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William A. Seiter ATTORI
A.A. Criminale cercasi Dear Brat USA 1951 REGIA: William A. Seiter ATTORI: Mona Freeman; Billy DeWolfe; Edward Arnold; Lyle Bettger A cavallo della tigre It. 1961 REGIA: Luigi Comencini ATTORI: Nino Manfredi; Mario Adorf; Gian Maria Volont*; Valeria Moriconi; Raymond Bussires L'agente speciale Mackintosh The Mackintosh Man USA 1973 REGIA: John Huston ATTORI: Paul Newman; Dominique Sanda; James Mason; Harry Andrews; Ian Bannen Le ali della libert^ The Shawshank Redemption USA 1994 REGIA: Frank Darabont ATTORI: Tim Robbins; Morgan Freeman; James Whitmore; Clancy Brown; Bob Gunton Un alibi troppo perfetto Two Way Stretch GB 1960 REGIA: Robert Day ATTORI: Peter Sellers; Wilfrid Hyde-White; Lionel Jeffries All'ultimo secondo Outlaw Blues USA 1977 REGIA: Richard T. Heffron ATTORI: Peter Fonda; Susan Saint James; John Crawford A me la libert^ A nous la libert* Fr. 1931 REGIA: Ren* Clair ATTORI: Raymond Cordy; Henri Marchand; Paul Olivier; Rolla France; Andr* Michaud American History X USA 1999 REGIA: Tony Kaye ATTORI: Edward Norton; Edward Furlong; Stacy Keach; Avery Brooks; Elliott Gould Gli ammutinati di Sing Sing Within These Walls USA 1945 REGIA: Bruce H. Humberstone ATTORI: Thomas Mitchell; Mary Anderson; Edward Ryan Amore Szerelem Ung. 1970 REGIA: K‡roly Makk ATTORI: Lili Darvas; Mari T*r*csik; Iv‡n Darvas; Erzsi Orsolya Angelo bianco It. 1955 REGIA: Raffaello Matarazzo ATTORI: Amedeo Nazzari; Yvonne Sanson; Enrica Dyrell; Alberto Farnese; Philippe Hersent L'angelo della morte Brother John USA 1971 REGIA: James Goldstone ATTORI: Sidney Poitier; Will Geer; Bradford Dillman; Beverly Todd L'angolo rosso Red Corner USA 1998 REGIA: Jon Avnet ATTORI: Richard Gere; Bai Ling; Bradley Whitford; Peter Donat; Tzi Ma; Richard Venture Anni di piombo Die bleierne Zeit RFT 1981 REGIA: Margarethe von Trotta ATTORI: Jutta Lampe; Barbara Sukowa; RŸdiger Vogler Anni facili It. -
Amedeo Nazzari and National Melodramatic Masculinity
Maria Elena D’Amelio ‘The ideal man’. Amedeo Nazzari and national melodramatic masculinity In 1939 the film magazine Cinema organized a survey among its read- ers, to establish who was the most popular actor in Italy. Amedeo Nazzari came in first with 19,020 votes, widely surpassing the other candidates, such as Fosco Giachetti and Vittorio De Sica1. Nazzari, born in Sardinia in 1907, had just achieved enormous success with two films directed by Goffredo Alessandrini, Cavalleria (1936) and Luciano Serra pilota (1938). With the latter Nazzari had also won the Coppa Mussolini at the Venice Film Festival in 1938. Due to the popularity of these films in Fascist Italy, with their themes of masculine heroism and war sacrifice, the result of the 1939 survey wasn’t that surprising. More surprising was a 1982 poll organized by the TV show Flash which asked its spectators to choose a individual from the past who would represent their ‘ideal man’. The result was again Amedeo Nazzari, who surpassed international stars such as Tyrone Power, media icons such John F. Kennedy, and popular histor- ical heroes like Garibaldi. In 1982, three years after his death, Nazzari still embodied a summa of the highest values of Italian masculinity in the collective imaginary. The longevity of Nazzari’s stardom in Italian cinema serves as a site to explore the link between stardom, gender, politics and industry during the transition from the Fascist era to the postwar period, focusing on the cultural signification of his star persona and his work in one of the most popular genres of postwar Italy, the melodrama. -
Le Mélodrame Cinématographique Des Années 1950 En France Film Genre, Social Identity and Gender
Document generated on 10/02/2021 11:26 p.m. Cinémas Revue d'études cinématographiques Journal of Film Studies Genre cinématographique, identité sociale et gender. Une étude de cas : le mélodrame cinématographique des années 1950 en France Film Genre, Social Identity and Gender. A Case Study: The Melodrama in 1950s France Jean-Marc Leveratto Genre/Gender Article abstract Volume 22, Number 2-3, Spring 2012 Combining micro-history and ethnographic observation, the author of this article endeavours, using a study of the market for new film releases in a small URI: https://id.erudit.org/iderudit/1011658ar French town from 1948 to 1960, to provide an objective account of the DOI: https://doi.org/10.7202/1011658ar film-going experience of working-class female viewers, and in particular the individual ways in which they appropriated the film melodrama. Through See table of contents analysis of Italian melodramas, which met with considerable box-office success in France in the 1950s and were widely disseminated in the women’s press in the form of serializations and novelizations, and a survey of the discussions they gave rise to in readers’ letters to Film complet, the author establishes the Publisher(s) ambiguity of their reception. The patriarchal ideology in which these film Cinémas fictions were rooted did not prevent some female viewers, in light of their personal experience and the socio-economic dynamic of which they were a part, from seeing them as opportunities to question the fairness and justice of ISSN social relations between the sexes. This study thus seeks to correct a reductive 1181-6945 (print) and pejorative vision of the film melodrama and of women’s tastes, to which 1705-6500 (digital) the melodrama gives expression. -
GENS VLACHORUM in HISTORIA SERBORUMQUE SLAVORUM (Vlachs in the History of the Serbs and Slavs)
ПЕТАР Б. БОГУНОВИЋ УДК 94(497.11) Нови Сад Оригиналан научни рад Република Србија Примљен: 21.01.2018 Одобрен: 23.02.2018 Страна: 577-600 GENS VLACHORUM IN HISTORIA SERBORUMQUE SLAVORUM (Vlachs in the History of the Serbs and Slavs) Part 1 Summary: This article deals with the issue of the term Vlach, that is, its genesis, dis- persion through history and geographical distribution. Also, the article tries to throw a little more light on this notion, through a multidisciplinary view on the part of the population that has been named Vlachs in the past or present. The goal is to create an image of what they really are, and what they have never been, through a specific chronological historical overview of data related to the Vlachs. Thus, it allows the reader to understand, through the facts presented here, the misconceptions that are related to this term in the historiographic literature. Key words: Vlachs, Morlachs, Serbs, Slavs, Wallachia, Moldavia, Romanian Orthodox Church The terms »Vlach«1, or later, »Morlach«2, does not represent the nationality, that is, they have never represented it throughout the history, because both of this terms exclusively refer to the members of Serbian nation, in the Serbian ethnic area. –––––––––––– [email protected] 1 Serbian (Cyrillic script): влах. »Now in answer to all these frivolous assertions, it is sufficient to observe, that our Morlacchi are called Vlassi, that is, noble or potent, for the same reason that the body of the nation is called Slavi, which means glorious; that the word Vlah has nothing -
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Byzantina Symmeikta Vol. 29, 2019 Byzantine families in Venetian context: The Gavalas and Ialinas family in Venetian Crete (XIIIth- XIVth centuries) ΓΑΣΠΑΡΗΣ Χαράλαμπος Institute of Historical Research, Athens https://doi.org/10.12681/byzsym.16249 Copyright © 2019 Χαράλαμπος Γάσπαρης To cite this article: ΓΑΣΠΑΡΗΣ, (2019). Byzantine families in Venetian context: The Gavalas and Ialinas family in Venetian Crete (XIIIth- XIVth centuries). Byzantina Symmeikta, 29, 1-132. doi:https://doi.org/10.12681/byzsym.16249 http://epublishing.ekt.gr | e-Publisher: EKT | Downloaded at 30/09/2021 15:19:54 | INSTITUTE OF HISTORICAL RESEARCH ΙΝΣΤΙΤΟΥΤΟ ΙΣΤΟΡΙΚΩΝ ΕΡΕΥΝΩΝ SECTION OF BYZANTINE RESEARCH ΤΟΜΕΑΣ ΒΥΖΑΝΤΙΝΩΝ ΕΡΕΥΝΩΝ NATIONAL HELLENIC RESEARCH FOUNDATION ΕΘΝΙΚΟ IΔΡΥΜΑ ΕΡΕΥΝΩΝ CHARALAMBOS GASPARIS EFI RAGIA Byzantine Families in Venetian Context: THE GEOGRAPHY OF THE PROVINCIAL ADMINISTRATION OF THE TheBYZAN GavalasTINE E andMPI REIalinas (CA 600-1200):Families I.1.in T HVenetianE APOTHE CreteKAI OF (XIIIth–XIVthASIA MINOR (7T HCenturies)-8TH C.) ΤΟΜΟΣ 29 VOLUME ΠΑΡΑΡΤΗΜΑ / APPENDIX ΑΘΗΝΑ • 20092019 • ATHENS http://epublishing.ekt.gr | e-Publisher: EKT | Downloaded at 30/09/2021 15:19:54 | http://epublishing.ekt.gr | e-Publisher: EKT | Downloaded at 30/09/2021 15:19:54 | http://epublishing.ekt.gr | e-Publisher: EKT | Downloaded at 30/09/2021 15:19:54 | ΒΥΖΑΝΤΙΝΑ ΣΥΜΜΕΙΚΤΑ 29 ΠΑΡΑΡΤΗΜΑ ΒΥΖΑΝΤΙΝΑ SYMMEIKTA 29 APPENDIX http://epublishing.ekt.gr | e-Publisher: EKT | Downloaded at 30/09/2021 15:19:54 | NATIONAL HELLENIC RESEARCH FOUNDATION INSTITUTE OF -
Reinhold C. Mueller
Reinhold C. Mueller Aspects of Venetian Sovereignty in Medieval and Renaissance Dalmatia [A stampa in Quattrocento Adriatico , Fifteenth Century Art of the Adriatic Rim , Papers from a colloquium, Florence, 1994, edited by Charles Dempsey (Villa Spelman Colloquia Series, 5), Bologna, Nuova Alfa Editoriale, 1996, pp. 29-56 – Distribuito in formato digitale da “Reti Medievali”] The reader is forewarned that this paper, which maintains the character of the original oral presentation, makes no attempt at covering completely such a vast subject, on which there is an extensive bibliography - much of it in Serbo-Croatian, a language I do not know. My intent is simply to offer for discussion some little-exploited historical materials on well-known themes that exemplify contacts between the two coasts of the Adriatic Sea, especially - but not only - during the Quattrocento. Following an overview of the history of Venetian sovereignty in that part of the Stato da mar, attention will turn to aspects of politics and society, that is, to the political, financial and monetary administration of the subject territories and to the movement of people and peoples across the Adriatic. I. AN OVERVIEW OF HISTORY AND MYTH Venetian efforts at domination of the eastern Adriatic can be said to have begun in the year 1000, with the naval expedition commanded personally by doge Pietro II Orseolo, which put an end to the activity of pirates installed at the mouth of the Narenta River and first avowed control over the Adriatic as the “Gulf of Venice.” Lordship over the Adriatic was central to Venetian historiography and mythology over the centuries: from the supposed papal grant of lordship at the peace of 1177 with Barbarossa and the ceremony each Ascension day of the doge wedding the sea, to invocations of Jove and Neptune - all depicted as part of a political program in the redecoration of the Ducal Palace after the fire of 1577 As late as the eighteenth century, Tiepolo still represented Neptune and the sea as the source of Venice’s wealth, when that was already history. -
The Role of Ezio's Struggle in Italian
THE ROLE OF EZIO’S STRUGGLE IN ITALIAN REVOLUTION ERA IN OLIVER BOWDEN’S ASSASSIN’S CREED RENAISSANCE THESIS BY REDY LUHUR BUDIASTA 0911110243 STUDY PROGRAM OF ENGLISH DEPARTMENT OF LANGUAGES AND LITERATURE FACULTY OF CULTURAL STUDIES UNIVERSITAS BRAWIJAYA 2013 THE ROLE OF EZIO’S STRUGGLE IN ITALIAN REVOLUTION ERA IN OLIVER BOWDEN’S ASSASSIN’S CREED RENAISSANCE THESIS BY REDY LUHUR BUDIASTA NIM 0911110243 STUDY PROGRAM OF ENGLISH DEPARTMENT OF LANGUAGES AND LITERATURE FACULTY OF CULTURAL STUDIES UNIVERSITAS BRAWIJAYA 2013 THE ROLE OF EZIO’S STRUGGLE IN ITALIAN REVOLUTION ERA IN OLIVER BOWDEN’S ASSASSIN’S CREED RENAISSANCE THESIS Presented to Universitas Brawijaya in partial fulfillment of the requirements for the degree of Sarjana Sastra BY REDY LUHUR BUDIASTA NIM 0911110243 STUDY PROGRAM OF ENGLISH DEPARTMENT OF LANGUAGES AND LITERATURE FACULTY OF CULTURAL STUDIES BRAWIJAYA UNIVERSITY 2013 DECLARATION OF AUTHORSHIP Herewith I: Name : Redy Luhur BudiAsta NIM : 0911110243 Address : Jl. Watugilang 17A, Malang declare that: 1. This thesis is the sole work of mine and has not been written in collaboration with any other person, nor does it include, without due acknowledgement, the work of any other person. 2. If at a later time it is found that this thesis is a product of plagiarism, I am willing to accept any legal consequences that may be imposed on me. Malang, 5 September 2013 Redy Luhur BudiAsta NIM. 0911110243 This is to certify that the Sarjana skripsi of Redy Luhur BudiAsta has been approved by the Boards of Supervisors. Malang, Supervisor Dr. Sri Herminingrum, M.Hum. NIP. 19550418 198303 2 001 Malang, Co-Supervisor Fredy Nugroho S, S.S., M.Hum NIK. -
THE BERNARD and MARY BERENSON COLLECTION of EUROPEAN PAINTINGS at I TATTI Carl Brandon Strehlke and Machtelt Brüggen Israëls
THE BERNARD AND MARY BERENSON COLLECTION OF EUROPEAN PAINTINGS AT I TATTI Carl Brandon Strehlke and Machtelt Brüggen Israëls GENERAL INDEX by Bonnie J. Blackburn Page numbers in italics indicate Albrighi, Luigi, 14, 34, 79, 143–44 Altichiero, 588 Amsterdam, Rijksmuseum catalogue entries. (Fig. 12.1) Alunno, Niccolò, 34, 59, 87–92, 618 Angelico (Fra), Virgin of Humility Alcanyiç, Miquel, and Starnina altarpiece for San Francesco, Cagli (no. SK-A-3011), 100 A Ascension (New York, (Milan, Brera, no. 504), 87, 91 Bellini, Giovanni, Virgin and Child Abbocatelli, Pentesilea di Guglielmo Metropolitan Museum altarpiece for San Nicolò, Foligno (nos. 3379 and A3287), 118 n. 4 degli, 574 of Art, no. 1876.10; New (Paris, Louvre, no. 53), 87 Bulgarini, Bartolomeo, Virgin of Abbott, Senda, 14, 43 nn. 17 and 41, 44 York, Hispanic Society of Annunciation for Confraternità Humility (no. A 4002), 193, 194 n. 60, 427, 674 n. 6 America, no. A2031), 527 dell’Annunziata, Perugia (Figs. 22.1, 22.2), 195–96 Abercorn, Duke of, 525 n. 3 Alessandro da Caravaggio, 203 (Perugia, Galleria Nazionale Cima da Conegliano (?), Virgin Aberdeen, Art Gallery Alesso di Benozzo and Gherardo dell’Umbria, no. 169), 92 and Child (no. SK–A 1219), Vecchietta, portable triptych del Fora Crucifixion (Claremont, Pomona 208 n. 14 (no. 4571), 607 Annunciation (App. 1), 536, 539 College Museum of Art, Giovanni di Paolo, Crucifixion Abraham, Bishop of Suzdal, 419 n. 2, 735 no. P 61.1.9), 92 n. 11 (no. SK-C-1596), 331 Accarigi family, 244 Alexander VI Borgia, Pope, 509, 576 Crucifixion (Foligno, Palazzo Gossaert, Jan, drawing of Hercules Acciaioli, Lorenzo, Bishop of Arezzo, Alexeivich, Alexei, Grand Duke of Arcivescovile), 90 Kills Eurythion (no. -
The Evolution of Landscape in Venetian Painting, 1475-1525
THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 by James Reynolds Jewitt BA in Art History, Hartwick College, 2006 BA in English, Hartwick College, 2006 MA, University of Pittsburgh, 2009 Submitted to the Graduate Faculty of The Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by James Reynolds Jewitt It was defended on April 7, 2014 and approved by C. Drew Armstrong, Associate Professor, History of Art and Architecture Kirk Savage, Professor, History of Art and Architecture Jennifer Waldron, Associate Professor, Department of English Dissertation Advisor: Ann Sutherland Harris, Professor Emerita, History of Art and Architecture ii Copyright © by James Reynolds Jewitt 2014 iii THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 James R. Jewitt, PhD University of Pittsburgh, 2014 Landscape painting assumed a new prominence in Venetian painting between the late fifteenth to early sixteenth century: this study aims to understand why and how this happened. It begins by redefining the conception of landscape in Renaissance Italy and then examines several ambitious easel paintings produced by major Venetian painters, beginning with Giovanni Bellini’s (c.1431- 36-1516) St. Francis in the Desert (c.1475), that give landscape a far more significant role than previously seen in comparable commissions by their peers, or even in their own work. After an introductory chapter reconsidering all previous hypotheses regarding Venetian painters’ reputations as accomplished landscape painters, it is divided into four chronologically arranged case study chapters. -
Masculinity, Stardom, and Italian Cinema 1. the Actresses Listed Were Margherita Buy, Claudia Gerini, and Cristiana Capotondi
Notes Introduction Trouble Men: Masculinity, Stardom, and Italian Cinema 1. The actresses listed were Margherita Buy, Claudia Gerini, and Cristiana Capotondi. Capotondi was bracketed with regular costar Fabio De Luigi in eighth place. Buy ranked nineteenth and Gerini twenty-third. The top male stars were mostly comics (including Alessandro Siani, Claudio Bisio, Christian De Sica, Checco Zalone, Carlo Verdone, and Antonio Albanese). See Ciak, September 9, 2013. 2. The majority of this criticism has been Anglophone, though see Grignaffini (1988). On Loren, see Gundle (1995a) and Small (2009); on Lollobrigida, see Buckley (2000). Gundle (2007: xix) mentions that male beauty could also be discussed, and cites Malossi’s volume on the figure of the Latin Lover. However, it is interesting that La Cecla in that book admits that “it is difficult to take the Latin Lover seriously” (1996: 26), and he is interpreted as a figure of slightly pathetic comic value, rather than as a symbol of the nation. All trans- lations from Italian are my own, unless otherwise stated. 3. See the cover images for Bondanella (2014), Bertellini (2004), Brunetta (2009), Wood (2005), Sorlin (1996), Brizio-Skov (2011), and Nowell-Smith (1996). 4. De Biasio identifies this as a compensatory move on the part of femi- nism: “The omnipresence and presumed ‘universality’ of men in his- tory, in the arts, in science, in public life, has led to the focusing on women’s identity, lobbying for the rights that were still denied them [ . ] and valorizing their achievements and their contributions to the collective” (2010: 12). 5. Jedlowski says: “While we have an abundant literature on the dif- ferent manifestations and transformations of female identity, reflec- tions on masculinity are, till now, few and far between in Italy” (2009: 11). -
Cinque Novembre Ore 18.00 — Galleria Nazionale D'arte Antica In
Premi cinque novembre ore 18.00 Vittorio— G alleDria Nazioneale d 'ArSte Antica iin cPalaazzo Barbe2rin — Salo0ne di Piet1ro da4 Cortona a h p l A o i d u t S : a p m a t s e e n o i z a n i g a p m I o n a g a P con il contributo o t T r e ACCADEMIA DEL CINEMA ITALIANO b l A : ASSOCIAZIONE CULTURALE PANGEA a SOTTO L’ALTO PATRONATO DEL c i f a ASSOCIAZIONE AMICI DI VITTORIO DE SICA r G PRESIDENTE DELLA REPUBBLICA Presidente GIAN LUIGI RONDI DIREZIONE GENERALE PER IL CINEMA BIOGRAFIE ESSENZIALI LUCA BIGAZZI LIONELLO CERRI MARCO GIALLINI ALBA ROHRWACHER AMEDEO SALFA SYDNEY SIBILIA ALESSANDRO BENETTON o r a C i D e p p e s u i G : i d o t o F GIANLUCA FARINELLI GUIDO STRAZZA DUCCIO TROMBADORI LAURA DELLI COLLI PAOLO MEREGHETTI SIMONE CASAVECCHIA ELISABETTA SGARBI ROBERTO VECCHIONI GERARDO MAROTTA FRANCESCA BENDETTI ASCANIO CELESTINI EMMA DANTE FABIOLA GIANOTTI WALTER VELTRONI ETTORE SCOLA most Blue , 2000, di Alex Infascelli; Tre punto sei , 2014, scritto insieme a Valerio Attanasio e Andrea Ga - CINEMA ITALIANO 2001, di Nicola Rondolino, Non ti muovere , 2004, rello, prodotto dalla Fandango di Domenico Procac - di Sergio Castellitto; Io, loro e Lara , 2009, di Carlo Ver - ci, dalla Ascent Film di Matteo Rovere e da RAICine - luca biGazzi ► done, Ciak d’oro; La bellezza del somaro , 2010, di ma. Grande successo in sala, apprezzamenti dalla cri - Direttore della fotografia Sergio Castellitto; Posti in piedi in paradiso , 2012, di tica. -
Barbarigo' by Titian in the National Gallery, London
MA.JAN.MAZZOTTA.pg.proof.corrs_Layout 1 08/12/2011 15:31 Page 12 A ‘gentiluomo da Ca’ Barbarigo’ by Titian in the National Gallery, London by ANTONIO MAZZOTTA ‘AT THE TIME he first began to paint like Giorgione, when he was no more than eighteen, [Titian] made the portrait of a gen- tleman of the Barbarigo family, a friend of his, which was held to be extremely fine, for the representation of the flesh-colour was true and realistic and the hairs were so well distinguished one from the other that they might have been counted, as might the stitches in a doublet of silvered satin which also appeared in that work. In short the picture was thought to show great diligence and to be very successful. Titian signed it in the shadow, but if he had not done so, it would have been taken for Giorgione’s work. Meanwhile, after Giorgione himself had executed the principal façade of the Fondaco de’ Tedeschi, Titian, through Barbarigo’s intervention, was commissioned to paint certain scenes for the same building, above the Merceria’.1 Vasari’s evocative and detailed description, which would seem to be the result of seeing the painting in the flesh, led Jean Paul Richter in 1895 to believe that it could be identified with Titian’s Portrait of a man then in the collection of the Earl of Darnley at Cobham Hall and now in the National Gallery, London (Fig.15).2 Up to that date it was famous as ‘Titian’s Ariosto’, a confusion that, as we shall see, had been born in the seventeenth century.