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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. -
Annual Report and Accounts 2004/2005
THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005 WWW.BFI.ORG.UK The bfi annual report 2004-2005 2 The British Film Institute at a glance 4 Director’s foreword 9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement 43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report 55 – 74 Appendices The bfi annual report 2004-2005 The bfi annual report 2004-2005 The British Film Institute at a glance What we do How we did: The British Film .4 million Up 46% People saw a film distributed Visits to -
Feature Films
NOMINATIONS AND AWARDS IN OTHER CATEGORIES FOR FOREIGN LANGUAGE (NON-ENGLISH) FEATURE FILMS [Updated thru 88th Awards (2/16)] [* indicates win] [FLF = Foreign Language Film category] NOTE: This document compiles statistics for foreign language (non-English) feature films (including documentaries) with nominations and awards in categories other than Foreign Language Film. A film's eligibility for and/or nomination in the Foreign Language Film category is not required for inclusion here. Award Category Noms Awards Actor – Leading Role ......................... 9 ........................... 1 Actress – Leading Role .................... 17 ........................... 2 Actress – Supporting Role .................. 1 ........................... 0 Animated Feature Film ....................... 8 ........................... 0 Art Direction .................................... 19 ........................... 3 Cinematography ............................... 19 ........................... 4 Costume Design ............................... 28 ........................... 6 Directing ........................................... 28 ........................... 0 Documentary (Feature) ..................... 30 ........................... 2 Film Editing ........................................ 7 ........................... 1 Makeup ............................................... 9 ........................... 3 Music – Scoring ............................... 16 ........................... 4 Music – Song ...................................... 6 .......................... -
26. Stars and Masculinities in Contemporary Italian Cinema-O
! http://www.gendersexualityitaly.com g/s/i is an annual peer-reviewed journal which publishes research on gendered identities and the ways they intersect with and produce Italian politics, culture, and society by way of a variety of cultural productions, discourses, and practices spanning historical, social, and geopolitical boundaries. Title: Book Review: Stars and Masculinities in Contemporary Italian Cinema by Catherine O'Rawe Journal Issue: gender/sexuality/italy, 2 (2015) Author: Elena Dalla Torre, Saint Louis University Publication date: July 2015 Publication info: gender/sexuality/italy, “Reviews” Permalink: http://www.gendersexualityitaly.com/book-review-stars-and-masculinities/ Copyright information g/s/i is published online and is an open-access journal. All content, including multimedia files, is freely available without charge to the user or his/her institution and is published according to the Creative Commons License, which does not allow commercial use of published work or its manipulation in derivative forms. Content can be downloaded and cited as specified by the author/s. However, the Editorial Board recommends providing the link to the article (not sharing the PDF) so that the author/s can receive credit for each access to his/her work, which is only published online. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License O'Rawe, Catherine. Stars and Masculinities in Contemporary Italian Cinema. Palgrave McMillan, 2014. Pp. 230. ISBN 9781137381460. $71.05 (Paperback); -
ASC 100Th Reel 30-Second
E.T.: The Extra- John Seale, ASC, ACS Terrestrial (1982) Allen Daviau, ASC Enter the Dragon (1973) The Gold Rush (1925) Gil Hubbs, ASC Roland Totheroh, ASC The Godfather (1972) Citizen Kane (1941) Gordon Willis, ASC Gregg Toland, ASC ASC 100th Reel 30-Second The Tree of Life (2011) Apocalypse Now (1979) Clip Playlist Emmanuel Lubezki, ASC, Vittorio Storaro, ASC, AIC AMC The Dark Knight (2008) Link to Video here. Taxi Driver (1976) Wally Pfister, ASC Michael Chapman, ASC Close Encounters of the Kill Bill Vol. 1 (2003) Third Kind (1977) The Matrix (1999) Robert Richardson, ASC Vilmos Zsigmond, ASC, Bill Pope, ASC HSC King Kong (1933) Jurassic Park (1993) Edward Linden; J.O. Blade Runner 2049 Dead Cundey, ASC Taylor, ASC; Vernon L. (2017) Walker, ASC Roger Deakins, ASC, BSC Braveheart (1995) John Toll, ASC Star Trek (1966) Gone With the Wind "Where No Man Has (1939) The French Connection Gone Before" Ernest Haller, ASC (1971) Ernest Haller, ASC Owen Roizman, ASC Sunrise (1927) Footloose (2011) Charles Rosher, ASC Game of Thrones (2017) Amy Vincent, ASC Karl Struss, ASC “Dragonstone” Gregory Middleton, ASC Sunset Boulevard (1950) Titanic (1998) John F. Seitz, ASC Russell Carpenter, ASC The Sound of Music (1965) Psycho (1960) The Graduate (1967) Ted D. McCord, ASC John L. Russell, ASC Robert Surtees, ASC The Wizard of Oz (1939) For more background Singin’ in the Rain (1952) Harold Rosson, ASC on the American Harold Rosson, ASC Society of Rocky (1976) Cinematographers, The Color Purple (1985) James Crabe, ASC go to theasc.com. Allen Daviau, ASC Frankenstein (1931) Empire of the Sun (1987) Arthur Edeson, ASC Allen Daviau, ASC Platoon (1986) Black Panther (2018) Robert Richardson, ASC Rachel Morrison, ASC Mad Max: Fury Road (2015) . -
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 -
Introduction
CINEMATOGRAPHY Mailing List the first 5 years Introduction This book consists of edited conversations between DP’s, Gaffer’s, their crew and equipment suppliers. As such it doesn’t have the same structure as a “normal” film reference book. Our aim is to promote the free exchange of ideas among fellow professionals, the cinematographer, their camera crew, manufacturer's, rental houses and related businesses. Kodak, Arri, Aaton, Panavision, Otto Nemenz, Clairmont, Optex, VFG, Schneider, Tiffen, Fuji, Panasonic, Thomson, K5600, BandPro, Lighttools, Cooke, Plus8, SLF, Atlab and Fujinon are among the companies represented. As we have grown, we have added lists for HD, AC's, Lighting, Post etc. expanding on the original professional cinematography list started in 1996. We started with one list and 70 members in 1996, we now have, In addition to the original list aimed soley at professional cameramen, lists for assistant cameramen, docco’s, indies, video and basic cinematography. These have memberships varying from around 1,200 to over 2,500 each. These pages cover the period November 1996 to November 2001. Join us and help expand the shared knowledge:- www.cinematography.net CML – The first 5 Years…………………………. Page 1 CINEMATOGRAPHY Mailing List the first 5 years Page 2 CINEMATOGRAPHY Mailing List the first 5 years Introduction................................................................ 1 Shooting at 25FPS in a 60Hz Environment.............. 7 Shooting at 30 FPS................................................... 17 3D Moving Stills...................................................... -
Lecture Outlines
21L011 The Film Experience Professor David Thorburn Lecture 1 - Introduction I. What is Film? Chemistry Novelty Manufactured object Social formation II. Think Away iPods The novelty of movement Early films and early audiences III. The Fred Ott Principle IV. Three Phases of Media Evolution Imitation Technical Advance Maturity V. "And there was Charlie" - Film as a cultural form Reference: James Agee, A Death in the Family (1957) Lecture 2 - Keaton I. The Fred Ott Principle, continued The myth of technological determinism A paradox: capitalism and the movies II. The Great Train Robbery (1903) III. The Lonedale Operator (1911) Reference: Tom Gunning, "Systematizing the Electronic Message: Narrative Form, Gender and Modernity in 'The Lonedale Operator'." In American Cinema's Transitional Era, ed. Charlie Keil and Shelley Stamp. Univ. of California Press, 1994, pp. 15-50. IV. Buster Keaton Acrobat / actor Technician / director Metaphysician / artist V. The multiplicity principle: entertainment vs. art VI. The General (1927) "A culminating text" Structure The Keaton hero: steadfast, muddling The Keaton universe: contingency Lecture 3 - Chaplin 1 I. Movies before Chaplin II. Enter Chaplin III. Chaplin's career The multiplicity principle, continued IV. The Tramp as myth V. Chaplin's world - elemental themes Lecture 4 - Chaplin 2 I. Keaton vs. Chaplin II. Three passages Cops (1922) The Gold Rush (1925) City Lights (1931) III. Modern Times (1936) Context A culminating film The gamin Sound Structure Chaplin's complexity Lecture 5 - Film as a global and cultural form I. Film as a cultural form Global vs. national cinema American vs. European cinema High culture vs. Hollywood II. -
L'amica Delle Rondini. Marilù Parolini Dalla Scena Al Ricordo
Corso di Laurea magistrale interclasse (ordinamento ex D.M. 270/2004) in Musicologia e scienze dello spettacolo (classe LM-45/ LM-46) Tesi di Laurea L’amica delle rondini. Marilù Parolini dalla scena al ricordo. Memorie e visioni di cinema e fotografia. Relatore Ch. Prof. Fabrizio Borin Correlatrice Ch. Prof.ssa Valentina Bonifacio Laureanda Irene Pozzi Matricola 786414 Anno Accademico 2011 / 2012 sessione straordinaria 1 Le cose sono là che navigano nella luce, escono dal vuoto per aver luogo ai nostri occhi. Noi siamo implicati nel loro apparire e scomparire, quasi che fossimo qui proprio per questo. Il mondo esterno ha bisogno che lo osserviamo e raccontiamo, per avere esistenza. E quando un uomo muore porta con sé le apparizioni venute a lui fin dall’infanzia, lasciando agli altri fiutare il buco dove ogni cosa scompare. Gianni Celati1 1 Gianni Celati, Verso la foce, Feltrinelli, Milano, 1988. 2 Indice Introduzione……………………………………………………………..7 1. L’intervista………………………………………………………………10 1.1 L’amica delle rondini. La realizzazione del documentario…….10 1.1.1 Il progetto……………………………………………………………...11 1.1.2 Le riprese……………………………………………………………….12 1.1.3 La fase di montaggio e gli inserti tratti da film…………………13 1.1.4 La versione finale: il commento a caldo di Marilù…………….15 1.2 L’intervista……………………………………………………………….16 1.2.1 Sbobinatura……………………..……………………………………16 1.2.2 L’esprimersi vivo……………………………………………………...24 1.2.3 Il flusso di coscienza…………………………………………………25 1.3 (Tentativo di) biografia e filmografia……………………...............26 1.3.1 «Io non ho niente»: la scelta di Marilù........................................26 1.3.2 Autobiografia o biografia?.........................................................28 1.3.3 Biografia essenziale………………………………………………….29 1.3.4 Materiali fotografici e video: la Cinemathèque française ieri ed oggi………………………………………………………………...30 1.3.5 Filmografia ricavata da materiali vari e dall’intervista……….32 3 2. -
Il Conformista/The Conformist
November 13, 2001 (IV:11) BERNARDO BERTOLUCCI (16 March 1941, Parma, Italy) directed Heaven and Hell 2001, Paradiso e inferno 1999, Besieged 1998, Stealing Beauty 1996, Little Buddha 1993, The Sheltering Sky 1990, The Last Emperor 1987 (9 Academy Awards), Tragedia di un uomo ridicolo/Tragedy of a Ridiculous Man 1981, La Luna 1979, 1900 1976, Ultima tango a Parigi/Last Tango in Paris 1972, La Salute é malata o i poveri morirono prima 1971, La Strategia del ragno/The Spider’s Strategem 1970, Il Canale 1966, La.Via del petrolio 1965, and La Commare secca/Before the Revolution 1962. He wrote the scripts for most of them as well. He won best director and screenplay IL CONFORMISTA/THE Academy Awards for The Last Emperor, and was nominated for best director for Last Tango in Paris and best CONFORMIST screenplay for The Conformist. For more, visit http://italian.vassar.edu/bertolucci/bertcore.html. (1970, 113 minutes) JEAN-LOUIS TRINTIGNANT (11 December 1930, Piolenc, France) provided the voice in The City of Lost Children 1995, Jean-Louis Trintignant...Marcello which M. Faust presented in the MAFAC Sunday Classics a few weeks ago. He was also in nearly 120 other films in Stefania Sandrelli...Giulia a career that began with four films in 1956, the best known of them Roger Vadim’s And God Created Woman, the Gastone Moschin...Manganiello film that made both him and Brigitte Bardot international stars. He appeared in Trois couleurs: Rouge/Red 1994, Enzo Tarascio...Professor Quadri Under Fire 1983, Vivement Dimance/Confidentially Yours 1983, My Night at Maud's 1969, Z 1969, Is Paris Burning? 1966, Fosco Giachetti...Il colonnello and Un homme et une femme/A Man and a Woman 1966. -
5. Bibliografía
5. BIBLIOGRAFÍA AGUADERO FERNÁNDEZ, Francisco. Diccionario de comunicación audiovisual. Madrid: Paraninfo, 1991. ALBERS, Josef. Interaction of color. La interacción del color. Madrid: Alianza, 1980, (1963). ALBRECHT, Donald. Designing dreams. Modern architecture in the movies. EE.UU.: Thames and Hudson, 1986. ALEKAN, Henri. Des lumieres et des ombres. París: F. Editions, 1980. Reeditado en París. Librairie du Collectioneur, 1991. ALMENDROS, Néstor. Días de una cámara. 2a. ed. Barcelona: Seix Barral. 1983, (1990). (Titulo original: Un homme á la caméra.1ª edición en francés. Renens- Lausanne: Forma,1980). ALPERS, Svetlana. El Arte de Describir. El arte holandés en el siglo XVII. Madrid: Hermann Blume, 1987. ALTON, John. Painting with light. Nueva York: The Macmillan Company, 1950. ARAGON, y otros autores. La Photographie Ancienne. Lyon: Le Point revue artistique et littéraire. (posterior a) 1942 ARGAN, Giulio Carlo. El arte moderno 1770-1970. Valencia: Fernando Torres, 1977. AUER, Michel. The illustrated history of the camera. Hertfordshire, Reino Unido: Fountain Press, 1975. AYMA, Pierre; MARTINS FERREIRA, Armando; LYONS, Robin; ROUXEL, Jacques. The european animation industry's production handbook. Glossary and multilingual lexicon. Bruselas, Bélgica: Cartoon, 1992. BAUDRY, Marie-Thérèse y otros. Principes d’analyse scientifique. LA SCULPTURE. Méthode et vocabulaire. París: Imprimerie Nationale, 1990 (1978, 1984). BALTRUSAITIS, Jurgis. EL ESPEJO ensayo sobre una leyenda científica Madrid: miraguano, polifemo, 1988. Before Hollywood. “Turn-of-the-century film from american archives”. Nueva York: American Federation of Arts, 1986. [Publicación que acompaña la exhibición de la se- lección de filmes de “Before Hollywood”]. BERG, W. F. Exposure. Theory and practice. Londres: Focal Press, 1971, (1950). BERGMANS, J. La visión de los colores. -
The Journey Toward Liberation for Fellini's Woman
DOCUMENT RESUME ED 085 812 CS 500 568 AUTHOR Reynolds, Lessie M. TITLE The Journey Toward Liberation for Fellini's Woman. PUB DATE Nov 73 NOTE 10p.; Paper presented at the Annual Meeting of the Speech Communication Association (59th, New York City, November 8-11, 1973) EDRS PRICE MF-$0.65 HC-$3.29 DESCRIPTORS *Feminism; *Film Production Specialists; *Film Study; Individual Development; *Mass Media; Personal Growth; Role Perception; *Self Actualization; Social Attitudes; Social Values; Stereotypes; Womens Studies IDENTIFIERS *Characterization (Film); Fellini (Federico) ABSTRACT The characterizations of women in three of Federico Fellini's films can be used to demonstrate the process of self-actualization real women experience during the fulfillment of the promises of the women's liberation movement. The films "La Dolce Vita" and "8 1/2" portray traditional stereotypes of women with traditional societal roles. However, in "Juliet of the Spirits" Fellini creates a female character with full personality dimensions. A progression of gradual liberation of the female characters can be traced from "La Dolca Vita" through 8 1/2" to "Juliet of the Spirits." Also, there is a parallel between the personal growth of the female characters and the journey of Dante through his "Commedia." An understanding of feminism can be gained through the study of films and literature. (CH) FILMED FROM BEST AVAILABLE COPY U.S. OE PARTME NT OF HEALTH, Lessie It Reynolds, Associate Professor of English EOUCATION & WELFARE NATIONAL INSTITUTE OF. Winthrop College EOUCATION THIS DOCUMENT HAS BEEN REPRO Rock Hill, South Carolina.29730 DUCEO EXACTLY AS RECEIVED FROM THE PERSON OR ORGANIZATION ORIGIN PERMISSION TO REPRODUCE THIS COPY- ATING T.