May 28, June 25) 18 We have selected 23 cinematic gems from the Locarno Film Festival’s tribute to Titanus. -
THE MUSEUM of MODERN ART If WEST 53 STREET, NEW YORK 19, N
THE MUSEUM OF MODERN ART If WEST 53 STREET, NEW YORK 19, N. Y. TftfPHONI: CIRCLE 5-8900 FOR RELEASE: kl May 1, 1955 No SCHEDULE OF EXHIBITIONS AND EVENTS MUSEUM HOURS: ADMISSION: Weekdays 12 - 7 p.*.(») Adults 60fi Sundays 1 - 7 p.m. Children 20/£ Note: Full releases on each exhibition are available five days before the opening. Photographs are available on request, MAY OPENINGS AND EVENTS f May fc RODIN S MONUMENT TO BALZAC on view in the Museum garden. A gift to the Museum by friends of the late Curt Valentin. May 11 - Aug.7 THE NEW DECADE: 22 EUROPEAN PAINTERS AND SCULPTORS. 85 paintings and sculptures selected by Andrew Carnduff Ritchie, Director of the Museum's Department of Painting and Sculpture. The exhibition will open concurrently with the Whitney Museum's exhibition: The New Decade: 35 American Painters and Sculptors.(Press preview: May 10 '- 1-5 p.m.) (third floor) May 17 & 18 ** THE STORY OF APU AND DUTGA - World Premiere of a feature film of (sold out for Bengal village life, produced by Satyajit Ray of Calcutta, 1955. May 17th eve.) The last of "The Living Arts of India"series of evenings to be presented by the Museum's Junior Council in connection with the 8:30 p.m. in the exhibition, "Textiles and Ornamental Arts of India," currently Auditorium on view in the Museum's first floor galleries. Admission: Members and Students - $2.25, Non-members - $3.00 May 25 - Sept. 5 PAINTINGS FROM PRIVATE COLLECTIONS. An exhibition of approximately 100 important paintings from the collections of friends of the Museum, planned to complement the "Paintings from the Museum Collection" exhibition with which the Museum's 25th Anniversary celebration opened. -
Filmographie
347 Filmographie Abbasso la miseria! (Gennaro Righelli, 1945) Acciaio (Walter Ruttmann, 1933) Achtung! Banditi! (Carlo Lizzani, 1951) L’amore (Roberto Rossellini, 1948) Anna (Alberto Lattuada, 1951) I bambini ci guardano (Vittorio De Sica, 1943) Bambini in città (Luigi Comencini, 1946) Il bandito (Alberto Lattuada, 1946) Il bell’Antonio (Mauro Bolognini, 1960) Bellissima (Luchino Visconti, 1951) Berliner Ballade (Robert Adolf Stemmle, 1948) Cabiria (Giovanni Pastrone, 1914) Caccia tragica (Giuseppe De Santis, 1947) Camicia nera (Giovacchino Forzano, 1933) Campane a martello (Luigi Zampa, 1950) Campo de’ Fiori (Mario Bonnard, 1943) Catene (Raffaello Matarazzo, 1949) Cielo sulla palude (Augosto Genina, 1949) La Ciociara (Vittorio De Sica, 1960) Comacchio (Fernando Cerchio, 1942) La confessione di una donna (Amleto Palermi, 1928) Il delitto di Giovanni Episcopo (Alberto Lattuada, 1947) Desiderio (Roberto Rossellini, 1946) Due lettere anonime (Mario Camerini, 1945) Eins-zwei-drei Corona! (Hans Müller, 1948) I fi gli di nessuno (Raffaello Matarazzo, 1951) La fortuna di essere donna (Alessandro Blasetti, 1956) Gente del Po (Michelangelo Antonioni, 1943, veröffentlicht 1947) Germania anno zero (Roberto Rossellini, 1947) Gioventù perduta (Pietro Germi, 1947) Il grande appello (Mario Camerini, 1936) La grande bouffe (Marco Ferreri, 1973) In jenen Tagen (Helmut Käutner, 1947) Irgendwo in Berlin (Gerhard Lamprecht, 1946) Ladri di biciclette (Vittorio De Sica, 1949) Liebe 47 (Wolfgang Liebeneiner, 1949) Luci del varietà (Federico Fellini, 1950) Luciano -
[email protected]
1 Via Franchino Rusca 1, ch–6600 Locarno t +41 91 756 21 21 [email protected] www.locarnofestival.ch July 1 2021 PRESS KIT #Locarno74 This press kit is also available on the Locarno Film Festival website and contains all the information updated by the end of June. The complete and constantly updated information will be available on the Festival website, while the program with days and times of the screenings and activities will be available on the Festival website, official app, and its official channels from mid-July. The official Cat- alogue will be available by the end of July. Trailers, Excerpts and Photos* Press materials such as photographs, stills, excerpts, and trailers of the films selected for the 74th edition of the Locarno Film Festival are available at the following link. In general, photos, stills, excerpts, and trailers are freely available to journalists for editorial purpos- es. The commercial use of photographic and video material (for advertising and other commercial use) by third parties is strictly prohibited. All images are legally protected. Any use that is unlawful or that harms the image of the Locarno Film Festival is strictly prohibited. The publication is authorized only with the indication of the source when present (©). More information about the use of photographs and the Festival brand is available at locarnofestival.ch/brandmanual. If in doubt, contact [email protected] * Excerpts from some films in the official selection are available in broadcast quality and web quality. It is possible that we may not have received all materials in time. @LocarnoFilmFestival @FilmsFestLocarno @filmsfestlocarno LocarnoFilmFestival Road to Locarno74 #Locarno74 #Locarno74 #Locarno74 #Locarno74 FAQs 2 3 Contents Introduction by Marco Solari, President Introduction by Giona A. -
Sorelle Fontana and Hollywood on the Tiber: the Birth of the Modern Italian Fashion Industry 1949-1959
Sorelle Fontana and Hollywood on the Tiber: The Birth of the Modern Italian Fashion Industry 1949-1959 Courtney Lyons Undergraduate Senior Thesis Department of History Barnard College, Columbia University Professor Joel Kaye April 7, 2021 Lyons 1 Table of Contents Acknowledgments……………………………………………………………………………..…..2 Introduction……………………………………………………………………………..…………3 Chapter One: The Beginnings of Italian Fashion……………………………………………...….9 Chapter Two: The Growth of Cinecittà Studios and Hollywood on the Tiber……………….….20 Chapter Three: Sorelle Fontana and Hollywood……………….………..…………………..…..31 Chapter Four: The Rise of the Modern Italian Fashion Industry………………………………..46 Conclusion ……………………………………………………………………………………....63 Images……………………………………………………………………………………………65 Bibliography……………………………………………………………………………………..68 Lyons 2 Acknowledgments First, I would like to thank Professor Joel Kaye, who I have been lucky enough to call my thesis advisor this past year. Through your detailed feedback and many informative sessions, you have pushed me to become a better writer and historian, and I will be forever grateful for that. Thank you for always embracing my love of scandalous pop culture history and making our research seminar the best part of my week. Thank you to Professor Lisa Tiersten, my academic advisor, for taking me on as a last-minute advisee and admitting me into your seminar, even though it was full. It was under your guidance that I have been able to foster my love of fashion history. I would also like to thank Professor Barbara Faedda, whose “Culture of Italian Fashion” course inspired me to write my thesis on the topic. Finally, to both the Barnard and Columbia History Departments, thank you. Every history course that I have taken during my time here has been a pleasure. -
Dossier De Presse Et Photos Téléchargeables Sur SYNOPSIS
TF1 Studio et Les Acacias présentent 2 FILMS DE ALBERTO LATTUADA CHRISTIAN MARQUAND CATHERINE SPAAK JEAN SOREL UN FILM DE ALBERTO LATTUADA TITANUS PRÉSENTE UNE COPRODUCTION ITALO-FRANÇAISE TITANUS LAETITIA FILMS - ROME LES FILMS MARCEAU-COCINOR SOCIÉTÉ GÉNÉRALE DE CINÉMATOGRAPHIE - PARIS ”DOLCI INGANNI” (LES ADOLESCENTES) UN FILM DE ALBERTO LATTUADA AVEC CHRISTIAN MARQUAND CATHERINE SPAAK JEAN SOREL AVEC LA PARTICIPATION DE MILLY AVEC PATRIZIA BINI JUANITA FAUST OLIVIERO DANI GISELLA ARDEN SUJET DE ALBERTO LATTUADA ET FRANCESCO GHEDINI D’APRÈS UNE IDÉE DE ALBERTO LATTUADA SCÉNARIO ALBERTO LATTUADA FRANCESCO GHEDINI CLAUDE BRULÉ SCÉNOGRAPHIE MAURIZIO CHIARI DÉCORS NEDO AZZINI COSTUMES LUCIA MIRISOLA DIRECTION DE PRODUCTION BIANCA LATTUADA MONTAGE LEO CATOZZO DIRECTEUR DE LA PHOTOGRAPHIE GABOR POGANY MUSIQUE PIERO PICCIONI © 1960 - TITANUS - LAETITIA FILMS - LES FILMS MARCEAU-COCINOR - S.G.C - TF1 DROITS AUDIOVISUELS VERSION RESTAURÉE 4K AU CINÉMA LE 29 JUILLET 2020 DISTRIBUTION PRESSE LES ACACIAS THIERRY VIDEAU 63, rue de Ponthieu 6, rue de la Victoire 75008 Paris 75009 Paris Tél. 01 56 69 29 30 Tél. 06 13 59 67 73 [email protected] [email protected] Dossier de presse et photos téléchargeables sur www.acaciasfilms.com SYNOPSIS GUENDALINA La saison se termine dans la station balnéaire de Viareggio et la jeune Guendalina, fille d'un couple de bourgeois, voit se prolonger indéfiniment ses vacances en compagnie de sa mère : ses parents sont au bord de la séparation et le retour à Milan a été reporté. Sans grande conviction et surtout pour dissiper son ennui, Guendalina flirte avec Oberdan, un jeune homme d'origine sociale mo - deste. LES ADOLESCENTES Une jeune fille de bonne famille, Francesca, dix- sept ans, se réveille un matin consciente de son attirance pour Enrico, un architecte de vingt ans son aîné. -
39 Federico Fellini: from Catholicism to the Collective Unconscious
Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2016 Federico Fellini: from catholicism to the collective unconscious Mäder, Marie-Therese Posted at the Zurich Open Repository and Archive, University of Zurich ZORA URL: https://doi.org/10.5167/uzh-129171 Book Section Published Version Originally published at: Mäder, Marie-Therese (2016). Federico Fellini: from catholicism to the collective unconscious. In: Burnette-Bletsch, Rhonda. The Bible in motion : a handbook of the Bible and its reception in film. Berlin/Boston: De Gruyter, 635-648. Marie-Therese Mäder 39 FedericoFellini: From Catholicismtothe Collective Unconscious The interface between Federico Fellini’s(1920–1993) oeuvreand religion is rich but complex and evident in abroad rangeofreligiouslyconnoted topics,motifs, stories, and styles.Literal biblical references rarelyappear in Fellini’scinematic universe. Nevertheless they are present,often visualized and materialized in asubverted char- acter.For biblical reception in Fellini’swork is mediated through his interpretation of Catholic ideas inasmuchashereceivedthe biblical tradition in athoroughlyRoman Catholic context. Fellini’screative period, which started in 1950 with Luci del varietà (a.k.a.Variety Lights)and ended in 1990 with La voce della luna (a.k.a. TheVoice of the Moon), com- prises twenty-four films thathedirected. Films withoutreference to Roman Cathol- icism are in the minority,asFellini unremittingly accused the Church and its agents of factitiousness and ambivalence. Roman Catholic censorsofficiallybanned La ten- tazionedel dottor Antonio (1962, a.k.a. TheTemptationofDr. Antonio,acontribution to the omnibus production Boccaccio ’70)and 8½ (1963). Conservative groups pro- tested at the screenings of other works.Fellini’scritical ambivalencetowardthe Church is repeatedlyevident in the aesthetic of his workand attests to the signifi- cance of RomanCatholicism in his familial, social,and educational background. -
Cinema and Landscape, Italian Heritage and Widespread Museum Marcello Zeppi Montecatini Cinema Association, Italy
AVANCA | CINEMA 2020 Cinema and landscape, Italian heritage and widespread museum Marcello Zeppi Montecatini Cinema Association, Italy Abstract landscape appears to be a mirror of the inner otherness and mystery that a person, a family, a country can hide. “Historical and artistic beauty is pervasive, it enters The regional landscape and the consciousness of the every corner of the territory.” anthropological gaze prove to be a great keystone of The landscape is a fundamental identity factor for the new Italian cinema. Italy. The landscape has long been considered a Genesis of the Italian landscape at the multiplier of the value of The Italian historical-artistic cinema and architectural heritage. Over time the way you tell the landscape changes. To reconstruct the transformations of our Writers and travelers with their stories have helped landscape, cinema is a formidable tool until now to create the myth of the Italian landscape by retracing little used. From Romanticism, when the current the narrative matrix back in time of the “great tours” idea of landscape arrives in our Peninsula, until the in the 18th and 19th centuries, often describing it as early twentieth century, Italians have looked at our “garden of Europe”, or “beautiful country “. landscape through the history of art. From Giotto In the twentieth century the history of the landscape to the squares of De Chirico and the suburbs of used different forms of artistic expression. Painters, Sironi, it was painting that taught us to look at the poets, artists, musicians use the landscape to give transformations of our territory. At some point in the value to their works. -
A Cinematic Grand Tour of Sicily: Irony, Memory, and Metamorphic Desire from Goethe to Tornatore
A Cinematic Grand Tour of Sicily: Irony, Memory, and Metamorphic Desire from Goethe to Tornatore Gaetana Marrone I also feel a strong urge of the memory of a Mediterranean culture, of a classical culture as the matrix of Western culture. Hence, my need to rediscover in these tall and deep roots the essence of our spirit before all of this is erased, before it all disappears. — Vincenzo Consolo 1 A palimpsest of multiple cultures – ancient Greek and Roman, Phoenician, Byzantine, Arab, Norman, Spanish, and “Italian” – Sicily is rich and poor, a crossroads of civilizations, and a provincial backwater, traditional and yet, from time to time and in particular milieus, modernist. Deep and enduring class distinctions add yet another layer to the complexity of the Sicilian experience. To many who find the burdens of this culture oppressive and hard to bear, the only viable solution is to leave the island. But expatriation does not untie the tangled knots of history; memories of home haunt the exile in the midst of newfound freedoms and opportunities. For Sicilian writers and artists, the strains of modernity and tradition, emancipation and destiny, longing to escape and loyalty to family, community, and history have been a central artistic theme. The peculiar conditions of their eccentric and often backward, yet historically and culturally pivotal homeland have enabled them to express the common experience of modernity with special poignancy. Certainly Vincenzo Consolo has portrayed the people of his exasperated and tragic island in such a way that human beings around the globe can identify with their search for selfhood: in his work, Sicily becomes an image for a magnificent past and for the missed opportunities, both individual and collective, of the present.