DOCSLIB.ORG

Emilio Ghione and the Mask of Za La Mort

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Emilio Ghione and the Mask of Za La Mort Durham E-Theses Emilio Ghione and the Mask of Za La Mort NORTH, JOSEPH,ALBERT How to cite: NORTH, JOSEPH,ALBERT (2011) Emilio Ghione and the Mask of Za La Mort, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/3427/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk EMILIO GHIONE AND THE MASK OF ZA LA MORT By Joseph North Master of Arts by Research (Italian Studies) School of Modern Languages and Cultures, University of Durham Year of Submission: 2011 TABLE OF CONTENTS List of Figures.................................................................................................................iii Introduction......................................................................................................................1 Introduction Endnotes.....................................................................................................5 Chapter One: The apache craze : from brutal criminality to passionate performance.....................................................................................................................6 1.1 Introduction...................................................................................................6 1.2 The apache identity: from real-life to serial fiction and film...................8 1.3 Criminaltà all'italiana: defining the Italian-made crime film...............16 1.4 Italian serial heros......................................................................................21 1.5 From the café-concerts of Montmartre to the film studios of Rome: the cultural adventures of the apache....................................................................25 1.6 Chapter Endnotes......................................................................................38 Chapter Two: The Za La Mort Filmography..............................................................43 2.1 Introduction..................................................................................................43 2.2 Nelly La Gigolette.........................................................................................43 2.3 Za La Mort ...................................................................................................45 2.4 L'Imboscata...................................................................................................46 2.5 Anime Buie....................................................................................................47 2.6 Il Numero 121...............................................................................................49 2.7 L'Ultima Impresa..........................................................................................49 2.8 Il Triangolo Giallo........................................................................................50 2.8 Nel Gorgo......................................................................................................53 2.9 I Topi Grigi....................................................................................................56 2.10 Sua Eccellenza La Morte............................................................................66 2.11 Dollari e Fracks...........................................................................................68 2.12 Il Castello di Bronzo...................................................................................75 2.13 Quale dei due?.............................................................................................76 2.14 Un Frak e Un Apache.................................................................................77 2.16 Zalamort-der traum der zalavie..................................................................77 2.17 Ultimissime della Notte...............................................................................81 2.16 Chapter Endnotes......................................................................................82 Chapter Three: Za La Mort's paper and stage adventures.......................................91 3.1 Introduction..................................................................................................91 3.2 Le Maschere Bianche...................................................................................94 3.3 Za La Mort....................................................................................................98 3.4 Ghione and theatre....................................................................................104 3.5 L'Ombra di Za La Mort.............................................................................106 3.6 Chapter Endnotes......................................................................................113 Chapter Four: The Failed Revival of Za La Mort....................................................117 4.1 Introduction................................................................................................117 4.2 Fumeria D'Oppio........................................................................................118 4.3 The Za La Mort fumetto............................................................................121 4.4 The death of Za La Mort...........................................................................123 4.5 Chapter Endnotes......................................................................................128 Chapter Five: Understanding Za La Mort's Serial Appeal: A View From The Audience.......................................................................................................................129 5.1 Introduction...............................................................................................129 5.2 The Italian silent film audience: methodological problems...................131 5.3 The Italian serial and adventure audience: “...la solita folla di ammiratori...”..................................................................................................134 5.4 The Za La Mort films: meaningless narratives or texts of attractions? ….......................................................................................................................145 5.5 Emilio Ghione and Louis Feuillade..........................................................149 5.6 Unstable attraction: the mask of Za La Mort.........................................154 5.7 Chapter Endnotes......................................................................................156 Conclusion....................................................................................................................159 Conclusion Endnotes...................................................................................................164 Bibliography.................................................................................................................165 Films Bibliography......................................................................................................172 List of Figures Figure 1: Photographer unknown. Postcard of Emilio Ghione and I.Sambuccini [sic]. Bologna, G.Vettori. Author's collection. Figure 2: [Motion picture still]. (From: Zalamort-der traum der zalavie, 1924. Directed by Emilio Ghione. Germany: FAI-National.) Figure 3: [Motion picture still]. (From: Triste Fascino, 1911. Directed by Oreste Mentasi. Italy: Itala Film.) Collection of the Museo Nazionale del Cinema, Torino. Figure 4: Image of Za La Vie and Papà Bru. Published in: Al Cinema, Year 1, Number 3. 16th July 1922. Turin, Al Cinema. Page 4. Collection of the Museo Nazionale del Cinema, Torino. Figure 5: [Motion picture still]. (From: Zalamort-der traum der zalavie, 1924. Directed by Emilio Ghione. Germany: FAI-National.) Figure 6: Toppi, Giove. Untitled illustration. Published in: Ghione, Emilio. Za La Mort. 1928. Florence, Nerbini. Page 225. Figure 7 : [Motion picture still]. (From: Fumeria D'Oppio, 1946. Directed by Raffaele Matarazzo . Italy: Labor-Metropa.) Figure 8: [Motion picture still]. (From: Maciste, 1915. Directed by Giovanni Pastrone. Italy: Itala Films.) Collection of the Museo Nazionale del Cinema, Torino. Figure 9: [Motion picture still]. (From: Maciste, 1915. Directed by Giovanni Pastrone. Italy: Itala Films.) Collection of the Museo Nazionale del Cinema, Torino. Figure 10: [Motion picture still]. (From: Dollari e Fracks (La sedia elettrica), 1919. Directed by Emilio Ghione. Italy: Itala Films.) Collection of the Museo Nazionale del Cinema, Torino. Figure 11: [Motion picture still]. (From: I Topi Grigi (Aristocrazia Canaglia), 1918. Directed by Emilio Ghione. Italy: Tiber Film.) Figure 12: [Motion picture still]. (From: I Topi Grigi (Aristocrazia Canaglia), 1918. Directed by Emilio Ghione. Italy: Tiber Film. ) Thanks to Kimberley, for her invaluable assistance, patience and support. Introduction-Page 1 Introduction As recently as twenty-five years ago, Italian silent cinema was generally ignored by academics
Load more

Recommended publications
  • Declinazioni Dei Tòpoi Della Foresta in Le Morte Darthur Di Sir Thomas Malory
    Università degli Studi di Padova Dipartimento di Studi Linguistici e Letterari Corso di Laurea Magistrale in Filologia Moderna Classe LM-14 Tesi di laurea Declinazioni dei tòpoi della foresta in Le Morte Darthur di Sir Thomas Malory Relatore Laureando Prof.ssa Alessandra Petrina Daniele Biffanti n° matr. 1039306 / LMFIM Anno Accademico 2014 / 2015 1 2 INDICE p. 3 PREMESSA p. 7 CAP. 1 – LA FORESTA TRA ETÀ ANTICA E MEDIOEVO 1.1 ORIGINE ED ETIMOLOGIA DEI TERMINI “SELVA”, “FORESTA” E “BOSCO” p. 9 1.2 LA SELVA IN ETÀ GRECO-ROMANA p. 13 1.3 CAMBIAMENTI NELL'ALTO MEDIOEVO p. 21 1.4 LA FORESTA NEL BASSO MEDIOEVO p. 27 1.5 UN CASO SPECIFICO: LA FORESTA NEL MEDIOEVO INGLESE p. 30 CAP. 2 – LA SELVA NELLA LETTERATURA ANTICA 2.1 LA SELVA E LA CITTÀ ANTICA: GILGAMESH E ROMOLO p. 35 2.2 IL RITRATTO DEL SELVAGGIO p. 43 2.3 LA CACCIA NEL BOSCO p. 47 2.4 LA SELVA COME LOCUS AMOENUS E LOCUS HORRIDUS: VIRGILIO E LUCANO p. 56 CAP. 3 – LA FORESTA NELLA LETTERATURA TARDOLATINA E ALTOMEDIEVALE 3.1 IL BOSCO DI GRENDEL IN BEOWULF p. 65 3.2 LA FORESTA COME DESERTUM: FORESTA E DESERTO BIBLICO p. 70 3.3 HYLE E SILVA: LA SELVA COME CAOS E MATERIA PRIMORDIALE p. 74 CAP. 4 – LA FORESTA NEI TESTI DEL BASSO MEDIOEVO 4.1 LA “SELVA OSCURA” E LA “SELVA ANTICA” NELLA DIVINA COMMEDIA p. 79 4.2 IL MOTIVO DELLA “CACCIA INFERNALE” NELLA LETTERATURA ITALIANA MEDIEVALE p. 84 4.3 NASCITA E SVILUPPO DEL CICLO ARTURIANO p.
    [Show full text]
  • Translating Music: Dubbing and Musical Strategies in Italian Cinema of the Early Sound Period Luca Battioni
    ARTICLES Translating Music: Dubbing and Musical Strategies in Italian Cinema of the Early Sound Period Luca Battioni Throughout the 1930s, the large majority of films distributed and eventu- ally screened in Italy were dubbed. Dubbing practices inevitably had an impact not only on the way sound was experienced in film but also the configuration of the emerging Italian film industry following the introduc- tion of synchronized sound on the one hand, and the consolidation of the Fascist regime on the other. In fact, drawing on the work of Andrew Hig- son, among others, I wish to argue that dubbing complicates the notion of national cinema in the Italian context of the 1930s. Higson was among the first scholars to theorize the concept of national cinema. In his work, he argues against production-centric conceptualizations, pointing out that a full understanding of national cinema begins from the assumption that it is a complex cultural aggregate, and that at its core lies the reception of films by popular audiences. Higson’s approach “lay[s] much greater stress on the point of consumption, and on the use of films (sounds, images, narratives, fantasies), than on the point of production.” This, in turn, encourages “an analysis of how actual audiences construct their cultural identity in relation to the various products of the national and international film and television industries, and the conditions under which this is achieved.”1 The pervasiveness of dubbing in the 1930s needs to be addressed in these terms, and a film’s dubbed soundtrack must be considered as a channel through which audiences construct their own identities—regardless of the geographical provenance of the film screened.
    [Show full text]
  • Esterina Zuccarone
    Esterina Zuccarone Lived: July 7, 1904 - September 24, 1998 Worked as: editor, forewoman, laboratory worker, metalworker, seamstress, technician Worked In: Italy by Alessandra Chiarini Esterina Zuccarone was born in Foggia, in southern Italy, into a family of seven daughters and one son. In 1912 her family moved to Turin, joining the flow of migrants from the South to the North of Italy that, in those years, involved many people. The transition from a rural to an industrial society allowed Esterina to grow up with more emancipated female role models, starting with her older sisters who, in the new urban environment, decided to leave home to find work (de Miro d’Ayeta 2007, 229). In particular, one of her sisters started working in one of the numerous local textile mills, allowing the young Esterina to familiarize herself with skills such as precision, sense of proportion, and attention to detail, which were necessary to produce good quality and stylish garments. In Turin, the young girl was witness to the development of modern life and came into contact with the latest technological innovations of the time—cars and railways, gramophones and buses, cameras and sewing machines, to name just a few. There was also the emerging cinematographic industry, a sector that made use of the manual ability of seamstresses for film developing, printing, and editing, allowing many women to get involved with the fascinating world of cinema —its glamour, its stories, its magnificent settings—and, consequently, to imagine new aspirations and ways of life (de Miro d’Ayeta 230). Despite her father’s resistance—as a typical conservative Southern Italian man—Esterina, too, became a seamstress at the age of twelve.
    [Show full text]
  • Investigating Italy's Past Through Historical Crime Fiction, Films, and Tv
    INVESTIGATING ITALY’S PAST THROUGH HISTORICAL CRIME FICTION, FILMS, AND TV SERIES Murder in the Age of Chaos B P ITALIAN AND ITALIAN AMERICAN STUDIES AND ITALIAN ITALIAN Italian and Italian American Studies Series Editor Stanislao G. Pugliese Hofstra University Hempstead , New York, USA Aims of the Series This series brings the latest scholarship in Italian and Italian American history, literature, cinema, and cultural studies to a large audience of spe- cialists, general readers, and students. Featuring works on modern Italy (Renaissance to the present) and Italian American culture and society by established scholars as well as new voices, it has been a longstanding force in shaping the evolving fi elds of Italian and Italian American Studies by re-emphasizing their connection to one another. More information about this series at http://www.springer.com/series/14835 Barbara Pezzotti Investigating Italy’s Past through Historical Crime Fiction, Films, and TV Series Murder in the Age of Chaos Barbara Pezzotti Victoria University of Wellington New Zealand Italian and Italian American Studies ISBN 978-1-137-60310-4 ISBN 978-1-349-94908-3 (eBook) DOI 10.1057/978-1-349-94908-3 Library of Congress Control Number: 2016948747 © The Editor(s) (if applicable) and The Author(s) 2016 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifi cally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfi lms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed.
    [Show full text]
  • Development of a Literary Dispositif
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 4-5-2018 Development of a Literary Dispositif: Convening Diasporan, Blues, and Cosmopolitan Lines of Inquiry to Reveal the Cultural Dialogue Among Giuseppe Ungaretti, Langston Hughes, and Antonio D’Alfonso Anna Ciamparella Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the African American Studies Commons, American Literature Commons, Comparative Literature Commons, Ethnic Studies Commons, European Languages and Societies Commons, French and Francophone Language and Literature Commons, Italian Language and Literature Commons, and the Literature in English, North America Commons Recommended Citation Ciamparella, Anna, "Development of a Literary Dispositif: Convening Diasporan, Blues, and Cosmopolitan Lines of Inquiry to Reveal the Cultural Dialogue Among Giuseppe Ungaretti, Langston Hughes, and Antonio D’Alfonso" (2018). LSU Doctoral Dissertations. 4563. https://digitalcommons.lsu.edu/gradschool_dissertations/4563 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. DEVELOPMENT OF A LITERARY DISPOSITIF: CONVENING DIASPORAN, BLUES, AND COSMOPOLITAN LINES OF INQUIRY TO REVEAL THE CULTURAL DIALOGUE AMONG GIUSEPPE UNGARETTI, LANGSTON HUGHES, AND ANTONIO D’ALFONSO A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Interdisciplinary Program in Comparative Literature by Anna Ciamparella M.A.
    [Show full text]
  • Dossier-FANTOMAS.Pdf
    LA NUIT FANTÔMAS CINÉ-CONCERT EXCEPTIONNEL JEUDI 31 OCTOBRE 2013 À 19H, THÉÂTRE DU CHÂTELET UNE SÉRIE DE CINQ FILMS MUEts DE LOUIS FEUILLADE EN VERSION REstauRÉE (1913 – 1914/ 2013, 350 MIN) CRÉatiON MUSICALE ORIGINALE DE YANN TIERSEN ET SES INVITÉS UNE COPRODUCTION GAUMONT ET ZDF POUR ARTE EN COLLABORATION AVEC LE THÉÂTRE DU CHÂTELET, PARIS 1913 - 2013 FANTÔMAS est l’un des grands mythes de Les cent ans de FANTÔMAS sont l’occa- l’histoire du cinéma. Il y a déjà un siècle, sion pour la société Gaumont de présenter les cinq épisodes d’une première série de cinq longs métrages comptant parmi ses films relatant les aventures du célèbre mal- trésors, superbement restaurés grâce à la faiteur envahissaient les salles. Considérée technologie 4K. comme l’adaptation cinématographique la Le compositeur français Yann Tiersen les plus originale du feuilleton qui venait de a enrichis d’une musique inédite, fruit de naître sous la plume de Pierre Souvestre et sa collaboration avec quatre formations Marcel Allain, elle captiva non seulement le internationalement reconnues : Amiina grand public, mais aussi les intellectuels et (Islande), Tim Hecker (Canada), James les artistes. Blackshaw (Grande-Bretagne), Loney Dear La saga de Fantômas, héros aux mille (Suède). Cette nouvelle « B.O. » - une masques rôdant parmi les honnêtes gens, commande de la ZDF pour ARTE - sera échappant encore et toujours à la police, enregistrée en direct dans le cadre de la épousait l’air du temps… Aujourd’hui, elle première le 31 octobre 2013 au Théâtre du n’a rien perdu de son attraction morbide. Châtelet. La captation de ce ciné-concert fera l’objet d’une diffusion en direct sur ARTE Live Web, d’une programmation sur ARTE du 11 au 13 janvier 2014, ainsi que d’une sortie en Blu-ray chez Gaumont Vidéo.
    [Show full text]
  • Immortal Words: the Language and Style of the Contemporary Italian Undead-Romance Novel
    Immortal Words: the Language and Style of the Contemporary Italian Undead-Romance Novel by Christina Vani A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Italian Studies University of Toronto © Copyright by Christina Vani 2018 Immortal Words: the Language and Style of the Contemporary Italian Undead-Romance Novel Christina Vani Doctor of Philosophy Department of Italian Studies University of Toronto 2018 Abstract This thesis explores the language and style of six “undead romances” by four contemporary Italian women authors. I begin by defining the undead romance, trace its roots across horror and romance genres, and examine the subgenres under the horror-romance umbrella. The Trilogia di Mirta-Luna by Chiara Palazzolo features a 19-year-old sentient zombie as the protagonist: upon waking from death, Mirta-Luna searches the Subasio region for her love… but also for human flesh. These novels present a unique interpretation of the contemporary “vampire romance” subgenre, as they employ a style influenced by Palazzolo’s American and British literary idols, including Cormac McCarthy’s dialogic style, but they also contain significant lexical traces of the Cannibali and their contemporaries. The final three works from the A cena col vampiro series are Moonlight rainbow by Violet Folgorata, Raining stars by Michaela Dooley, and Porcaccia, un vampiro! by Giusy De Nicolo. The first two are fan-fiction works inspired by Stephenie Meyer’s Twilight Saga, while the last is an original queer vampire romance. These novels exhibit linguistic and stylistic traits in stark contrast with the Trilogia’s, though Porcaccia has more in common with Mirta-Luna than first meets the eye.
    [Show full text]
  • Pressbook -IL CORAGGIO DI ANGELA
    una produzione in collaborazione con Rai Fiction LUNETTA SAVINO in Il coraggio di Angela con GIANLUCA DI GENNARO ANDREA TIDONA GAETANO AMATO MARIA PIA CALZONE NINNI BRUSCHETTA e ANTONIO PENNARELLA VINCENZO PIROZZI IVANA LOTITO SERENA FERRAIUOLO Soggetto Claudio Corbucci, Maura Nuccetelli, Luciano Manuzzi Sceneggiatura Claudio Corbucci, Maura Nuccetelli e Diego De Silva Responsabile Editoriale Mariella Buscemi prodotto da ROSARIO RINALDO per MAGNOLIA FICTION Regia di LUCIANO MANUZZI Una miniserie in (2 x 100’) in onda su RAIUNO 1 CAST ARTISTICO Lunetta Savino (Angela Latella) Gianluca Di Gennaro (Salvatore Marra) Andrea Tidona (Pasquale Latella) Gaetano Amato (Ciro Marra) Antonio Pennarella (Gegè, sicario di Ciro Marra ) Vincenzo Pirozzi (Antonio, sicario di Ciro Marra ) Maria Pia Calzone (Grazia, cugina di Angela ) Ninni Bruschetta (Ispettore Piccolo) Ivana Lotito (Chiara Latella, figlia di Angela e Pasquale ) Serena Ferraiuolo (Sara, “fidanzatina” di Salvatore ) Manolo Capissi (Dario Latella, figlio di Angela e Pasquale ) Luca Riemma (Giovanni, fidanzato di Chiara ) Raffaele Vassallo (Nino Santamaria, amico di Salvatore ) 2 CAST TECNICO fotografia Fabio Olmi musica Franco Piersanti montaggio Claudio Cutry scenografia Elio Maiello, supervisione di Giada Calabria costumi Monica Simeone soggetto Claudio Corbucci, Maura Nuccetelli, Luciano Manuzzi sceneggiatura Claudio Corbucci, Maura Nuccetelli e Diego De Silva story editor Mariella Buscemi prodotto da Rosario Rinaldo per MAGNOLIA FICTION Regia di Luciano Manuzzi UFFICIO STAMPA DI PRODUZIONE MAGNOLIA FICTION: Studio Morabito Tel: 06 5730 0825; fax: 06 5730 0155 [email protected] 3 Dalla fiction alla realtà: Il coraggio di Silvana Fucito eroina europea del 2005 per il settimanale “Time” Inserita dal settimanale “Time” nell’annuale classifica degli eroi europei, Silvana Fucito è un’imprenditrice che ha avuto il coraggio di lottare contro la camorra, rifiutando di pagare il pizzo e denunciando i suoi estorsori.
    [Show full text]
  • IL CINEMA RITROVATO 2008 Cineteca Del Comune Di Bologna
    XXXVII Mostra Internazionale del Cinema Libero IL CINEMA RITROVATO 2008 Cineteca del Comune di Bologna XXII edizione / 22nd Edition Sabato 28 giugno - Sabato 5 luglio / Saturday 28 June - Saturday 5 July Questa edizione del festival è dedicata a Vittorio Martinelli This festival’s edition is dedicated to Vittorio Martinelli IL CINEMA RITROVATO 2008 Via Azzo Gardino, 65 - tel. 051 219 48 14 - fax 051 219 48 21 - cine- XXII edizione [email protected] Segreteria aperta dalle 9 alle 18 dal 28 giugno al 5 luglio / Secretariat Con il contributo di / With the financial support of: open June 28th - July 5th -from 9 am to 6 pm Comune di Bologna - Settore Cultura e Rapporti con l'Università •Cinema Lumière - Via Azzo Gardino, 65 - tel. 051 219 53 11 Fondazione Cassa di Risparmio in Bologna •Cinema Arlecchino - Via Lame, 57 - tel. 051 52 21 75 Ministero per i Beni e le Attività Culturali - Direzione Generale per il Cinema Modalità di traduzione / Translation services: Regione Emilia-Romagna - Assessorato alla Cultura Tutti i film delle serate in Piazza Maggiore e le proiezioni presso il Programma MEDIA+ dell’Unione Europea Cinema Arlecchino hanno sottotitoli elettronici in italiano e inglese Tutte le proiezioni e gli incontri presso il Cinema Lumière sono tradot- Con la collaborazione di / In association with: ti in simultanea in italiano e inglese Fondazione Teatro Comunale di Bologna All evening screenings in Piazza Maggiore, as well as screenings at the L’Immagine Ritrovata Cinema Arlecchino, will be translated into Italian
    [Show full text]
  • El Realismo Mágico En La Obra Cinematográfica De André Delvaux
    UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE CIENCIAS DE LA INFORMACIÓN Departamento de Comunicación Audiovisual y Publicidad II EL REALISMO MÁGICO EN LA OBRA CINEMATOGRÁFICA DE ANDRÉ DELVAUX MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Santiago Rubín de Celis Pastor Bajo la dirección del doctor Antonio Castro Bobillo Madrid, 2008 • ISBN: 978-84-692-0073-5 El realismo mágico en la obra cinematográfica de André Delvaux. Santiago Rubín de Celis Pastor Univ. Complutense Madrid (U.C.M.) Facultad C.C. Información. Dep. Comunicación Audiovisual y Publicidad II (C.A.V.P.II) Director: Prof. Doctor Antonio Castro Bobillo 2008 2 “El sueño es una segunda vida.” Gérard de Nerval–Aurelia. “¿Ha de volver siempre la mañana? ¿Jamás terminará el señorío de lo terrenal? Desdichada actividad estorba el celestial vuelo de la noche. ¿No arderá eternamente el secreto sacrificio del amor?” Novalis–Himnos a la noche. “Mis sueños serán formales y vanos como el ruido de los párpados del agua en la sombra. Me introduciré en los tuyos para sondear en ellos la profundidad de tus lágrimas. Mis llamadas te dejarán dulcemente incierta Y en el tren hecho de tortugas de hielo No tendrás que tirar de la señal de alarma Pues llegarás tú sola a esta playa perdida Donde tu estrella descenderá a tu equipaje de arena.” André Breton–La muerte rosa. 3 ÍNDICE: –Marco Teórico y metodológico. –El realismo mágico: un acercamiento conceptual. –El realismo mágico cinematográfico. –André Delvaux: aspectos biográficos. –Las películas: I. El Hombre del cráneo rasurado (Der man die zijn haar kort liet knippen, 1965).
    [Show full text]
  • All the Same Or Strategies of Difference: Early Italian Comedy in International Perspective Blom, I.L
    VU Research Portal All the Same or Strategies of Difference: Early Italian Comedy in International Perspective Blom, I.L. published in Il film e i suoi multipli / Film and Its Multiples 2003 document version Publisher's PDF, also known as Version of record Link to publication in VU Research Portal citation for published version (APA) Blom, I. L. (2003). All the Same or Strategies of Difference: Early Italian Comedy in International Perspective. In A. Antonini (Ed.), Il film e i suoi multipli / Film and Its Multiples (pp. 465-480). FORUM. General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. E-mail address: [email protected] Download date: 28. Sep. 2021 Ivo Blom, Universiteit Amsterdam Ali the Same or Strategies of Difference. Early ltalian Comedy in Intemational Perspective "Early comedy is repetitive;" this label sticks to early Italian comedy too. Series with Cretinetti, Robinet and Kri Kri alllook alike, and are not so different from their French counterparts, is the statement.
    [Show full text]
  • Diva: Early Film Culture and Image Theory in Italy
    Dalle Vacche, Angela. Diva: Defiance and Passion in Early Italian Cinema. Austin: University of Texas Press, March 2008. Introduction. Mater Dolorosa A “diva” is the most important woman singer, the prima donna on the stage of opera, but this word can also describe an arrogant or temperamental woman. Close to the English word divine, “diva” means goddess, while the label “diva” competes for the spotlight with God, the ultimate divine maker of stars. Whereas God coincides with eternity, stars live and die. The point here is that the word diva strives for timelessness and infinity. By contrast, the word star is about someone special or exceptional or super-human (1), but not comparable to a divinity. In her best moments, the diva involves a certain kind of ineffable spirituality, ritualistic otherness, and an intuitive aura about transcendence. In short, the diva is an anomalous “star” in comparison to the Hollywood model which has defined film stardom for the rest of the world. The diva’s unusual contribution to the history of stardom stems from the cultural specificities of Italian modernity. In early Italian cinema, “diva” meant female star in a “long” feature film of at least sixty minutes, with some close- ups for the heroine and a fairly static use of the camera. The 12 point-of-view shot and the shot reverse shot, two basic features of classical American cinema, did not exist in the Italian films made between 1913 and 1918. However, the point-of-view shot begins to appear around 1919 or 1920 in diva-films. The three most famous divas of this period were Francesca Bertini (1892-1985), Lyda Borelli (1887-1959), and Pina Menichelli (1890-1984).
    [Show full text]