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5438	dbpedia	1	22	https://www.filmauro.it/static/client/Aurelio-De-Laurentiis-438.aspx	en	Benvenuti sul sito Filmauro			[ "https://www.filmauro.it/web/img/logo.png", "https://www.filmauro.it/web/img/logo_cityplex.png", "https://www.filmauro.it/web/img/Ita.png", "https://www.filmauro.it/web/img/fb.png", "https://www.filmauro.it/web/img/tw.png", "https://www.filmauro.it/web/img/yt.png", "https://www.filmauro.it/web/img/ig.png", "https://www.filmauro.it/web/img/pr.png", "https://www.filmauro.it/web/img/adl.jpg", "https://www.filmauro.it/web/img/logo_footer.jpg", "https://www.filmauro.it/web/img/logo_homevideo.png", "https://www.filmauro.it/web/img/social_footer.png" ]	[]	[]	[ "" ]	null	[]	null	La Filmauro Ã¨ una delle piÃ¹ importanti casa di produzione del cinema italiano. Fondata nel 1975 da Aurelio De Laurentiis con il padre Luigi, la FILMAURO vede nel suo listino circa 400 film tra produzione e distribuzione.				null	In his career, Aurelio De Laurentiis produced and distributed more than 400 films directed by such filmmakers as Mario Monicelli, Carlo Verdone, Ettore Scola, Ridley Scott, David Cronenberg, Luc Besson, Paul Haggis, Joel and Ethan Coen, David Lynch, Roberto Benigni. Aurelio De Laurentiis won 50 Golden Movie Theatre Tickets (the awards given to the most successful movies at the Italian box office), 15 David di Donatello (the Italian Academy Award), 7 Italian Golden Globes assigned by the Foreign Press, and 7 Nastri d’Argento, given by the Italian Film Journalists Association. 2010, he was awarded with the “Variety Profile in Excellence”, given by the prestigious magazine Variety with the following motivation: “Aurelio De Laurentiis has always been able to stay in touch with the taste of the audience. He is really the only Italian producer with an authentic grandeur that results from his symbiotic relationship with a wide audience. Aurelio has an innate radar for pop culture, he has business acumen and a real willingness to take risks”. In the United States, the Guinness World Records introduced the Christmas comedies (a movie franchise invented by De Laurentiis) in the category of longest-running movie franchise. 1995 “Commander of the Order of Merit of the Italian Republic”, given by the Presidency of the Council of Ministers. 2002 “Officier de l’Ordre des Arts et des Lettres”, because of his important relationship with the French film industry. 2004 “Grand Officer of the Italian Republic” given by the President of italian Republic. 2008 “Knight of Labor” (Cavaliere del Lavoro) given by the President of italian Republic. 2008 “Premio Leonardo Qualità Italia” given by the President of italian Republic. 2010 he received the prestigious “United States-Italy Friendship Award” in Washington. 2012 in the United Kingdom, the British Minister of Commerce and Investments, gave him the “Career recognition Award”. 1993 - 2003: President of the International Federation of Film Producers Associations. 2001 - 2006: President of the Italian Film Producers Association. 2008: he became a shareholder of Italian Entertainment Group a holding company that includes the best companies of the advertising, cultural entertainment, creative and events industries: Filmaster, Civita, Cinecittà World. In May 2014, Aurelio De Laurentiis set up a new working team in Los Angeles, to develop and produce series for International TV and Digital Platforms. Besides the movie business, he has another love: in 2004, he began a new career as sports entrepreneur. He won the auction to buy the Naples Football Club directly from a bankruptcy sale at the Naples Court, and set the goal for himself of getting the team back to success. Now the team is one of the most important Club in the First Division (Serie A).
5438	dbpedia	1	75	https://www.m9museum.it/over-the-limits-testi-eng/	en	Over the Limits	https://www.m9museum.it/…icon-192x192.png	https://www.m9museum.it/…icon-192x192.png	[ "https://www.m9museum.it/wp-content/themes/m92022/imgs/KEY0.CC.png", "https://www.m9museum.it/wp-content/uploads/2023/04/logo_m9museum_2023-1.png", "https://www.m9museum.it/wp-content/uploads/2019/10/museo-ico.svg", "https://www.m9museum.it/wp-content/uploads/2019/10/mostre-ico.svg", "https://www.m9museum.it/wp-content/uploads/2022/08/membership.svg", "https://www.m9museum.it/wp-content/uploads/2019/10/distretto-ico.svg", "https://www.m9museum.it/wp-content/uploads/2019/10/visita-ico.svg", "https://www.m9museum.it/wp-content/uploads/2022/08/edu.svg", "https://www.m9museum.it/wp-content/uploads/2019/10/events-ico.svg", "https://www.m9museum.it/wp-content/uploads/2019/11/link-pencil.png", "https://www.m9museum.it/wp-content/uploads/2023/04/Logo_M9_Museum_1080_bianco_trasparente.png", "https://www.m9museum.it/wp-content/uploads/2019/11/logo-fondazione-venezia.svg", "https://www.m9museum.it/wp-content/uploads/2024/02/Venezia-Rovigo-marchio-nero.png" ]	[]	[]	[ "" ]	null	[]	2024-07-01T13:48:59+00:00	OVER THE LIMITS 1900-2024 Sport Italia. Choral portrait of a changing country. An initiative of Directorate General for the […]	it	https://www.m9museum.it/…e-icon-57x57.png	M9 Museum	https://www.m9museum.it/over-the-limits-testi-eng/	1900-2024 Sport Italia. Choral portrait of a changing country. An initiative of Directorate General for the Promotion of the Country System General Manager Mauro Battocchi Deputy Director General / Central Director for Integrated Promotion and Innovation Giuseppe Pastorelli Head of Office X – Sports Diplomacy Silvia Marrara Coordination for the Ministry of Foreign Affairs and International Cooperation Silvia Marrara Raffaello Barbieri MariaTiziana Coletta An exhibition conceived and produced by M9 – Museum of the 20th Century President Vincenzo Marinese Director Serena Bertolucci In collaboration with Italian Sport History Society Italian Touring Club Istituto Luce Home Movies – National Family Film Archive Edited by Michelangela Di Giacomo with Elena Dekic Nicola Sbetti Daniele Serapiglia INTRODUCTION Sport. One of the great Italian passions. To watch, to practice, to play, to applaud. An exhibition on the history, present and future of sport in Italy is an opportunity to recount not only the great Italian achievements in the various competitive disciplines but also the entire transformation of the country through a unique lens. Its great economic, social, cultural and urban changes, its vices and virtues, its strengths and weaknesses: its great loves and antipathies. There is no sport that does not reflect the profound changes taking place in the country, and the issues and doubts that our sport raises are the litmus test for as many open questions about Italy’s present and future. Not just an exhibition about sport, but an exhibition that tells the great choral story of a country that underwent profound changes in the 20th century and is changing ever more rapidly. A country that, thanks to its communities of Italians abroad and its rich international collective imagination, enjoys a projection that transcends national borders and spans the globe. QUOTE “The Republic recognises the educational, social value and promotion of psychophysical well-being of sporting activity in all its forms”. Art. 33 Constitution of the Italian Republic —————————————— Twentieth Century The twentieth century was the century that changed Italy the most. A century characterised by great economic, socio-professional and cultural transformations, of great movements of people, the century of urbanisation and the conquest of wealth. We went from peasants to office workers, from hunger to obesity, but the inequalities remained, between north and south, between town and country, between rich and poor, between men and women. It was also the century in which Italians discovered and fell in love with sport. It was a bumpy road, but one that led to a general expansion of the presence of sport in our society. This section is therefore a great tribute to all those Italians who, day after day, in the midst of their daily lives, practise sport, out of passion, out of love, in order to live a better life. It is a wish for more and more of them in the future. ITALY – YEAR 1900 On 1 January 1900, Italy was a backward country with a GDP half that of Great Britain. 44% of Italians lived below the poverty line, 30% were undernourished. 9 out of 10 Italians worked in the fields, 1 in 4 children died before the age of 5, and life expectancy was 30. It was not an ideal environment for sport: bodies were shaped by hard labour, manual farming and industrial activities that relied on the exploitation of workers’ physical strength. Within twenty years, Italy began a first phase of transformation. During the so-called ‘Giolittian Age’, with the creation of the first modern infrastructure networks and the first large industries, the industrial and financial bourgeoisie emerged in the cities of the north and began to imitate the lifestyles of the rest of Europe, including the practice of sport. DISCOVERING THE COUNTRY In 1894, a group of young entrepreneurs from Milan founded the Touring Club Ciclistico Italiano – the future Touring Club Italiano – with the aim of providing its members with a network of contacts and services for travelling by bicycle, car, train and on foot. The CAI-Club Alpino Italiano was founded in 1863, following the ascent of the Monviso in the same year, with the intention of imitating similar organisations that already existed in other European countries. Its activities involved both tourist trekking and sports mountaineering, with the opening of new routes and the construction of a dense network of refuges. While holidays at the seaside were limited to health treatments, those in the mountains multiplied: all activities which, until the First World War, were reserved for a very limited and wealthy section of the population, but which by the 1920s were already attracting a much wider audience. FROM PLAY TO SPORT Games and agonism have ancient origins, but it was not until the Industrial Revolution that sport took on a modern character, establishing itself in Victorian England and spreading first inside and then outside the British Empire. For the first time, sport displayed characteristics such as secularism, equality of opportunity and conditions, specialisation, rationalisation, bureaucratisation, quantification of performance and, above all, the concept of the record. It was horse-racing that led the way until the ‘Games’ arrived in Italy at the end of the 19th century: although they achieved rapid success, they needed national founding myths to legitimise them. Legends immediately sprang up claiming a direct link between football and Florentine football, or tracing the birth of golf to Roman legionnaires and basketball to the Italian Middle Ages. FROM THE BATTLEFIELD TO THE PITCH In the newly unified Italy, the sporting experience was borrowed from the habits of the Piedmontese elite, linked to military life and the education of the aristocracy, such as hunting, fencing, target shooting or horse riding. Soon the idea spread that these disciplines could contribute to ‘making Italians’ and thus began a commitment by the new state to their dissemination in the rest of the peninsula. In the ‘Spring of Shooting’, Garibaldi himself travelled around Italy to promote their practice and in 1861 the National Shooting Society was founded. The various regional fencing schools were ‘nationalised’ in 1883, thanks to the Neapolitan master Masaniello Parise, who standardised teaching methods, while the Italian Fencing Federation was only founded in 1909. In horsemanship, Federico Caprilli was the protagonist of a real revolution that would lead to the birth of modern horsemanship, through the invention of a method to make the rider’s movement more coherent with the horse, leaning forward and improving the effectiveness and the safety of jumping. ‘GYMNASTICS’ Gymnastics can be considered the discipline par excellence in liberal Italy, given the large number of practitioners. After an initial diffidence, the public authorities attributed civic and civil significance to it and gave it widespread support. In March 1844, the Swiss instructor Rodolfo Obermann, together with the former officer Count Ernesto Ricardi di Netro, Doctor Luigi Balestra and other illustrious Turin personalities founded the Turin Gymnastics Society for educational purposes. From that moment until 1869, when the Gymnastics Federation was founded, Turin became the driving force behind gymnastics, first in the Kingdom of Piedmont and then in Italy. After the Unification, courses were also organised to train the first physical education teachers of the new kingdom. THE MYTH OF SPEED The automobile immediately fascinated the Italians. In 1895, Michele Lanza from Piedmont built the first Italian car and in 1900 the Motor Show was inaugurated in Turin. Speed calls for competition and the first races were immediately born: in France in 1894 with cars reaching the ‘crazy’ speed of 22km/H, in Italy in 1895 with the Turin-Asti and in 1901 with the first Giro d’Italia featuring automobiles, promoted by the newspaper ‘Corriere della Sera’. In 1906, the first Targa Florio was held, organised by the naval entrepreneur of the same name, but the most famous was the Mille Miglia, which was run from 1927 to 1957, when, after an accident involving the public crowded along the roadside, racing on public roads was banned. A myth was generated around the drivers: of recklessness and disregard for danger, one example being Tazio Nuvolari, the son of farmers, who won the podium in all the races he ran from 1920 to 1948 and set three international speed records. A SILENT HUMAN-POWERED MACHINE Between 1900 and 1920, Italian factories produced countless bicycles. Immediately the first races were born: on iron vehicles and with low-resistance tyres, groups of riders challenged the elements and the limits of their bodies. In 1909, the newspaper ‘La Gazzetta dello Sport’ organised the first Giro d’Italia. On very long routes, cyclists get lost, stop, get rides, taking up to 12 hours per stage and are often given up for lost: they are tests of endurance rather than speed. At the turn of the century, velodrome races were still very popular, with duels such as the one between cyclist Romolo Buni and Buffalo Bill, the famous American cowboy, at the Trotter velodrome in Milan in 1894. During the First World War, 12 battalions of cyclists are deployed at the front: Carlo Oriani, winner of the 1931 Giro, dies of pneumonia after swimming across the Piave; Ottavio Bottecchia, later winner of the Tour de France saves several machine guns from the Austrians by cycling over the Izoard Pass. But none are as famous as Enrico Toti, a lone, one-legged pedaller, who lost his life in 1916. FOOTBALL (THE ORIGINAL ONE) The game of football – quite different from the English game that later took the same name – had already acquired a national character even before the political unification of the country. In 1863, the American intellectual William Story had described it as ‘the Italian national game, like cricket for the English’, and Goethe in his 1816 ‘Italian Journey’, referred to it as ‘the classic game of the Italians’. The ball game, with its Renaissance origins (Messer Scaino’s essay on the ball game dates from 1555), had become popular by the end of the 17th century, attracting a large public. In the early 19th century, it competed in popularity with melodrama and opera. It was played close to the city walls or in the ‘sferisteri’, sports hall built thanks to funding from the municipalities. Its champions, such as Carlo Didimi, are celebrated by poets and writers, such as Giacomo Leopardi, Gioacchino Belli and Edmondo De Amicis. THE 1911 WORLD’S FAIR The 1911 Exhibition of Industry and Labour in Turin, designed to celebrate the 50th anniversary of the Unification of Italy and the country’s achievements to date, was also the first major showcase for the Italian sports industry, reflecting the interest and growth that the sector had already experienced. An entire pavilion of the exhibition was dedicated to sports industries in several categories: Gymnastics, Running, Athletics, Fencing and Games, Shooting and Volleyball, Rowing, Sailing and Swimming, Mountaineering, Horse Racing and Racing, Motor Sport, Motorcycling and Motorboating, Cycling and Tourism. Added to this was the Alpine Club pavilion. The mountaineering industries as well as the automobile and motorbike industries played a prominent role, the latter including Alfa, Isotta Fraschini, Fiat, Lancia and Bianchi. A WAR THAT CHANGES EVERYTHING The First World War was an authentic watershed for Italian sport. Although the entry into the war in 1915 had caused the interruption of all major national competitions, the conflict helped to increase the popularity of the sport in rural Italy. In fact, life in the trenches reduced the distance between the cities, where sport had been increasingly popular for a few years, and the countryside, where it was still virtually unknown. Sports tournaments were organised in the rear to keep troop morale high, and the presence of the British and American armies as allies on the battlefield helped to spread new practices. The end of the conflict saw an exponential growth in sporting activity across the peninsula. FASCISM AND THE ‘NEW MAN’ Fascism entailed a change of pace for Italian sport, due to the political role assigned to it by the ideology of the ‘New Man’, a concept explained by Mussolini himself in a 1932 interview: ‘We are for the collective meaning of life, and this we want to strengthen, at the cost of individual lives. With this we do not want to turn men into figures, but we consider them above all in their function in the State’. To reinforce the concept, Lando Ferretti, director of ‘Sport Fascista’ and president of CONI between 1925 and 1928, wrote: ‘citizen equals soldier […] and soldier in all its extension of the term: in the firm and tempered body, in the spirit ready for the supreme sacrifice, in the technical preparation always up to date, in an atmosphere of discipline that makes enthusiasm the decisive weapon of all victories’. THE GIRO OF REBIRTH After the Second World War, the Giro d’Italia resumed as early as 1946, unlike the Tour de France, which had to wait until 1947 to resume. To do so on roads still scarred by war and bombing, in a country in the midst of reconstruction, was a considerable undertaking, and so it was renamed the “Giro of Rebirth”. The organisers, with the explicit intention of asserting their Italian identity, managed to obtain permission from the Allied authorities to run the Giro through Trieste. MIRACLE! 1963 saw the end of the ‘economic miracle’, an expansive period following the Second World War that radically changed the face of Italy. In just a few years, Italy went from being a rural economy to being the world’s seventh industrial power. Italians left the countryside and moved to the big cities to find work in the factories; despite the hard work on the assembly line, the certainty of a salary at the end of the month completely changed their lifestyle. Italians begin to buy houses and electrical appliances on instalments, discover motorbikes and utility vehicles, leisure, holidays, mass consumption, sport. The middle class was born, able for the first time to spend their salaries on luxuries and activities not related to mere survival. RITES, MIRACLES AND MYTHS The post-war period is the era of Fausto Coppi, Gino Bartali and Fiorenzo Magni. Italians are united in their support for cycling, but they are divided in their support for the champions, in a sporting, personal, political and regional rivalry: north against centre, secular against Catholic, Communists against Christian Democrats. Coppi seems immortal in the saddle, but he has a fragile physique. Son of peasants, protagonist of the pink news; prisoner in Africa, he returned home by bike across the wartime peninsula. Winner of five Giri, two Tours, world champion in 1953, he died of malaria in 1960. Bartali survives him by half a century. A devout Catholic, during the years of fascism he dedicated his victories to the Pope and Our Lady. During the occupation he saved many Jews from deportation. He drinks, he smokes, but he looks like iron. Legend has it that his victory in the Tour in July 1948 prevented an insurrection. In 1952, on a mountain stage of the Tour, the two of them pass each other a water bottle. It is the most famous sprint in Italian cycling. DEMOCRATIC SPORT FOR ALL If in the last years of Fascism, the control of young people’s leisure time was entrusted to top-down mass organisations, after the fall of Fascism it was the newly formed political parties that invested in sport. A series of subsidiary sports organisations emerged with which the Italian political subcultures democratically sought to win the hearts and minds of young Italians. In 1944, Catholic Action founded the Centro Sportivo Italiano. Also of Catholic origin were the Libertas Sports Centre and the Unione Sportiva ACLI. On the left, on the other hand, the most important organisation was the Unione Italiana Sport Popolare (UISP), but almost every party had those that were recognised by CONI in 1967 as bodies promoting sport. FROM FARMERS TO EMPLOYEES Since the 1970s, Italy has been living immersed in the fourth industrial revolution, the IT revolution. The shift of labour from agriculture to industry and services is still going on. If in 1900 66% of income went on food, today 80% of our economic availability is used for ‘accessory goods’, i.e. goods not related to the need for food and shelter. 70% of the population live in cities and in many cases reach levels of higher education that were unthinkable only a century ago. ‘HEALTHIER AND MORE BEAUTIFUL’ Fitness and wellness are two words that have entered the Italian vernacular, hand in hand with the spread of aerobic exercises or variable resistance machines “for everyone”, no longer limited to bodybuilders. Born in the United States in the 1950s, these activities reached their peak thirty years later and arrived in our country. The idea of going to the gym to improve physical fitness and general wellbeing took root. In 1984, the Italian company Technogym launched its first complete range of equipment and five years later the first edition of the country’s most famous fitness fair was held in Rimini. Since then, the sector has expanded with the most varied formulas: step, Zumba, spinning, fit-boxing, yoga-fit, Pilates, up to CrossFit, TRX, HIIT training… MORE AND MORE SPORTSMEN Hand in hand with the great changes that have affected all spheres of Italian life, the number of Italians practising sport on a regular basis has also increased rapidly and significantly since the middle of the 20th century: if we look at the first 20 years of the 21st century alone, the percentage of inactive people has fallen by 7 percentage points. Percentage of people aged 6+ who participate in sport on a regular basis: 1959 2,6 1982 15,4 1988 22,9 1995 18,0 2001 19,2 2005 21,1 2011 22,0 2015 23,8 2022 26,3 SPORT IN TIMES OF PANDEMIC In March 2020, Italy and the world discover their vulnerability: the Covid-19 pandemic emergency breaks out. Millions of people are forced to change their lifestyle and face the fear of illness and death. Many must discontinue their workouts; others, with increased free time due to the cessation of work and economic activities, are discovering physical activity, also thanks to the availability of classes via multiple streaming platforms. In the year of the pandemic, the number of card-carrying members and members of organised sports clubs fell drastically, but this was offset by an increase in the number of people taking part in leisure and outdoor sports. By the end of 2020, the number of people who practise sport continuously had already reached an all-time high (+05 percentage points compared with 2019, +8 compared with 2001). 1 in 3 Italians changed their sport during the pandemic. 53% of adults continued the same sport in different ways. 66% of Italians exercised during Covid: 34% outdoors, 18% at home with video lessons, 17% at home alone. 2 out of 3 ‘lazy people’ started some kind of physical activity during Covid. The number of visits to diet or fitness websites or apps increased in 2020 by 69% in France, 20% in Germany, 31% in Spain, 23% in the UK and 133% in Italy. Out of 2.3 billion Facebook users worldwide, 700 million people follow sports pages. WITH YOUR HEAD IN THE BALLOON Football tops the list of Italian sporting passions. But what other sports are played by adults in our country? And has it always been like this? % of practitioners in the various disciplines 1993 Football/Football 50.0 Volleyball 47.2 Basketball 56.3 Swimming/Diving 24.3 Tennis 17.7 Athletics 48.3 Cycling 16.3 Martial Arts 55.8 Alpine skiing 7.6 Mountain biking 3.9 2023 Football 34% Swimming 29% Cycling 26% Tennis 20% Skiing 16% Volleyball 14% Basketball 13% Athletics (including running) 10%. Motor sports 4% Rugby 3% 25% of people who exercise regularly without being CONI members do some form of gymnastics, such as aerobics, fitness or bodybuilding. MAD TO RUN Since the early 2000s, the proportion of Italians who run at least once a month has risen continuously: 59%. The use of smartphones for running enthusiasts and apps designed for physical activities has increased the desire to run in 52% of cases. Italians run to feel good (41%) more than to lose weight (27%), and those who run imagine that they will run more in the future. 22% of occasional runners say that if they had more time, they would participate in races, aiming for competitive or semi-competitive running (12% already do this). THE MIRAGE OF SHAPE It seems that only 1 in 5 Italians consider themselves satisfied with their physical fitness and ready to tackle the famous ‘swimsuit test’. On top of this, more than 1 in 2 Italians spend many hours at work. As a natural consequence, achieving visible results in a short time has become a necessity. Thus, in 2015, a start-up was born in Italy that launched the format of a high-intensity sports practice with the use of machines that promise to maintain a good state of health in 20 minutes a week. A format that has seen exponential growth in the last 7 years, with a rate of opening new centres of +62.3% per year. FOR SPORT OR FASHION? How many sports have entered our habits as trends? How many have remained as enduring practices? Who does not remember the era of squash, windsurfing or water-skiing? The era of roller skates and inline skates? Who hasn’t wondered in recent years if it wasn’t time to play padel or try aerial yoga or pole dancing? A few decades ago, snowboarding did not exist and is now all the rage; conversely, bowling was a very popular sport. Many sports have been invented and then abandoned: rollerblading, horse racing on frozen lakes or snowy fields, airplane racing on wheels or underwater obstacle racing. FOR SPORT OR JUST TO BE THERE Around 4,500 people take part in the Marcialonga, the most important amateur cross-country skiing event, and 12,000 in a cycling rally such as the Nove Colli di Cesenatico. An average of 10,000 people take part each year in the various stages of the Deejay Ten, the amateur race organised by the radio station of the same name, and in 2024 40,000 people ran in the 40th anniversary edition of Vivicittà, the first of the running events organised in our country. Participation, taking part in an event that is perceived as relevant and feeling part of a community that shares values and passions seems to be the focus of these experiences, in addition to the sporting activity itself. From the Pink Run to the Race for the Cure, from the Corsa di Miguel to the Smile Run, from the Crossfit Woda Charity Tour to the Race for Life, there is something for every sport and every cause. A GENERATOR OF ECONOMIC GROWTH Sport is also a major generator of economic opportunities. Gyms, sports facilities, teaching, participation in and organisation of competitions and championships, rights, merchandising, but also tourism and the entire clothing and equipment industry: these are just some of the fields of influence of the sports economy. The tourism sector, in particular, has seen huge growth: per capita spending by sports tourists is set to increase by 9% between 2019 and 2023, thanks to the increase in activities undertaken during the trip as a result of the desire to take part in or follow a sports event, with peaks of +27% for visits to exhibitions, museums, etc., despite the increase in costs due to inflation. Finally, according to some studies, every euro invested in sport has generated 3 in social benefits: sport is a multiplier in our national system. The Economics of Sport, 2023 1.3% of GDP EUR 22 billion 400,000 employees 15,000 companies 82,000 non-profit organisations THE PRIDE OF MADE IN ITALY ‘Made in Italy’ is the expression that stands for the excellence of Italian savoir-faire, which combines innovation, perfection, design, high quality raw materials, creativity and ingenuity, and is widely used in the clothing and sports equipment sectors. There are many brands that have made history, introducing new shapes, new materials, new technologies that have given rise to fashions and paradigm shifts. Every Italian has a special emotional attachment to some of them, and the list could go on and on. There are over 750 Italian companies involved in production and distribution in this sector, employing 30,000 people. Seventy per cent of production is destined for foreign markets, which shows how highly our “know-how” is valued. —————————————— Women The 20th century was the century of women. They entered the public arena as protagonists in all fields, politics, culture, science and even sport. A long and bumpy road, which still sees them struggle to achieve equality in many areas, but which has seen them as pioneers, precursors and genuine heroines, also and above all in sport. This section recounts an obstacle race against prejudices, commonplaces and widespread hostility and the constant attempt to relegate women to ‘girly’ disciplines and defined aesthetic canons. Finally, this section opens up the question of sport beyond gender and the role of sport in the integration of women from different cultures: two of the challenges facing our country. NOT ONLY MOTHERS AND WIVES In the many facets of peasant society, women had a far from marginal role. It was the eldest woman in a family group who organised everyone’s finances and decided the roles of the other members, and it was women who managed relations with other families. Women therefore played a fundamental role in the economy of the family for the wellbeing of all, far removed from the ‘angel of the hearth’ model that would be imposed with the rise of the bourgeoisie and later the middle class. LOVE AND GYMNASTICS Between May and June 1891, the short story ‘Amore e ginnastica’ (Love and gymnastics) by Edmondo de Amicis – best known as the author of the book ‘Cuore’ (Heart), a staple of every Italian child’s school career – was published in the magazine ‘Nuova Antologia’. The protagonist of the story is Signorina Pedani, a passionate gymnastics teacher, strict and disciplined, but also a symbol of female emancipation, modernity and progress. The construction of the character is significant because it tells us about a context in which there was growing attention to physical health and gymnastics, as part of a wider movement to improve public health. THE CONTRADICTIONS OF THE REGIME The great diffusion of American motion pictures in the cinemas of our country imposed the aesthetic models of actresses such as Greta Garbo, Marlene Dietrich or Jean Harlow, fostering, in the collective imagination of many Italians, the diffusion of a prototype of female beauty that harmonised with American canons rather than with those recalled by the rhetoric of the regime. From 1931, Fascism organised a campaign against Hollywood female stereotypes: the skinny and masculine ‘crisis woman’, the product of overseas film fantasy, was countered by the ‘authentic woman’, defined as ‘well nourished’. And yet the fascist sportswoman resembles the very American stereotypes that the regime wanted to combat. GYMNASTICS FOR NEW ITALIANS During the Fascist period, women were among the main figures in the reorganisation of physical education for young people desired by the regime, and in 1932 the Accademia Femminile di Orvieto was founded to train future teachers. The most famous of these was the commander of the academy itself, Elisa Lombardi from Cuneo. Paradoxically, despite the regime’s rhetoric on the role of women, profound elements of modernity were introduced. The bodies of the would-be teachers were not those of the ‘matron’ but were more akin to American athletes and actresses; while the wearing of shorts above the knee was something unprecedented for the time, as it contradicted the public morality that envisaged ankle-length trousers and skirts. PAVIA’S LITTLE GYMNASTS In 1928 women’s athletics and gymnastics were included in the Olympic Games. And it was in gymnastics that Italy won its first medal, thanks to a team made up entirely of gymnasts from Pavia: Clara Marangoni, Lavinia Gianoni, Bianca Ambrosetti, Virginia Giorgi, Germana Malabarba, Luigina Perversi, Diana Pizzavini, Anna Tanzini, Carolina Tronconi, Ines Vercesi, Rita Vittadini and Luigina Giavotti. The Italian gymnasts won a prestigious silver medal behind the Dutch team, only to be excluded from the delegation to the 1932 Los Angeles Games on the grounds that they would have inevitably engaged in promiscuous behaviour with their male colleagues on the journey by boat. THE GRACE OLYMPICS The first major international women’s athletics event in Italy was held in Florence in the spring of 1931, with the evocative name of the ‘ Olympics of Grace ‘. On the stage of the Giglio Rosso track, the strongest female athletes of the time from no less than eleven nations competed: Austria, Czechoslovakia, Belgium, France, Germany, England, Yugoslavia, Poland, Romania, Hungary and, of course, Italy. FEMINISM Between the end of the 1960s and the 1970s, the world of women changed dramatically. On the one hand, the economic crisis necessitated a second income; on the other hand, migration and the transition of many women to the middle class led them to confront more dynamic social realities and to study longer. In this context, feminist movements were born, hand in hand with those of workers and students. The struggles that lead to the reform of family law, economic emancipation and divorce emphasise the fight for women’s autonomy. Although the link between political feminism and sporting feminism is not direct and the right to practise sport is not part of the panorama of feminist movements’ claims, the practice of sport itself has an emancipatory character and female athletes also begin to claim equal opportunities, reflecting the spirit of the times. ‘THE BODY IS MINE AND I DECIDE’ The history of women’s sport has also accompanied and determined the changes involving women’s bodies and their use in public debate. In fact, the twentieth century saw the emergence of a physicality to be used and displayed according to norms that were less and less influenced by moral judgements. The bodies of working women, as well as those of sportswomen, with their need for movement and practicality have led to the questioning of the very meaning of many taboos. Women are discovering that they are masters of their own bodies. TOO MUCH OR TOO LITTLE: WOMEN’S SPORTSWEAR The evolution of women’s sportswear reflects profound cultural and social changes, developing as the practice of sport conquers more significant segments of the population. Originally, women played sports in long, opaque dresses. The transition to more functional clothing began in the late 19th century, when women shed their corsets and ‘bloomers’ were introduced, later joined by the jumpsuit invented by futurist Ernesto Hayat. In the 1930s and 1940s, sports fashion introduced short trousers and skirts above the knee, and even reduced the fabric of swimming costumes, but only and strictly in the context of competitions. In 1932, the athletics federation declared that “under no circumstances may athletes go beyond the fence of the sports ground without wearing long trousers”, and the basketball federation added that “all athletes must play in regulation skirts”. Many Italian designers have ventured into fashion for sport, from the Fontana sisters to Emilio Pucci to Gianfranco Ferré, from Pierre Cardin to Giorgio Armani, and many Italian companies have produced great innovations in women’s technical clothing. The process of uncovering the body has grown to the point of generating problems on the opposite side: in the last Olympic editions of beach volleyball and artistic gymnastics, extremely skimpy outfits have provoked debates on their appropriateness and functionality and the refusal of female athletes to use them. Who gets to decide how women should dress? A QUESTION OF TIME (AND POWER) ‘Without women working and without women doing sport the country does not grow, or at least grows less than it could’: this is the clear conclusion of the CENSIS Report on Women, Work and Sport in Italy (2024). 8.5 million Italians women practice sport 9 million Italians women engage in at least some form of physical activity. Between 2000 and 2021, the difference in sports participation between men and women was reduced by almost 30%. HEROINES AND CHAMPIONS There are many women who have marked the history of Italian sport, but some, more than others, have set records or paved the way for other girls to enter the collective imagination in sports previously considered unsuitable for women. A CENTURY-LONG JOURNEY The Olympics have been slow to include women in their competitions. It was only during the 2024 edition in Paris that a 50-50 split in gender representation was achieved. Chronology of Olympic disciplines open to women: 1900 First Olympic Games open to women, with 22 athletes, 2% of all competitors. Golf and tennis were the only disciplines with exclusively female competitions 1908 Archery, Pairs Figure Skating 1912 Swimming 1924 1924 Figure Skating and Fencing1928 Athletics 1948 Downhill and slalom, shot put 1984 Women’s marathon, 20km cross-country skiing and cycling 1988 Table tennis 1992 Judo 2012 Boxing 2000 Pole Vault and Hammer Throw 2020 Beijing Olympics 48% of participants are female athletes 2024 Paris Olympics gender equality target GIRLS’ SPORTS? In common parlance, we often hear gender stereotyping in relation to sport: there are disciplines that are more suited to men and those that are more ‘feminine’ (by which we often mean choreographed activities or those that are more associated with an idea of elegance in movement). In fact, there is ample evidence that these are cultural and linguistic stereotypes, and that people of different genders can excel without limit in all disciplines. Women > 3 years old practising some physical activity by type of sport Gymnastics, aerobics, fitness 39.5% Water sports 29.9% Dance and dancing 13.5% Athletics, jogging, jogging 10.8% Volleyball 8% Martial arts and combat sports 2.10 Football and five-a-side football 1.5% Basketball 1.4% BASKETBALL: A SPORT FOR LADIES? ‘Pallacanestro’ – the Italian translation of American basketball – arrived in Italy as a ‘sport for young ladies’. In fact, it was Ida Nomi Venerosi Pesciolini who, in 1907, translated James Naishmith’s basketball manual into Italian for the first time and demonstrated the game with two teams of girls from the Mens Sana gymnastics club in Siena. This intuition was the first step towards spreading throughout Italy what was presented in a pamphlet written by the Maestra as the ‘Basket-ball, giuoco ginnastico per giovinette’ (Basket-ball, gymnastic game for young girls). VOLLEYBALL: A SPORT FOR BOYS? Until the 1980s, volleyball in Italy was a predominantly male affair. In 1978 there were more players than female members, but a decade later, the latter had surpassed the former, making Fipav the federation of a team sport with the most women in its ranks. The general increase in women’s participation in sport in the 1980s and the fact that some schoolgirls chose volleyball as their sport at school contributed to this. However, it was also a matter of imagination that determined this boom, produced by the airing of two famous Japanese cartoons: ‘Mimì and the Volleyball Girls’, broadcast in Italy in 1982, and ‘Mila and Shiro: Two Hearts in Volleyball’, in 1986. It would then be the girls of that generation who would give women’s volleyball its first world laurel in 2002. FOOTBALL: A SPORT FOR EVERYONE! The difficult parabola of women’s football began in 1933, with the creation of the women’s football group in Milan, ‘supported’ by the then CONI president Leandro Arpinati. This experience was short-lived due to the difficulty of organising matches and because of the aversion of the secretary of the National Fascist Party, Achille Starace, who, after having assumed the leadership of CONI, decided to ban women’s football in public spaces. The regime, in fact, supported by the Catholic Church, considered football inappropriate for women and risky for motherhood. With the end of fascism and the beginning of the republican era, the situation did not improve because of the opposition of the Football League, which urged clubs not to allow women to play on their pitches. This attitude was supported by the irony and stigma of the media and by the Ministry of the Interior, which in 1959 asked prefects and quaestors not to allow women to play on municipal pitches. It was not until 1968, after a fierce battle with CONI that went as far as the courts, that the first national women’s championships were held. Finally in 1974, a tournament was organised under the aegis of the Federazione Femminile Italiana Unificata Giuoco Calcio. The latter lost its autonomy in 1986 when it became part of the Federazione Italiana Gioco Calcio (Italian Football Federation), which made it part of the National Amateur League. It is only from the 2022/2023 season that the women’s game will become fully professional. PIONEER: THE FIRST TIME MARIA ANTONIETTA It was 1922 when a woman, the Countess Maria Antonietta Avanzo, appeared behind the wheel of her Alfa Romeo at the starting grid of the Targa Florio: she was the only woman. That year, however, she was in a team with Enzo Ferrari, giving Nuvolari a run for his money. She boasted that she had learned to drive by herself, stealing her father’s car, and it was her husband who gave her her first sports car to celebrate the end of the First World War, with which she took part in the Giro del Lazio. ALFONSINA Another woman with a passion for wheels was Alfonsina Strada, from Alfonsine, Ravenna. Born into a peasant family, she developed a passion for cycling and started taking part in all the local races, earning the nickname ‘the devil in a skirt’. In 1924 she caused a scandal by becoming the first woman to take part in the Giro d’Italia. She finished second in the third stage and was disqualified from the fourth stage for not finishing in time, but finished the whole Giro. In 1938, at Longchamp, she won the women’s hour record (35.28 km). It was not until the 1950s that she gave up cycling to take up motorcycling. She died in a motorcycle accident in 1959. ONDINA In 1936, in a Berlin wallpapered with swastikas, it was the hurdler Ondina Valla who broke records, winning gold in the 80-metre hurdles, Italy’s first Olympic gold medal. Excluded from the 1932 Olympics because the Church objected to the idea of a 16-year-old girl travelling alone in an all-male expedition, she was immediately included in Fascist propaganda as a symbol of her achievements. Valla also holds another record: she is the first for the number of streets that have been dedicated to women’s sport. CLEMENTINE A singular case in point is the life of Clementine Brida, the daughter of Italian immigrants in the United States, who started playing baseball as early as 1897, creating a true story of female emancipation through sport. She went on to become the owner of a traveling women’s baseball team that included another Italian, Margaret Gisolo, who was even allowed to play on a men’s team in the 1920s. MIRANDA In 1952, the cross-country skier Fides Romanin was the first Italian woman flag-bearer at the opening ceremony of an Olympic Games, the Winter Olympics in Oslo. That same year, at the Melbourne Summer Games, Forlì gymnast Miranda Cicognani carried the Olympic flag. The first woman ever to read the Olympic oath was also an Italian: the skier Giuliana Minuzzo at the 1956 Winter Games in Cortina d’Ampezzo. WOMEN ON BIKES As was the case a hundred years ago, the practice of sport can be a gateway to women’s emancipation, enabling them to overcome cultural barriers that still preclude them from cycling, for example. Many municipalities in Emilia Romagna have promoted courses to teach immigrant girls how to ride a bicycle, and many Italian NGOs are engaged in development cooperation programmes that are based precisely on promoting cycling among girls. In 2023, a girl from Rwanda was also the first African woman to race the Giro d’Italia: Violette Irakoze Neza of the Africa Rising team. Rwanda will host the World Road Cycling Championships in September 2025. CHALLENGES Feminist movements laid the groundwork for the discussion of many stereotypes related to gender identity issues, influencing subsequent LGBTQIA+ movements. Sport has been a field of action for women’s and LGBTQIA+ rights and female athletes have challenged gender prejudices, paving the way for greater inclusion. Today, the theme extends from claiming the right to respect for sexual orientation to gender identity. In 2003, the IOC adopted a policy allowing transgender athletes to participate in sports competitions. —————————————— Travel The 20th century was the century of great mass migrations. Italy has been at the centre of immense movements of people who have left, moved within and arrived in our country from the most diverse places in the world. Today, Italy faces new challenges, linked to the existence of vast communities of Italians abroad for multiple generations, and to the rootedness of communities of different origins in Italy, also of two or three generations. Sport has been deeply affected by these movements: many of the disciplines practised in Italy today have come from abroad, just as abroad our country is known for its sporting passion and great champions. This section tells the story of how Italians have taken their sporting passion abroad, and how sport can be a driving force for a more inclusive society in our country. A CROSSROADS OF PEOPLES In almost every Italian family there is at least one relative who has gone or lives abroad and almost everyone knows someone who has come to Italy to change their life. Our peninsula has always been a land of arrivals and departures. In the 20th century, migratory flows amplified, becoming a mass phenomenon. Today there are 5.3 million foreign citizens in our country, 9.5% of the total population, and there are 6 million Italians abroad. THE BEGINNINGS OF ITALIAN SPORTS ABROAD At the beginning of the 20th century, Italian emigrants also brought with them the games they played in their homeland, such as the ball, for which they built a “sferisterio” – as the halls where it was played were called – in San Francisco, capable of holding thousands of spectators. They brought the ‘ruzzola’ and the ‘lippa’, which were played in the streets with wooden cylinders. Italian miners, farmers and carpenters were also early to distinguish themselves for their physical strength and athletic ability. In the United States, for example, the Italian Lawrence Brignola won the second edition of the Boston Marathon in 1899. The American tour of Dorando Pietri, ‘moral winner’ of the London Olympics marathon, which attracted over 20,000 spectators in the New York leg, was a great success with the public. A PEOPLE OF FIGHTERS The Italian Boxing Federation was founded in 1916, but its greatest competitive success and fame came during the Fascist period and the economic boom. For Mussolini, boxing was ‘an exquisitely fascist means of expression’ and Italians were supposed to be a ‘people of fighters’: strong, bold and resistant. The ultimate emblem of the instrumentalization of the sport is Primo Carnera. The mastodontic Friulian, who emigrated first to France and then to the United States, fought 113 fights, winning 85 of them. Another myth of Fascist boxing is Michele Bonaglia, winner of the middleweight against the champion of the still democratic Weimar Germany in 1929: first a squadronist and then a republican, he died in a partisan ambush in 1944. A victim of the regime is instead Leone Efrati, of Jewish religion, among the top ten featherweights of the 1930s. After the racial laws, he was deported to Auschwitz, where the Germans kept him fighting until his death in 1944. EXPORTING SAMPLES Even in recent times, our country has been ‘exporting’ champions and talents all over the world. In football, one of the first was Giorgio Chinaglia, who, after playing for Lazio from 1976 to 1983, wore the jersey of the New York Cosmos. In the mid-1990s, several Italians chose the Premier League: among them Gianluca Vialli and Gianfranco Zola, wearing the Chelsea shirt. Vialli even coached and played for the London team. But we can also remember the experiences of Paolo Di Canio, Fabrizio Ravanelli, Pierluigi Casiraghi and Roberto Di Matteo. Of the players who played in the Spanish league, Christian Vieri was the most fortunate with Atletico Madrid. Following the World Cup in Germany and the Calciopoli scandal, several players left Juventus, including Gianluca Zambrotta and Fabio Cannavaro, the former to Barcelona and the latter to Real Madrid. In other sports, basketball players such as Andrea Bargnani, Marco Belinelli and Danilo Gallinari have left for the NBA. In women’s volleyball, the most famous players to have crossed the border are Maurizia Cacciatori, Francesca Piccinini, Eleonora Lo Bianco and, today, Paola Egonu. The former played in one Brazilian championship, while the latter played five seasons in Turkey, where she also spent a season. ‘I AM ITALIAN, SO WHAT?’ Sport, like cooking, has been a powerful factor for integration among those living far from the motherland. Gathering to cheer on one’s team or the national team, celebrating all together the victories of one’s favourites, gives emigrants a strong sense of identity and cements the sense of belonging to supportive communities, making them feel less alone and claiming an identity that they often try to camouflage in order to integrate into the society of arrival. “I am Italian, so what?” This is the famous phrase with which Nino Manfredi justifies his cheering for the Italian national team in the 1974 film ‘Pane e Cioccolata’ (Bread and Chocolate), in which he plays an emigrant in Switzerland who tries to hide his identity until his faith in football betrays him in a public place. CRICKET Although cricket was one of the first English sports to arrive in the Italian peninsula – suffice it to say that Genoa football was born in 1893 as the Genoa Cricket and Athletic Club – the game never found much fertile ground in Italy and soon fell out of favour. Today, the presence of citizens from India, Bangladesh and Pakistan – all territories that were part of the former British Empire and where the influence of the British has taken such deep root that cricket has become the national sport – have brought it back into vogue, organising real leagues in the cities where they live, uniting people from countries at war with each other and overcoming conflict through sport. In 2021, the magical year of Italian sport, our national team made headlines by beating England in the European Cricket Championship. Our national team was captained by Baljit Singh and coached by Kamal Kariyawasam Indipolage. READY TO LEARN In sport, our country has long been a landing place for great football champions, but since the early 2000s it has become increasingly difficult for clubs to attract foreign champions. In addition to the players, great coaches arrived, including the Argentine Helenio Herrera and the Hungarians Ernó Egri Erbstein and Árpád Weisz, the latter two linked by a tragic death. The former died in the Superga tragedy in 1949, while the latter was murdered in the Auschwitz concentration camp in 1944 because he was Jewish. The arrival of foreign coaches and players had a profound impact on the game. Several NBA champions participated in the basketball league from the 1980s and some coaches modernised the playing techniques of several national teams, such as Ratko Rudić for the water polo sevens or Julio Velasco who took the Azzurri volleyball team to the roofs of Europe and the world. The Americans Doug Beal, one of the most important innovators in the world of volleyball, and Dan Peterson in basketball, who also helped many inhabitants of the ‘Bel Paese’ to understand North American sport with his television reports, will never be forgotten. SECOND GENERATIONS ABROAD Sport became an opportunity for socialising and an instrument of integration, as was the case with many Italian-American boxers and baseball players who, thanks to their athletic prowess, became household names in the American imagination, including Rocky Marciano and Joe Di Maggio, but also Aldo Spoldi ‘Kid Dynamite’. Italian sports clubs sprang up almost everywhere, such as the Gloria Club in Paris, Boca Junior in Argentina and Palestra Italia, the future Palmeiras, in Brazil, as well as competitions dedicated to emigrants, such as the cycling criterium for Italians living in France. A PEOPLE OF EXPLORERS AND NAVIGATORS While motorboating and recreational flying are now niche sports, at one time these disciplines appeared pioneering enough to be featured in the great adventure novels. The rhetoric of Fascism, built around the figures of First World War aviators and extolling the exploits of those who had lost their lives in the conflict, such as Francesco Baracca, helped to make flying one of the regime’s icons. Francesco Baracca, who died in 1918 after several victorious battles, had drawn a prancing horse on his biplane, which later became the symbol of the Ferrari car company. The pilots who survived the conflict and contributed to the growth of Italian aviation in the inter-war period were also celebrated. Italo Balbo’s transatlantic flights between Italy and Brazil (1930) and between Italy and Chicago (1933), which was hosting the World’s Fair that year, were among the most celebrated. On the seas, the jewel of the Italian merchant navy, the transatlantic liner Rex, distinguished itself by winning the Nastro Azzurro in 1932, crossing the Atlantic between Europe and New York in 4 days and 13 hours at an average speed of 28.92 knots. THE K2 Ninety years after the founding of the Club Alpino Italiano, mountaineering in Italy achieved a great success: the conquest of K2, a goal that had been pursued since 1909. The Duke of the Abruzzi, among others, had tried. But in the 1950s, the ideal conditions were created: Italy had just become a republic, the Second World War had recently ended, and the Italians needed a heroic feat to inspire them. Nothing better than to be the first to reach 8000 metres. The feat, supported by De Gasperi himself and organised by the CAI, was achieved in 1954, despite controversy among the members of the expedition. ‘ORIUNDI’ AND NEW ITALIANS After unification, Italy was marked for more than a century by high emigration rates, which led to the establishment of numerous Italian communities abroad. In 1969, for the first time, the migration balance was reversed, and immigrants began to outnumber emigrants, often our compatriots returning. On their return, they brought with them the popular sports of the countries of emigration – rugby, cricket or ice hockey – and the role of the so-called ‘oriundi’ was often decisive in many disciplines. In football, the contribution of South American footballers of Italian origin has been crucial to world championship triumphs: from Monti and Orsi in 1934 to Camoranesi in 2006. In the last thirty years, the presence and success of Italian athletes of foreign origin has grown exponentially. There have been two symbolic moments at the Olympic Games: in 2000, Carlton Myers carried the flag during the athletes’ parade and in 2021, Paola Egonu carried the Olympic flag with the five circles at the Tokyo Games. In football, Sara Gama has captained the national team on 30 occasions. THE ‘IUS SPORTIS’? ‘Ius sportis’: this is the name given to the informal recognition of citizenship granted by the world of sport to all those children, born in Italy to parents from other countries who participate in our sporting movement at all levels. In 2016, Italy recognised by law the right of these children and young people to register in sports clubs. At the last European Athletics Championships, a third of our team, which achieved great successes, was made up of second-generation athletes. The Italian Boxing Federation is the first to have introduced into its regulations the right of foreigners under 16 years of age with a residence permit to register as Italians. PARIS 2024 In 2015 and with a view to the 2016 Summer Olympics in Rio de Janeiro, the IOC created the Refugee Team to represent athletes who have not yet obtained citizenship in their country of immigration and who are no longer able to compete for their home Olympic committee for political reasons. In Tokyo, the refugee team included no fewer than 29 athletes (including the Italian shooter Niccolò Campriani). In Paris, there are no less than 36, including two of Iranian origin who are living and training in Italy thanks to the support of CONI: Iman Mahdavi (wrestling) and Hadi Tiranvalipour (taekwondo). —————————————— In corpore sano The 20th century was the century in which infant mortality was defeated, diseases that used to be fatal were eradicated, millions of people had access to better medical care, healthier places to live and work, and more calories available. All this has significantly increased the life expectancy of Italians, who are now among the longest-living people in the world. Italians have become more aware of the need for a healthy lifestyle and exercise, often thanks to government intervention in physical education and the promotion of sport. This section explores the importance and role of sport in the various age groups and how much it contributes to the overall health of the population, while also reducing the costs of our welfare system. It also recounts the various stages of the State’s intervention in the promotion of sport, a commitment that began at the very beginning of our country’s unitary history and that led to the approval, in 2023, of the amendment to Article 33 of our Constitution, which now states that ‘the Republic recognises the educational, social and promotional value of sporting activity in all its forms for psychophysical well-being’, reaffirming the role and importance of the sporting environment in education after the family and school. A CHILD’S PLAY Even today, in Italy, young people are the most active in sport, thanks to the role played by schools and public institutions in promoting sport. It is no coincidence that one of the immediate consequences of the Covid-19 pandemic on school age and youth was the interruption of sporting practice, which inevitably led to a real tragedy for young people: in 2021, 20% of Italians between the ages of 3 and 17 had to move away from their sport and the whole world of positive social relations that it generates. STATE PHYSICAL EDUCATION Since political and institutional unification, the Italian state has recognised the importance of introducing physical education into the school curriculum in order to improve the fragile health of Italian children and to instil military discipline. The Casati Law of 1859 introduced gymnastics in schools, followed by the De Sanctis Law of 1878. However, the Gentile Reform of 1923, which shaped the Fascist school, did not include physical education in the ordinary school curriculum, delegating it to a special body. In 1946, with the Gonella Law, physical education in the schools of the new Italian Republic was oriented towards the harmonious development of students, eliminating military formalisms and emphasising physical and spiritual preparation. But it was Aldo Moro, Minister of Public Education, who introduced the first post-war organic law on physical education (1958), which reaffirmed its compulsory nature and put it on an equal footing with other subjects. BALILLA AND GIL In 1927 in the context of the construction of the ‘New Man’, the Opera Nazionale Balilla (ONB) was founded, a youth organisation of the regime placed directly under the aegis of Mussolini, which ended up absorbing all pre-existing youth organisations. Complementary to the school, young people between the ages of 6 and 18 were to be trained as citizens/soldiers. In 1937 the Opera Nazionale Balilla was replaced by the Gioventù Italiana del Littorio, one of the cornerstones of the regime. One of the fundamental elements of the education of the Italians of tomorrow was gymnastic and sporting activity, aimed at strengthening the physique and morals of Italian youth. Sport also played a fundamental role in the activities of the Fasci Giovanili di Combattimento and the Fascist university groups, whose representatives competed every year in the Littoriali dello Sport, which was held in its winter and summer versions from 1932 to 1940. YOUTH GAMES One of the most important initiatives in the context of the sportsmanship of Italian schoolchildren were the Youth Games. These came into being on the eve of the 1968 Mexico City Olympics thanks to CONI, on the initiative of President Giulio Onesti, who believed that strengthening the competitive component of school sport would benefit the entire sports movement in the peninsula. The federations, the promotion bodies and, from 1974, even the Ministry of Education officially contributed to its implementation from 1977 onwards, with the involvement of primary school pupils, giving around 9 million students a year the opportunity to take part in the games. MORALLY USEFUL SPORT: THE CATHOLIC CHURCH The Catholic Church opened up to physical activity and sport on the wave of Leo XIII’s encyclical ‘Rerum Novarum’, which showed not only a special attention to the new social dynamics created by the industrial revolution in the world of work, but also a growing interest in modernity. This thinking was also influenced by the desire to provide an element of dialogue with the new generations to counter the Protestant proselytes who had played sport in the British Empire and gymnastics in Germany. After a heated debate between traditionalists and modernists, ‘muscular Catholicism’ soon established itself in Italy, first in the context of elitist colleges, such as those of the Jesuits, and then in society as a whole, thanks to bodies such as the Federation of Italian Catholic Sports Associations and ‘Forza e Grazia’, the counterpart women’s organisation founded in 1923. The activities of these organisations were influenced by the thought of Father Giovanni Semeria, one of the pioneers of Catholic sport, who stated: ‘Sport is not only of physical utility, but also of moral utility. A healthy body is impossible without a healthy mind. Games in which the social and collective element is found are of special importance and utility’. LITTLE GAMES IN THE ORATORY Starting in the 1840s, Don Giovanni Bosco and his collaborators gave impetus to the oratories, with the intention of creating a space for young people belonging to all social classes. After World War II, oratories played a not insignificant role in welcoming and caring for many youngsters in the afternoon hours and on holidays. Playgrounds and cinemas spread equally in the oratories, but their presence was not homogeneous throughout the country: they grew mainly in the large cities of the north, particularly in Lombardy and the Veneto. ORGANISING SPORT The first institutional organisation of Italian sport was the Gymnastics Federation, despite increasing competition from individual sports federations. Their coordination was complicated until 1921, when the Italian National Olympic Committee, established in 1914, took over. After the Second World War, CONI, duly democratised and freed from Fascist ideology, took on a threefold role, guiding sports policy until recently under the slogan “Sport for sportspeople”. Today we are going through a long phase of reform, which has seen the creation, alongside CONI, of Sport e Salute and various institutions of a ministerial nature. GIULIO Initially appointed as liquidator, the Turin lawyer Giulio Onesti became the deus ex machina of the new post-fascist CONI. Convinced that a new body would have to be created from scratch in the event of liquidation, he not only managed to preserve CONI, but also to make it the pillar of the sporting system in republican Italy, remaining at its helm until 1978. Under the leadership of Onesti, Italian sport experienced a season of growth and hosted the Olympic Games for the first time. PROMOTING SPORT The link between elite Italian sport and the Armed Forces is a very old tradition that was only regulated in 1954, when the first convention was signed to support the training of athletes as an investment by the State in fostering the growth of great champions. Despite being a legacy of a time when participation in the Olympics was formally reserved for amateur athletes, this link continues to grow. Today, some 2,500 athletes are registered with the Military Sports Groups (Army, Carabinieri, Air Force, Navy and Guardia di Finanza) and the State Corps (Police, Fire Brigade and Prison Police). A QUESTION OF SPORTS DIPLOMACY Over the years, the activities of the Italian government and diplomacy have extended to sport, within the broader framework of ‘diplomacy for growth’. Through sport it is in fact possible to strengthen good relations with friendly countries and promote Italy’s image abroad. The organisation of major events has represented and continues to represent an important moment for countries to meet and cooperate, and they have always also been showcases for the promotion of the country, territories, culture, businesses and districts, generating economic inducements, stimulating tourism and attracting foreign investment. MORE AND MORE ELDERLY PEOPLE During the 20th century, the life expectancy of Italians has lengthened considerably. Improvements in overall living and working conditions, a richer and more nutritious diet, and access to better and more consistent health care have increased life expectancy from 29 to 82.4 years. However, these improvements have also brought new challenges: the discovery of new diseases, a greater awareness of the role of lifestyle in health and of the importance of an active life and a healthy diet as a means of prevention. Life expectancy at birth year life expectancy at birth 1861 29 1881 35 1901 43 1921 49 1941 56 1961 69 1981 75 2001 80 2021 83 THE COST OF BEING LAZY Sedentariness causes 9% of cardiovascular diseases, 11% of type 2 diabetes cases, 16% of breast and colorectal cancer cases 60% is the correlation between sedentariness and excess weight IN PRISONS Article 27 of the Italian Constitution enshrines the principle that sentences must aim at the re-education of the convicted person, so Article 15 of the 1975 Prison Ordinance stipulates that ‘the treatment of convicted and imprisoned persons shall be carried out by making use mainly of education, work, religion, cultural, recreational and sporting activities’ and therefore ‘Cultural, sporting and recreational activities shall be encouraged and organised in the institutes’. With a Memorandum of Understanding signed in 2013, CONI launched the excellence ‘Sport in Prison’ project in many Italian prisons. SPORT IN THE SUBURBS It has been widely demonstrated how sport can play a fundamental role as a tool for social and urban regeneration and for combating deviance and criminality among young people in urban peripheries and areas of social marginalisation and poverty or economic and cultural deprivation. In Italy, two significant examples are the Paladiamante project in Begato (Genoa), developed in 2010, and the Spazio47 neighbourhood centre, inaugurated in Catania in 2015. In 2018, the Open Space project, present in the suburbs of four Italian cities, used sport to socially reactivate public spaces and combat marginalisation, demonstrating the effectiveness of the approach. SPORTCITY: A GLIMPSE INTO THE FUTURE The Sport City concept represents a possible solution to all of the above. This concept is not limited to the mere presence of sports facilities in cities but configures a city model that integrates sport into every aspect of life, from mobility to public health. The idea is that sport is not just a competitive activity, but an element of social inclusion and quality of life. The concept has been theorised by various urban planners and architects, including Richard Sennett and Jan Gehl. Following the example of the Olympic Park in Barcelona, or the Queen Elizabeth Olympic Park in London, Italian cities such as Turin are now taking the lead in this movement. —————————————— Superhumans In the 20th century, our knowledge of the body, medicine, physics and chemistry has expanded considerably: we have discovered and are discovering the origins of many diseases and are decoding the deep workings of our bodies and brains. Technology and science have made great strides, allowing us today to equip the human body with devices that increase its ability to go faster, higher and further, but also expose it to serious threats to survival. This section asks how far man will go in his quest for perfection, beyond the limits of his humanity, and what questions the combination of technology, medicine and sport will raise for the future. Will we all become a little more superhuman? Will technology and science help us to be better or will they confront us with moral choices that are more important than ever in sport? TECHNOLOGIES THAT EMPOWER US, TECHNOLOGIES THAT PROTECT US Since the dawn of time, humans have realised that their ability to build tools would be crucial to compensate for the fragility and limitations of their bodies. They began to invent ways to protect themself, but also to empower themselves, and this quest for protection and performance enhancement is evident in the field of sport, where there are almost endless technologies developed to go ‘stronger, faster and farther’, and to do so more safely. The regulations of the various disciplines themselves have increasingly focused on preserving the health of athletes, introducing the compulsory use of a range of equipment and accessories necessary to safeguard their bodies and prohibiting risky practices. THE MOTORBIKE AIRBAG: AN ITALIAN EXCELLENCE Helmets, goggles, gloves, boots, armour and all sorts of devices for protection in the event of an accident have accompanied the history of motorsport: many revolutions in this sector have arisen in Vicenza. Indeed, from the imagination of Lino Dainese and his collaborators came a series of technological leaps, such as the full leather suit, modular back protectors inspired by armadillos, sliders and, above all, the electronic airbag. A revolution that, developed today for motorcycling sports and otherwise, can be applied to the protection of all athletes and all fragile members of society, such as the elderly and children, limiting damage in the event of a fall. THE GREAT PROSTHETICS WAR At the beginning of the 20th century, several doctors in Tuscany were at the forefront of research into the development of orthopaedic prostheses that would allow rudimentary movement. Returning from the Libyan war, one of them, Giuliano Vanghetti, had attempted to operate on amputated limbs while preserving their functionality. It was not until the First World War, with its dramatic increase in the number of invalids, that prosthetic construction was developed to a more complex level. The Rizzoli Orthopaedic Institute in Bologna became one of the main centres for the treatment and rehabilitation of soldiers returning from the front with severe mutilations. The results of the workshops set up a few years earlier led to the creation of prostheses that were no longer mere fillers, but useful hands capable of performing simple gestures thanks to the residual impulse given by the injured muscles, thus restoring a semblance of normality to life. INAIL AND ITALIAN EXCELLENCE Even today, Italy is still a world leader in the testing of orthopaedic prostheses for sports and other fields. Thanks to INAIL – National Institute for Insurance against Accidents at Work – and its orthopaedic workshop inaugurated in 1961, and thanks to the collaboration between it and the Italian Institute of Technology in Genoa, our country is in fact at the forefront in the field of robotic prostheses. The work of these two public bodies shows the state’s commitment to caring for citizens who are victims of accidents or have congenital disabilities to improve their quality of life. In addition to developing all the prostheses for the Italian National Paralympic Team, the two organisations have also developed the patent for the ‘Hannes’ bionic hand, the ‘Exo-H2’ wearable exoskeleton and a range of bioelectric prostheses that use artificial intelligence to analyse the wearer’s muscle signals in real time. THE PARALYMPIC GAMES Italy can also boast another great success in the field of adapted sport: the organisation of the first Paralympic Games. In fact, it is thanks to the work of Dr Alfredo Maglio, his intuition and collaboration with Ludwig Guttmann, organiser of the 1948 Stoke Mandeville Games in the United States, that sport for people with disabilities made significant progress. Maglio, who specialised in the rehabilitation of victims of work-related injuries, soon realised the importance of sport for the motor and psychological rehabilitation of his patients. In 1961, he founded the Paraplegic Centre in Ostia, near Rome, for INAIL, which played a crucial role in promoting sport for people with disabilities, transforming social perceptions around them. This gave rise to the idea of the first ‘Paralympics’, organised in Rome in 1960, starting a global movement that led to the founding of the International Paralympic Committee in 1989. Italian Paralympic medals Italian Paralympic athletes with the most medals SUPERHEROES? BEBE Who doesn’t know Bebe Vio? Gold medallist in individual fencing at the Rio de Janeiro 2016 and Tokyo 2020 games and holder of countless European and world titles, the Veneto athlete is a role model for thousands of people, so much so that she was awarded the title of Commander of the Order of Merit of the Italian Republic for her contribution not only to the Italian sports movement, but to society as a whole as an example of courage, resilience and overcoming prejudice. ALEX Alex Zanardi, who has become a symbol of resilience and determination, began his sporting career as a racing driver. After winning two titles in the American CART championship, he was the victim of a serious accident in 2001 that led to the amputation of his legs.. Recovering, he returned to racing with adapted cars and devoted himself to paracycling, winning a long series of world championships and two medals at the Paralympic Games in London 2012 and Rio 2016, becoming a true legend. Paralympic Games, becoming a true legend. In 2020, an accident during a road race once again threatened Alex Zanardi’s life, leaving the Italian public in suspense. THE FUEL OF SPORTSMEN Today, we all take the importance of nutrition in sport for granted. A good nutritionist is just as important as a trainer, because it is through food that our bodies find the energy to exercise and regenerate after intense training. All the elements are equally important: vitamins, proteins, carbohydrates, fibre – the perfect balance of our Mediterranean diet. For a long time, however, this was not offered to athletes, who were given high doses of protein. It was not until the 1950s that the relationship between nutrition and sport became a field of study, with the emphasis on our Mediterranean diet based on cereals. Among the first to understand its importance were Fausto Coppi and Giacomo Agostini, who recognised the importance of nutrition and general physical training for high performance in their disciplines. EAT MORE SUGAR! Before the triumph of light or protein foods and supplements, the athlete’s diet was already the subject of marketing, but in completely unexpected ways. In the 1950s and 1960s, sugar and sweets were promoted as ideal foods for athletes through massive advertising campaigns; companies presented them as sources of quick energy, associating their consumption with athletic performance. Athletes were often portrayed consuming sweets, consolidating the idea that they were essential for physical activity. The lack of knowledge of the risks associated with excessive sugar consumption contributed to this perception, which now seems decidedly outdated. ALCOHOL At the turn of the century, alcohol took the lion’s share of the tables of all Italians, who drew most of the calories they could not get from other, more nutritious foods from alcoholic beverages. It was therefore normal, even for athletes, to consider alcohol a food like any other. Things changed in the 1920s. As the first diet books appeared, people began to restrict the use of alcohol, which could impair athletes’ performance. SMOKING Today, it would be unthinkable for a professional athlete to smoke, except in a few cases, but the perception of the damage caused by smoking has struggled to take hold. Up until the 1960s and 1970s, it was not uncommon to see athletes smoking, but the situation began to change as scientific evidence of the damage to health and the negative impact on physical and respiratory performance grew. This change in mentality became more pronounced in the 1980s, when many sports organisations began to discourage smoking among athletes. In the 1990s and early 2000s, anti-smoking policies became more stringent, with the introduction of laws banning smoking in many public places, including sports stadiums and arenas. PLAYING DIRTY: DOPING According to the most influential Italian encyclopaedia, Treccani, ‘the term doping indicates the use of drugs, pharmacological combinations or medical practices with the aim of improving performance during sporting activity’. Combinations and practices spread across multiple disciplines and developed in step with the medical-scientific and pharmacological knowledge available in the various eras and increased as top-level sport became a spectacle and a lucrative industry. At the end of the 19th century, two Italian physiologists, Angelo Mosso and Paolo Mantegazza, were the first to demonstrate through their studies the benefits that could be obtained in sport from the use of certain substances such as cocaine and caffeine, and in 1904 the term ‘doping’ appeared for the first time in the ‘Gazzetta dello Sport’, referring to the use of doping quadrupeds in horse racing. Doping practices have devastating effects on the psycho-physical health of those who take them, whether professionals or amateurs. In Italy, the first death caused by doping was that of the cyclist Alfredo Falzini in 1949, in the middle of the Milano-Sanremo race. Nevertheless, the growing awareness of the mirage of miraculous sporting results promised by these substances has led to experimentation with ever more sophisticated systems. GUARDS AND THIEVES, ANTI-DOPING ‘The practice of doping in sport is not only cheating, a shortcut that nullifies dignity, but it is also wanting to steal from God that spark which, by his mysterious designs, he has given to some in a special form’, Pope Bergoglio said in 2021, closing any possible discussion on doping, effectively justifying the rigid moral division between ‘right’ and ‘wrong’ and the challenge between guards and thieves that has developed in the anti-doping sector. The first international body to combat it was the IAAF in 1928, but it was not until 1967 that the IOC decided to introduce anti-doping tests. In Italy, the introduction of testing in the Giro d’Italia came as early as 1968 and the first organic anti-doping law was introduced in 1971, which was then updated in 2000 when doping was equated with a criminal offence by aggravating only the sporting offence. COPPI’S ‘BOMB’ In cycling at the beginning of the century, in a still backward Italy, the real ‘doping’ – and even for some cyclists of very humble origins the real mirage – was to be able to eat well and in abundance. On the other hand, cycling, with its heavy bicycles, bumpy roads and disproportionately high mileage, required an inhuman effort. Apart from ‘natural’ doping, such as the intake of 34 eggs that Alberto Binda is said to have eaten during the Tour of Lombardy in 1926, all riders tried to resort to energising mixtures. After the Second World War came a ‘modernisation’ in the use of stimulants. Coppi was the first to understand the importance of being followed by a doctor to dose energisers. In 1952, in a radio interview, he revealed the contents of the mythical ‘bomb’, based mainly on an amphetamine, sympamine, synthesised in Italy in 1937, and which until the 1970s was sold as a tonic in pharmacies; today it is considered a narcotic and used only in limited clinical cases. THE APOGEE OF EPO Marco Pantani is synonymous with Italian cycling in the 1990s. The ‘Pirate’ captured the Italian summer and imagination from 1994 to 1999. His whole life was thrown into the limelight when, in 1994, he climbed the Stelvio and the Mortirolo, the area where the myth of Coppi was born. His legend, however, is more enduring than his fortune: having won the Tour and Giro in the same season, he was stopped by the doping squad at Madonna di Campiglio in 1999, at the height of his fame. Pantani, who tested positive for the use of Epo, a substance that increases the number of red blood cells widely used by cyclists in the 1990s to facilitate endurance and recovery – which was to be at the centre of the Lace Armstrong scandal, winner of seven consecutive laps. was disqualified. “This time I won’t get up again,” he tells reporters. What remains of him is the myth and the belief in his innocence of the last “people” of cycling. A GLIMPSE INTO THE FUTURE: CYBORG-ATHLETES Looking to the future and considering all that has been said in this section, cyborgs, human-machine hybridisation and artificial intelligence appear on the horizon as fascinating and controversial scenarios for sport. Athletes with advanced prosthetics have shown that a human with prosthetics can run even faster and more efficiently than one without. Furthermore, AI could revolutionise training, analysing biometric data in real time to optimise performance to the point of opening chip hybridisation scenarios to influence a person’s emotional state. However, the integration of technology raises ethical, regulatory and philosophical questions: what will sport be when we are no longer ‘just human’, fragile and subject to the unpredictability of existence? —————————————— Love Sport is also, and above all, a matter of love. A long history of rituals and myths, gestures and superstitions to be respected, ritual pilgrimages, heroes to imitate, choirs to sing. To use the categories of the great English historian Eric Hobsbawm, we can without a doubt consider sport to be one of the ‘secular religions’ of our time: just as with religions, there are gods, apostles, preachers, practitioners, worshippers and calendars to be respected with certain doses of sacredness and ritual. This section is a small emotional journey through the Italians’ support for their favourite sports, from the stands to the sports bars, from all-time champions to the unconditional love for the national team, from the World Cup on the big screens to the radios of the 1950s, from the Fantacalcio card to ‘Novantesimo Minuto’. A mosaic of memories in which all Italians can recognise themselves. TIFO Italian is one of the few languages to have found its own word for public support at sporting events: ‘Tifo’ a name borrowed from a disease that causes high fever. The dictionary defines ‘tifo’ as “passionate enthusiasm, often fanatical, for a sports team, a champion or even a public figure”, which goes beyond the moment of the match and becomes a way of life and a declaration of belonging and identity. On the other hand, there would be no sport without cheering: no performance and no victory would be meaningful without the presence, support, gossip and coverage of the public in the stands. And Italians, as fans, crowd the stands of arenas and stadiums, undertake gruelling journeys to follow their favourite team, crowd the roadsides to cheer on cyclists, set off fireworks, build merry-go-rounds, share beer and watermelons in front of big screens, comment on sporting events in bars and all the meeting places, and finally, they pay huge sums to subscribe to all the platforms that allow them to follow their idols from the comfort of their sofas at home. COUCH ATHLETES Italians are world-famous for the liveliness of their cheering, a practice that, it is said, fascinates them more than the sporting activity itself. But what are the 10 sports that keep us glued us to the sofa? TOTOCALCIO Who has not experienced at least once in their life the thrill of filling in the 0-X-1 slip, hoping that on Sunday evening their winning combination will appear and their bank account will suddenly be flush with funds? This is the ritual of the Totocalcio, created in 1946 by Massimo Della Pergola, a betting game on the results of Italian football. Inspired by the English ‘football pools’, it was introduced to finance CONI and the Italian sports sector and quickly became a collective act of millions of Italians. With the advent of online betting, its popularity declined, but it remains an icon in our collective imagination. THE ‘FIGURINE’ ‘Figurine’ (stickers) arrived in Italy in the 1920s and 1930s as an advertising tool, all shapes and colours were printed, and sport was one of the last themes to appear in collections. Helvetia chocolate from Reggio Emilia was one of the first to include a collection of sports-themed stickers in its packaging. It was 1929 and of the 90 motifs, 33 were dedicated to cycling, 15 to motorcycling and football, 12 to motor racing, 9 to boxing and 6 to running. But the quality of this new medium really took off with the founding of the Panini company in Modena in 1961, which launched the first album dedicated to the Football World Cup that same year. Self-adhesive stickers and all the commercial activity that went with them quickly became a cultural phenomenon that influenced several generations and is still an integral part of Italian childhood. PLAYING SPORTS Anyone who was a child during the years of the economic miracle can tell of the hours spent playing with crown caps – the caps that close soft drinks or tomato bottles – covered with pictures of their favourite racers and weighed down by a perfectly filed slide. They are the rudimentary version of another game with which they soon hybridised: marbles. Marbles, no longer made of terracotta or glass, but of plastic, with a transparent hemisphere enclosing the cyclist’s figurine and with which fierce races are run on tracks slowly modelled on the beach or in the earth. And what child of the 1980s does not remember with emotion Subbuteo and its players, with their hemispherical bases that could be pushed forward with the fingers? Invented in the immediate post-war period in Great Britain, it is the alter ego of another great leisure time classic of Italians, the table football or, as it was called in Mussolini’s time, the ‘Calcio-Balilla’, the absolute protagonist, along with table tennis, of afternoons in oratories, party sections, bars and summer beaches. FANTACALCIO Created in the late 1980s by journalist Riccardo Albini, who was inspired by US baseball and football fantasy leagues, Fantacalcio quickly became a passion for millions of Italians. Its success and popularity was largely due to the collaboration of La Gazzetta dello Sport: since 1994, the sports daily has devoted several pages to the game, providing votes to calculate the scores. It is in fact a virtual game in which ‘fanta-trainers’ build a team with real players, whose score is derived from the actual performances they put on the pitch every Sunday. It is a game that strengthens and destroys friendships, is a topic of conversation in bars and among colleagues, but above all it helps to make football the most popular sport among Italians. WHAT SHALL WE CALL HIM? What makes two people to choose a name for their newborn child? In the past it was family and religious traditions, then the desire to wish prosperity and success, and finally the desire to emulate myths from popular culture. First names from operas, then those from literature, and finally those from film and television. Since the 1920s, however, the names of sporting heroes have also imposed themselves, hand in hand with the spread of the mass media that build sports stardom and the figure of the champion. A fashion that has never gone out of fashion, considering that between 1984 and 1991 alone, 515 children were registered in the Naples registry office with the name Diego or Diego Armando. PLACES OF DEVOTION Like any religion, sport also has its places of devotion, often linked to the myth of certain great teams and which are inserted into urban landscapes, becoming protagonists in photographs and postcards. Sports facilities have seen the greatest names in Italian architecture put their skills to the test, integrating themselves into the urban fabric and even transforming it to meet the needs of a sporting movement, the crowds and the increasingly numerous and frequent competitions. From the Dall’Ara stadium to the stadium in Florence, designed by Pier Luigi Nervi, from the Foro Italico to the Marassi in Genoa, several stadiums and sports facilities are also monuments, while others are linked to mythologies, such as the Filadelfia stadium in Turin, which preserves in its new structure part of the bleachers that witnessed the exploits of Valentino Mazzola and the Grande Torino. Arenas, stadiums, rings, swimming pools and facilities of all kinds are also real places of pilgrimage for fans, so much so that some have been turned into museums, such as the Madonna del Ghisallo or the Juventus Stadium. ITALY AT THE OLYMPICS The modern Olympic Games were born in 1894 from the intuition of the French baron Pierre de Coubertin, who was idealistically convinced that a sporting festival, inspired by the Olympic Games of ancient times and the Universal Exhibitions, bringing together the youth of the world every four years, could be a vehicle for peace. Two years later, the first edition was held in Athens: Italy sent no delegation, but two Italian athletes, Rivabella and Airoldi, tried to take part. The former possibly competed in the shot – but we do not know his placing – the latter wanted to run the first marathon in history but was disqualified for professionalism. Until 1992, the Games were reserved, at least formally, for amateurs. The first medals arrived in Paris in 1900, an edition that was swallowed up by the Universal Exhibition. 27 participations in the Summer Olympics GENERAL CLASSIFICATION POSITION Summer Olympics: 6th Winter Olympics: 12th Overall medallist: 7th Total medals won: 741 Overall ranking by total number of medals in summer and winter disciplines The 5 most medalled Italian athletes of all time: Edoardo Mangiarotti (fencing) – 13 medals. Arianna Fontana (short track) – 11 medals. Stefania Belmondo (cross-country skiing) – 10 medals. Valentina Vezzali (fencing) – 9 medals. Giulio Gaudini (fencing) – 9 medals. The 3 athletes who have participated in multiple Olympic Games 8 editions: Raimondo and Piero D’Inzeo (horse riding); Josefa Idem (canoeing); Giovanni Pellielo (shooting) HEROES OF THE MARATHON The fascination of running lies in man’s attempt to overcome his own limitations using only his legs. Ugo Frigerio, marcher, led Italy to its first Olympic medal in 1920. The record of 19’72” for the 200 metres flat, set by Pietro Mennea in 1979, remained unbeaten until 1996. However, the Apulian sprinter never achieved the popularity of other sportsmen, not only because of his tendency to embody a spirit of sacrifice rather than enthusiasm, but also because of the lack of interest shown in athletics by sponsors for a long time. Following the memory of Dorando Pietri, Italy also became home to marathon runners: in 1988 Gelindo Bordin, a good-tempered Veneto native, won the first Italian gold medal in the queen of races. The podium was then regained by Stefano Baldini in Athens in 2004, the last Westerner to reach the top step before the triumphs of Kenyan athletes. ROME 1960 The first Olympic Games, held in Italy, marked a radical change in modern sport. The Olympic Games took on a commercial dimension and athletes became tools and vehicles for advertising. Demands for equal rights and non-discrimination on the basis of race and gender grew, so much so that the United States chose an African-American, Rafer Johnson, to be the flag bearer. Rome is a city trying to shake off the legacy of fascism – evident in the symbols of the Foro Italico, built by Mussolini for the coveted 1944 Olympic Games. In a medal table dominated by the Soviet Union and the United States, Italy finished third with 13 gold medals. These included the 200 metres on the flat, won by Livio Berruti, and the welterweight boxer Nino Benvenuti. The former, a former sick child who ran with sunglasses to compensate for severe short-sightedness, broke the Olympic record with 20″5 and became a national hero. The second, a former European champion, turned professional and then entered the Hall of Fame of the greatest boxers of all time. THE HOME OF THE WINTER OLYMPICS Unlike the summer Olympics, hosted in Italy on only one occasion, our country has already organised the winter Olympics on two occasions and is preparing to do so for the third time. The first, held in Cortina d’Ampezzo in 1956, just four years after the end of a war in which Italy was a defeated power, symbolically confirmed the country’s full re-entry into the international sporting arena. Fifty years later, the Winter Games returned to the Italian Alps: in Turin 2006, the Italian delegation won five gold and six bronze medals. The Piedmontese capital also managed to complete its urban transformation into a post-industrial city thanks to the Olympic event. Only twenty years after the second one, Italy is now preparing to host its third winter edition: Milan-Cortina 2026. An enterprise that will involve no less than three regions: Lombardy, Veneto and Trentino-Alto Adige. THE AZZURRI Although the Italian flag is green, white and red, our national team is known around the world as the ‘Azzurri’. An anomaly that has its roots in the political and institutional history of our country. Light blue, the official colour of the Savoy dynasty, which ruled Italy until 1946, was adopted as the badge of Italian athletes from 1910, when it was used by the national football team in a match against France. The newly born Italian Republic decided not to break with the custom and the sentimental baggage that the colour carried, maintaining the colour of the sovereigns even after the end of the monarchy. TRICOLOUR HEART The success at the men’s European Football Championship in 1968 and the ride to the final at the World Cup in Mexico in 1970 triggered spontaneous celebrations in the streets and squares of Italy, in those years associated with political and social conflicts, in which, from below and without any party connotations, there was a massive display of national symbols. There was a widespread feeling that shared belonging to the blue colours had the ability to suspend political divisions. The wait on the eve of the match, marked by early closures and half-empty transports, the liturgy of the night match broadcast live on television, the great heat and the alternation of emotions all contributed to the crowds of Italians invading public spaces at the final whistle in an uncontrollable euphoria that involved not only young men, but also the elderly, children and many women. From that moment on, the festive invasion of public space and the unfurling of national symbols became a tradition to celebrate each victory achieved by the Azzurri. THE 82 WORLD CUP Madrid, 1982. World Cup final Italy-Germany: 32 million people tuned in to set a new record for television viewing figures. The World Cup got off to a bad start for Italy, after a scandal that resulted in the disqualification of centre forward Paolo Rossi for two years. After the first qualifying round, nobody would have bet on the continuation of the adventure of Enzo Bearzot’s national team. But everything changed after the clash with Brazil, which ended 3-2 to Italy in the 89th minute. For the final, 30,000 Italian fans arrived in the Spanish capital, including the President of the Republic Sandro Pertini, who threw his arms up to the sky, mad with joy at the 3-1 win with goals from Paolo Rossi, Marco Tardelli and Alessandro Altobelli. At a difficult time for the country, when the secular religions of politics were beginning to fade and the wounds of the “anni di piombo” were still fresh, football managed to unite Italians where many had failed. ITALY 90 For the ruling class of the time, it was supposed to be the litmus test of the seventh world power of the 1980s, for everyone it was the ‘missed chance’: or so the 1990 World Cup was called. Much had been invested in this edition of the Cup, which the Italians entered as the favourites. It was Maradona who put an end to the Azzurri’s ‘magic nights’ and led Argentina to the final against West Germany. Some hoped that the Azzurri would be able to repeat the success of Vittorio Pozzo’s Italy, who had won their first World Cup on home soil in 1934; others believed that they would be able to see the burning torches of the fans who had greeted the first European Championship victory in 1968 in the stands of the Olimpico. Ten years after Italia 80, the Italian national team had reached the semi-finals. MAGICAL NIGHTS Prominent contemporary composers were brought in to celebrate major sporting events. Among the creators of the World Cup and Olympic anthems were two Italian Oscar winners: Ennio Morricone and Giorgio Moroder. Morricone, whose name until then was linked to the films of Sergio Leone, Elio Petri and Pier Paolo Pasolini, composed the theme for the controversial 1978 World Cup in Argentina; while Moroder, after winning Oscars in 1979, 1984 and 1987, wrote the music for ‘Hand in Hand’, the anthem of the 1988 Seoul Olympic Games. Moroder was also called upon to write the notes of what became a real summer hit, ‘To Be Number One’, better known in Italy as ‘Un’estate Italiana’ (An Italian Summer), which, sung by two pop stars Gianna Nannini and Edoardo Bennato, was renamed ‘Notti Magiche’ (Magical Nights) for its famous refrain. THE GAME OF THE HEART The singers’ love for football was also demonstrated in 1992 with the creation of the ‘partita del cuore’, a charity event that for the last 32 years has pitted the national team of Italian singers against various teams, including RAI Radio and Telecronists, pilots and politicians. If the first match in 1992 (80,000 spectators) was the most attended, followed by the matches with the sports champions in 1994 (60,000) and with the magistrates (70,000), one of the most interesting matches was the one with the parliamentarians in 1996. The singers fielded, among others, Mogol, Enrico Ruggeri, Luca Barbarossa, Gianni Morandi, Eros Ramazzotti and Luciano Ligabue; the politicians, in the first year of the Prodi government, presented themselves with a bipartisan line-up, which included Roberto Maroni, Ignazio La Russa, Pierferdinando Casini, Massimo D’Alema, Clemente Mastella and Walter Veltroni. The match ended 2-2 after regulation time. After the penalties, in a friendly spirit, it was decided to end the match with a result of 4-4. THE CHAMPIONS CUP In 1981, in the song ‘Milano’, Lucio Dalla ends a verse by stating: ‘then Milan and Benfica, Milan that struggles…’. The reference is to the first Champions Cup won by Milan in 1963, against the strong Portuguese team, defending champions: the first of the seven Champions Cups/Champions League won by Milan. Today, the Rossoneri are, after Real Madrid, the team with the most victories. Other Italian teams to have excelled in the competition include Inter in 1964 and 1965, under Angelo Moratti, and his son Massimo in 2010. The Champions Cup has been a curse for Juventus, who won it twice, in 1985 and 1996, but lost seven times in the final. The first of the Bianconeri’s two trophies came against Liverpool in Brussels. The victory, overshadowed by the drama that unfolded that night at the Heysel stadium, brought attention to the problem of violence in stadiums. Among the Italians who reached the final without victory were Roma, who at the Olympic Stadium lost on penalties against Liverpool in 1983, and Fiorentina, who lost the final to Alfredo Di Stefano’s Real in 1957. CHAMPIONS Each of us has a champion in our heart. A character who has marked our individual and collective imagination, who has made us passionate with their charisma and their exploits. A great pantheon that makes us all feel a little more Italian. FEDERICA Federica Pellegrini, the ‘Divina’ of Italian swimming, has conquered everyone’s heart with her extraordinary feats. The first woman to break 4 minutes in the 400m freestyle, she has won 1 Olympic gold, 1 silver and 6 world gold medals. She has participated in five Olympic Games, from Athens 2004 to Tokyo 2020. Her career, which lasted from 2001 to 2021, is a symbol of excellence, grit and inspiration for all. VALENTINO On 5 June 2009, Valentino Rossi triumphed in one of the most epic MotoGP races in Catalonia, cementing his status as a living legend. The ‘Doctor’, who owes his fame and the devotion of many to his charisma as well as his talent, started racing at the age of just 9 and collected 9 world titles in different categories, becoming one of the most successful riders ever. His career, from 1996 to 2021, saw successes with teams such as Aprilia, Honda, Yamaha and Ducati. With 115 victories and 235 podiums in 432 races, he is still a rider the world envies. MARCEL AND GIANMARCO On 1 August 2021, Marcel Jacobs and Gianmarco Tamberi wrote an indelible page in Italian sports history. On the same day, Jacobs won gold in the 100 metres at the Tokyo 2020 Olympic Games with a time of 9.80 seconds, while Tamberi won gold in the high jump, clearing 2.37 metres. Jacobs, a sprinter extraordinaire, is the first Italian to win the Olympic 100 metres; while Tamberi, with his charisma and resilience, overcame a career marred by injuries. These simultaneous triumphs ignited national pride, paving the way for successes to be repeated in the 2024 Europeans. JANNICK In the summer of 2024, Italy was thrilled by a red-haired young man: Jannik Sinner, who became world number one, an epic achievement for the young man from San Candido, a small mountain village in northern Italy. Growing up in the Dolomites, Sinner started out as a skier, but found his true passion in tennis. His rise is extraordinary: in 2021 he wins his first Masters 1000 in Miami, in 2022 he triumphs at Wimbled
5438	dbpedia	2	36	https://duomo.firenze.it/en/opera-magazine/post/10952/the-dome-of-brunelleschi-and-the-curse-of-lightning-a-story-lasting-four-centuries	en	The Dome of Brunelleschi and the curse of lightning: a story lasting four centuries	https://duomo.firenze.it/getFile.php?id=78910	https://duomo.firenze.it/getFile.php?id=78910	[ "https://duomo.firenze.it/en/opera-magazine/post/10952/static/metacms/templates/opa/images/logo.svg", "https://duomo.firenze.it/en/opera-magazine/post/10952/getImage.php?id=79070&w=560&h=512&c=1&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/10952/getImage.php?id=2715&w=560&h=512&c=1&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/10952/getImage.php?id=2737&w=560&h=512&c=1&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/10952/getImage.php?id=79177&w=560&h=512&c=1&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/10952/getImage.php?id=2714&w=560&h=512&c=1&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/10952/getImage.php?id=1892&w=560&h=512&c=1&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/10952/getImage.php?id=2713&w=560&h=512&c=1&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/10952/application/mediaArchive/Image/af9e02b28dbb76207f49702a10eadd36_FABIO_MUZZI_©_2022_ALTA_045.JPG", "https://duomo.firenze.it/en/opera-magazine/post/10952/getImage.php?id=78906&w=500&h=565&c=0&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/10952/getImage.php?id=78907&w=500&h=565&c=0&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/10952/getImage.php?id=78908&w=500&h=333&c=0&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/10952/getImage.php?id=78968&w=165&h=165&c=1&co=1&f=0&t=0&.jpg 165w, getImage.php?id=78968&w=330&h=330&c=1&co=1&f=0&t=0&.jpg 330w", "https://duomo.firenze.it/en/opera-magazine/post/10952/getImage.php?id=78872&w=165&h=165&c=1&co=1&f=0&t=0&.jpg 165w, getImage.php?id=78872&w=330&h=330&c=1&co=1&f=0&t=0&.jpg 330w", "https://duomo.firenze.it/en/opera-magazine/post/10952/getImage.php?id=15570&w=165&h=165&c=1&co=1&f=0&t=0&.jpg 165w, getImage.php?id=15570&w=330&h=330&c=1&co=1&f=0&t=0&.jpg 330w", "https://duomo.firenze.it/en/opera-magazine/post/10952/static/metacms/templates/opa/images/logo-footer.svg" ]	[]	[]	[ "" ]	null	[ "Antonella Chiari" ]	2024-01-12T00:00:00	history of the lightning that struck Brunelleschi's Dome in Florence until the creation of the first lightning rod	en	https://duomo.firenze.it…png?v=3eBXPz8jdk		https://duomo.firenze.it/en/opera-magazine/post/10952/the-dome-of-brunelleschi-and-the-curse-of-lightning-a-story-lasting-four-centuries	Since ancient times, lightning, that very strong electrical discharge produced during storms, has evoked both fear and fascination. The Dome of Florence Cathedral, built by Filippo Brunelleschi between 1420 and 1436, is one of the symbols of Western architecture, well known for its majesty, grandeur and solidity. Yet that character has not been enough to protect it from the devastating electrical phenomena inherent to thunderstorms. Drawn by the enormous amount of copper in the globe placed on the Duomo lantern in 1471, by Andrea del Verrocchio, and counting until 1859, at least 27 significant strikes hit the apex of the Cathedral of Santa Maria del Fiore. In 1859, finally, the first lightning rod was installed, bringing a halt to the devastating electrical rain. Among the strikes recorded, the ones of 1492 and 1601 were the most consequential. In his Memories, Tribaldo De’ Rossi recounts the events of 5 April 1492: "When we were in bed and it was three in the morning, small granules of hail began to fall, with a great wind. A terrible thunderbolt came, and everyone was frightened. In the morning it was seen that it had hit the Lantern of Santa Maria del Fiore, which is on the Cupola, and it had brought down more than a third of the Lantern. It fell on the church in many parts, piercing the vault of the church in five places." Some 120 years later, in 1604, Francesco Bocchi wrote to his colleague Filippo Valori, recalling the ruin of the lantern some years earlier, during a storm on the night of 26 January 1601. "Soon after the fourth hour of night, while terrible conditions persisted, suddenly there broke out a rain mixed with hail accompanied by wind, and in an instant, struck by a bolt of lightning, the tallest pyramid [the cupola lantern] ripped open on one side, with a frightening cleft. The surrounding neighbourhood was awakened by the terrifying roar… and, not without reason, as it seemed that the sky was burning, people feared the destruction of the city of Florence... Thrice, and almost at the same moment, the part of it named for resemblance to a lantern was struck with a terrible roar, and under such violence, huge marbles suddenly shifted from their places, and falling in various parts of the church, miserably deformed the building underlying." The event recorded by Valori was the most violently damaging ever to occur for the dome. The strike of that night caused the detachment of Verrocchio's copper ball, weighing 1.9 tonnes, the fall of which damaged the lantern below, whose marble pieces tumbled down the slopes of the dome, landing on the vaults of the left lateral nave and the cornice of the northwest tribune. Fortunately, no harm was recorded to persons, but some of the stone landed on buildings and streets nearby, exploding on impact, such that pieces were found as far away as Via de’ Servi. Anonimous florentine: Il fulmine colpisce la lanterna. Oxford, Ashmolean Museum, n. cat. 770. The impression of this event on contemporaries is testified not only by the many written memories, but also in iconographic ones. Among these, an anonymous drawing preserved by the Oxford Ashmolean Museum shows a deity, probably Jupiter, God of Thunder, hurling lightning at the lantern, and the dome in the very moment of shattering. This same image also catalogues the shape and number of fallen elements, including the cross and ball of Verrocchio. A second elegant drawing, this one by Alessandro Allori and preserved in the National Library of Florence, captures a moment soon after the cataclysm. In this image the lantern emerges terribly torn, but already clearly subject to careful observation and the first interventions of preservation: a support in brick can be made out, erected in aid of the damaged structure. The restoration was complex, requiring two years of work and the very substantial cost of 16,291 scudi. Allori himself, in a report of the times, noted that "what has been done new agrees and unites very well with the old…”, an assertion which, through our own analysis, we can still confirm today, and demonstrating that even then there was particular attention to correctly preserving the historical-artistic heritage of Florence. The Grand Duke and the officers of the Opera of the Duomo had indeed directed the architects chosen, Giulio Parigi and Gherardo Mechini, "not to renew or change anything of the ancient model." Alessandro Allori: View of the damaged lantern. Biblioteca Nazionale Centrale di Firenze, II.I 429, c. 33r. In memory of the tragic event, the famous marble disk - still sought out by tourists and visitors - was placed where the ball had fallen. The human perceptions raised by such impetuous natural phenomena were rooted in ancient times, and descended in popular traditions and beliefs, among which myths and legends, and because of this the lightning strikes on the Cathedral were also interpreted in prophetic and supernatural key, as omens and signs of misfortune. The strike of 1492, for example, was taken as a harbinger of the death of Lorenzo the Magnificent, occurring only three days later. Documenting these views, we have the summary report of Ferdinando Del Migliore, published some 200 years later: "On the 5th of April in 1492, there came a [lightning bolt] that, as Giannotti reported, ruined a large part of the Pergamena [cupola lantern], and this was also an omen of future misfortunes, as commented by Amaddio Nicolucci, when he came to the city for the death of Lorenzo de' Medici the Elder.” Similarly, after the lightning strike of 1601, Grand Duke Ferdinand I asked Pope Clement VIII for a number of relics to be placed in two lead boxes inside the arms of the cross, on the sphere returned to the lantern crown, to prevent further incidents. The aim was to establish a kind of "celestial shield" in protection of the entire cathedral. As Del Migliore, once again writing in the 1600s, lamented, "It truly seems that the sky itself is scornful of such heights [of the cupola of Santa Maria del Fiore], and instructs us of this through experience, by the lightning and thunder that very often strike it…; occult causes, not understood by us, beat and strike the tops of our tallest buildings." Indeed, the causes of the repeating electrical phenomena were clarified by Benjamin Franklin in the mid-1700s, and with continued scientific progress, in 1859, the order went out for installation of a lightning rod on the Cathedral of Florence: a turning point for the safety of the monument. The new defensive system was very severely tested some years later, in June 1885, as recorded in an extraordinary first-person report preserved in the Cathedral archives: “In the very fierce storm which prevailed over Florence on the 19th of this June, among the various lightning strikes that fell in different parts of the city, there was one that discharged on the lightning rod of our cathedral dome. That bolt of lightning, in fact, fell on the tip of the electrical conductor that rises from the summit of the cross, situated on the copper sphere of the cupola. And myself and others distinctly saw that dazzling streak of fire, which in the moment enveloped the conductor and even melted the platinum tip in an amount of 15 millimetres. The lightning then discharged into the two ground wells where the conductors terminate, and did not cause any damage to that distinguished structure [Cathedral dome and Lantern]." Chronology of known lightning strikes: XV CENTURY XVI CENTURY XVII CENTURY XVIII CENTURY XIX CENTURY 05/04/1492 04/11/1511 17/01/1600-1 13/08/1700 1816 04/1494 1536 27/01/1600-1 13-14/06/1715 1836 09/08/1495 06/08/1542 18/07/1661 13/06/1776 03/09/1855 06/1498 18/09/1542 1699 1779 14/10/1542 22/12/1542 11/11/1557 05/11/1570 11/10/1577 03/11/1578 28/08/1584 28/08/1586 1859: First lightning rod Installed. Marble disk in memory of the lightning strike of 1601
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"https://upload.wikimedia.org/wikipedia/en/thumb/0/03/Flag_of_Italy.svg/32px-Flag_of_Italy.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/9/96/Symbol_category_class.svg/16px-Symbol_category_class.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/e/e7/Video-x-generic.svg/16px-Video-x-generic.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/9/97/The_Earth_seen_from_Apollo_17.jpg/16px-The_Earth_seen_from_Apollo_17.jpg", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2001-03-18T08:16:12+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Cinema_of_Italy	Cinema of ItalyNo. of screens3,217 (2013)[1] • Per capita5.9 per 100,000 (2013)[1]Main distributorsMedusa Film (16.7%) Warner Bros. (13.8%) 20th Century Studios (13.7%)[2]Produced feature films (2018)[3]Total273Fictional180Documentary93Number of admissions (2018)[3]Total85,900,000 • Per capita1.50 (2012)[4]National films19,900,000 (23.17%)Gross box office (2018)[3]Total€555 millionNational films€128 million (23.03%) The cinema of Italy (Italian: cinema italiano, pronounced [ˈtʃiːnema itaˈljaːno]) comprises the films made within Italy or by Italian directors. Italy is widely considered one of the birthplaces of art cinema, and the stylistic aspect of Italian film has been one of the most important factors in the history of Italian film.[5][6] As of 2018, Italian films have won 14 Academy Awards for Best Foreign Language Film as well as 12 Palmes d'Or, one Academy Award for Best Picture and many Golden Lions and Golden Bears. The history of Italian cinema began a few months after the Lumière brothers began motion picture exhibitions.[7][8] The first Italian director is considered to be Vittorio Calcina, a collaborator of the Lumière Brothers, who filmed Pope Leo XIII in 1896. The first films were made in the main cities of the Italian peninsula.[7][8] These brief experiments immediately met the curiosity of the general public, encouraging operators to produce new films and laying the foundation for the Italian film industry.[7][8] In the early 20th century, silent cinema developed, bringing numerous Italian stars to the forefront.[9] In the early 1900s, epic films such as Otello (1906), The Last Days of Pompeii (1908), L'Inferno (1911), Quo Vadis (1913), and Cabiria (1914), were made as adaptations of books or stage plays. The oldest European avant-garde cinema movement, Italian futurism, emerged in the late 1910s.[10] After a period of decline in the 1920s, the Italian film industry was revitalized in the 1930s with the arrival of sound film. A popular Italian genre during this period, the Telefoni Bianchi, consisted of comedies with glamorous backgrounds. Calligrafismo was in sharp contrast to Telefoni Bianchi-American style comedies and is rather artistic, highly formalistic, expressive in complexity and deals mainly with contemporary literary material. While Italy's Fascist government provided financial support for the nation's film industry, notably the construction of the Cinecittà studios. It also engaged in censorship, and thus many Italian films produced in the late 1930s were propaganda films. The end of World War II saw the birth of the influential Italian neorealist movement, which reached vast audiences throughout the post-war period,[11] and which launched the directorial careers of Luchino Visconti, Roberto Rossellini, and Vittorio De Sica. Neorealism declined in the late 1950s in favour of lighter films, such as those of the Commedia all'italiana genre and directors like Federico Fellini and Michelangelo Antonioni. Actresses such as Sophia Loren, Giulietta Masina, Claudia Cardinale, Monica Vitti, Anna Magnani and Gina Lollobrigida achieved international stardom during this period.[12] From the mid-1950s to the end of the 1970s, Commedia all'italiana and many other genres arose due to auteur cinema, and Italian cinema reached a position of great prestige both nationally and abroad.[13][14] The Spaghetti Western achieved popularity in the mid-1960s, peaking with Sergio Leone's Dollars Trilogy, which featured enigmatic scores by composer Ennio Morricone, which have become icons of the Western genre. Italian thrillers, or giallo, produced by directors such as Mario Bava and Dario Argento in the 1960s and 1970s, influenced the horror genre worldwide. During the 1980s and 1990s, directors such as Ermanno Olmi, Bernardo Bertolucci, Giuseppe Tornatore, Gabriele Salvatores and Roberto Benigni brought critical acclaim back to Italian cinema.[12] The Cinecittà complex is the largest film studio in Europe,[15] hosts the David di Donatello Awards, the most prestigious film award in Italy.[16] Presented by Academy of Italian Cinema, since 1956 a showcase of the best Italian cinematographic production. The Venice Film Festival is the oldest film festival in the world, held annually since 1932 and awarding the Golden Lion.[17] In 2008 the Venice Days ("Giornate degli Autori"), a section held in parallel to the Venice Film Festival, has produced in collaboration with Cinecittà studios and the Ministry of Cultural Heritage a list of a 100 films that have changed the collective memory of the country between 1942 and 1978: the "100 Italian films to be saved". History [edit] 1890s [edit] The first Italian director is considered to be Vittorio Calcina, a collaborator of the Lumière Brothers, who filmed Pope Leo XIII on 26 February 1896 in the short film Sua Santità papa Leone XIII ("His Holiness Pope Leo XIII").[18] As the official photographer of the House of Savoy,[19] he filmed the first Italian film, Sua Maestà il Re Umberto e Sua Maestà la Regina Margherita a passeggio per il parco a Monza ("His Majesty the King Umberto and Her Majesty the Queen Margherita strolling through the Monza Park").[20] In 1895, Filoteo Alberini patented his "kinetograph," a shooting and projecting device not unlike that of the Lumière brothers.[12][21] The Lumière brothers commenced public screenings in Italy in 1896.[22][23] Italian Lumière trainees produced short films documenting everyday life and comic strips in the late 1890s and early 1900s. The success of the short films was immediate. Titles of the time include, Arrivo del treno alla Stazione di Milano ("Arrival of the train at Milan station") (1896), La battaglia di neve ("The snow battle") (1896), and La gabbia dei matti ("The madmen's cage") (1896), all shot by Italo Pacchioni, who also invented a camera and projector, inspired by the cinematograph of Lumière brothers.[24] Although the general public were enthusiastic, initially the technology was snubbed by intellectuals and the press.[25] However, on 28 January 1897, prince Victor Emmanuel and princess Elena of Montenegro attended a screening at the Pitti Palace in Florence.[26] Interested in experimenting with the new medium, they were filmed in Florence and on the day of their wedding in at the Pantheon in Rome.[27][28] 1900s [edit] In the early 20th century, the phenomenon of itinerant cinemas developed throughout Italy.[29] The nascent Italian cinema, therefore, is still linked to the traditional shows of the commedia dell'arte or to those typical of circus folklore. Public screenings took place in the streets, in cafes or in variety theatres in the presence of a swindler who has the task of promoting and enriching the story.[30] Between 1903 and 1909 the itinerant Italian cinema began assuming the characteristics of an authentic industry, led by four major organizations: Titanus (originally Monopolio Lombardo), the first Italian film production company;[31] the largest and among the most famous film houses in Italy,[32] founded by Gustavo Lombardo at Naples in 1904, Cines, based in Rome; and the Turin-based companies Ambrosio Film and Itala Film.[23] Other companies soon followed in Milan, and these early companies quickly attained a respectable production quality and were able to market their products both within Italy and abroad. Early Italian films typically consisted of adaptations of books or stage plays, such as Mario Caserini's Otello (1906) and Arturo Ambrosio's 1908 The Last Days of Pompeii. Also popular during this period were films about historical figures, for instance Ugo Falena's Lucrezia Borgia (1910). In 1905, Cines inaugurated the genre of the historical film. One of the first of these films was La presa di Roma (1905), lasting 10 minutes, and made by Filoteo Alberini. The operator employs for the first-time actors of theatrical origin. The film, assimilating Manzoni's lesson of making historical fiction plausible, reconstructs the Capture of Rome on 20 September 1870. Dozens of characters from texts make their appearance on the big screen such as The Count of Monte Cristo and Giordano Bruno, among others.[23] 1910s [edit] In the 1910s, the Italian film industry developed rapidly.[33] In 1912, 569 films were produced in Turin, 420 in Rome and 120 in Milan.[34] Lost in the Dark (1914), a silent drama film directed by Nino Martoglio, documented life in the slums of Naples, and is considered a precursor to the Italian neorealism movement of the 1940s and 1950s.[12] The archetypes of the historical blockbuster genre were The Last Days of Pompeii (1908), by Arturo Ambrosio and Luigi Maggi and Nero (1909), by Maggi and Arrigo Frusta.[35] Enrico Guazzoni's 1913 film Quo Vadis was one of the first blockbusters, using thousands of extras and a lavish set design.[36] The international success of the film marked the maturation of the genre and allowed Guazzoni to make increasingly spectacular films such as Antony and Cleopatra (1913) and Julius Caesar (1914). Giovanni Pastrone's 1914 film Cabiria was an even larger production; it was the first epic film ever made and it is considered the most famous Italian silent film.[33][37] Pastrone's plan to adapt the Bible with thousands of extras remained unfulfilled, but Antamoro's Christus (1916) and Guazzoni's The Crusaders (1918) were notable films with Christian subjects. Many films were devoted to the investigative and mystery formats. The most prolific production houses in the 1910s were Cines, Ambrosio Film, Itala Film, Aquila Films, and Milano Films. Classic narrative elements of the silent proto-giallo (mystery, crime, investigation investigative and final twist) constitute the structural aspects of cinematic representation. Between 1913 and 1920 there was the rise, development and decline of the phenomenon of cinematographic stardom, born with the release of Ma l'amor mio non muore (1913), by Mario Caserini. The film had great success with the public and encoded the aesthetics of female stardom. Within just a few years, Eleonora Duse, Pina Menichelli, Rina De Liguoro, Leda Gys, Hesperia, Vittoria Lepanto, Mary Cleo Tarlarini and Italia Almirante Manzini established themselves. Films such as Fior di male (1914), by Carmine Gallone, Il fuoco (1915), by Giovanni Pastrone, Rapsodia satanica (1917), by Nino Oxilia and Cenere (1917), by Febo Mari, changed the model away from naturalism in favor of melodramatic acting, pictorial gesture and theatrical pose, all favored by the extensive use of close-up.[38][39] The most successful comedian in Italy was André Deed, better known in Italy as Cretinetti, star of comic short film for Itala Film. Its success paved the way for Marcel Fabre (Robinet), Ernesto Vaser (Fricot) and many others. Ferdinand Guillaume became famous with the stage name of Polidor.[40] Protagonists of Italian comedians never place themselves in open contrast with society or embody the desire for social revenge (as happens for example with Charlie Chaplin), but rather tried to integrate into a strongly desired world.[41] Italian futurist cinema was the oldest movement of European avant-garde cinema.[10] Italian futurism, an artistic and social movement, impacted the Italian film industry from 1916 to 1919.[42] It influenced Russian Futurist[43] and German Expressionist cinema.[44] Its cultural importance was considerable and influenced all subsequent avant-gardes, as well as some authors of narrative cinema; its echo expands to the dreamlike visions of some films by Alfred Hitchcock.[45] Futurism emphasized dynamism, speed, technology, youth, violence, and objects such as the car, the airplane, and the industrial city. Its key figures were the Italians Filippo Tommaso Marinetti, Umberto Boccioni, Carlo Carrà, Fortunato Depero, Gino Severini, Giacomo Balla, and Luigi Russolo. It glorified modernity and aimed to liberate Italy from the weight of its past.[46] The 1916 Manifesto of Futuristic Cinematography was signed by Filippo Tommaso Marinetti, Armando Ginna, Bruno Corra, Giacomo Balla and others. To the Futurists, cinema was an ideal art form, being a fresh medium, and able to be manipulated by speed, special effects and editing.[47] Most of the futuristic-themed films of this period have been lost, but critics cite Thaïs (1917) by Anton Giulio Bragaglia as one of the most influential, serving as the main inspiration for German Expressionist cinema in the following decade. The Italian film industry struggled against rising foreign competition in the years following World War I.[12] Several major studios, among them Cines and Ambrosio, formed the Unione Cinematografica Italiana to coordinate a national strategy for film production. This effort was largely unsuccessful, however, due to a wide disconnect between production and exhibition; some movies were not released until several years after they were produced.[48] 1920s [edit] With the end of World War I, Italian cinema suffered from production disorganization, increased costs, technological backwardness, loss of foreign markets and inability to cope with Hollywood.[49] The first half of the 1920s marked a sharp decrease in production, from 350 films produced in 1921 to 60 in 1924.[50] The main causes included the lack of a generational change with a production still dominated by filmmakers and producers of literary training, such that literature and theatre were still preferred media. Sentimental cinema for women spread, centered on figures on the margins of society. It was conservative cinema, tied to social rules upset by the war and in the process of dissolution throughout Europe. An example is A Woman's Story (1920) by Eugenio Perego, which is a 19th-century morality with melodramatic tones.[51] A new genre developed in a realist setting, like work by the first female director of Italian cinema, Elvira Notari,[52] and Lost in the Dark (1914) by director Nino Martoglio.[53] The revival of Italian cinema took place at the end of the 1920s. The productions were larger in scale and addressed peasant topics, hitherto practically absent in Italian cinema. Sun (1929) by Alessandro Blasetti reflects influence from Soviet and German avant-gardes.[54] The movement was above all an emancipation from literary models and a turn to more popular taste. 1930s [edit] The sound cinema arrived in Italy in 1930, three years after the release of The Jazz Singer (1927), and immediately led to a debate on the validity of spoken cinema and its relationship with the theatre. Some directors enthusiastically face the new challenge. The advent of talkies led to stricter censorship by the Fascist government.[12] The first Italian talking picture was The Song of Love (1930) by Gennaro Righelli, which was a great success with the public. Alessandro Blasetti also experimented with the use of an optical track for sound in the film Resurrection (1931), shot before The Song of Love but released a few months later.[55] Similar to Righelli's film is What Scoundrels Men Are! (1932) by Mario Camerini, which has the merit of making Vittorio De Sica debut on the screens. Historical films such as Blasetti's 1860 (1934) and Carmine Gallone's Scipio Africanus: The Defeat of Hannibal (1937) were also popular during this period.[12] With the transition to sound cinema, most of the Italian silent film actors, still linked to theatrical stylization, find themselves disqualified. The era of divas, dandies and strongmen, who barely survived the 1920s, is definitely over. Even if some performers will move on to directing or producing, the arrival of sound favors the generational change and the consequent modernization of the structures. Italian-born director Frank Capra received three Academy Awards for Best Director for the films It Happened One Night (1934, the first Big Five winner at the Academy Awards), Mr. Deeds Goes to Town (1936) and You Can't Take It with You (1938).[56] In 1932, the Venice Film Festival was established. It is today the world's oldest film festival. Alongside the Cannes and Berlin Festivals, it has shaped film history.[57][58][59][60] Cinecittà [edit] Main article: Cinecittà In 1934, the Fascist Italian government created the General Directorate for Cinema (Direzione Generale per la Cinematografia) and appointed Luigi Freddi its director. A town was developed southeast of Rome devoted exclusively to cinema and dubbed the Cinecittà ("Cinema City"). The project was clearly aware of film's value as a propaganda tool.[61][62][63] Mussolini himself inaugurated the studios on 28 April 1937.[64] Films such as Scipio Africanus (1937) and The Iron Crown (1941) showcased the technological capacities of the studios. Seven thousand people were involved in filming a battle scene from Scipio Africanus, and live elephants were brought in as a part of the re-enactment of the Battle of Zama.[65] The Cinecittà studios were Europe's most advanced production facilities and greatly boosted the technical quality of Italian films.[12] Many films are still shot entirely in Cinecittà.[66] Telefoni Bianchi [edit] Main article: Telefoni Bianchi During the 1930s, light comedies known as Telefoni Bianchi ("white telephones") were predominant in Italian cinema.[12] These films featured lavish set designs and promoted conservative values, which made them popular with censors. Numerous screenwriters (including Cesare Zavattini and Sergio Amidei) and set designers (Guido Fiorini, Gino Carlo Sensani and Antonio Valente) established themselves by working on Telefoni films.[67][68] The first film of the genre Telefoni Bianchi was The Private Secretary (1931), by Goffredo Alessandrini.[69] Others include Schoolgirl Diary (1941) and A Thousand Lire a Month (1939). Fascist propaganda [edit] See also: Propaganda in Fascist Italy One of the major films of Italian fascist propaganda cinema was Black Shirt (1933), by Giovacchino Forzano, made for the 10th anniversary of the March on Rome. With political consolidation, government authorities required the film industry to focus more on Italy's history and culture. This trend reached its peak just before the war with Cavalry (1936), by Goffredo Alessandrini, evoking the nobility of the Savoy fighters from the Risorgimento as anticipations of Fascist squads. Condottieri (1937) by Luis Trenker, tells the story of Giovanni delle Bande Nere as a sort of parallel with Benito Mussolini. Scipio Africanus: The Defeat of Hannibal (1937) was one of the greatest financial efforts of the time: it implicitly compares the Roman Empire to the Fascist Empire.[70] The invasion of Ethiopia gave Italian directors the opportunity to extend the horizons of the settings.[71] Both The Great Appeal (1936) and Lo squadrone bianco (1936) exalt imperialism. The Spanish Civil War is described most spectacularly in The Siege of the Alcazar (1940).[70] 1940s [edit] Propaganda [edit] With Italy's participation in World War II, the fascist regime further strengthens its control over production and requires a more decisive commitment to propaganda. In addition to the now canonical documentaries, short films and newsreels, there is also an increase in feature films in praise of Italian war efforts. Among the most representative are Bengasi (1942) by Genina, Gente dell'aria (1943) by Esodo Pratelli, The Three Pilots (1942) by Mario Mattoli (based on a screenplay by Vittorio Mussolini), Il treno crociato (1943) by Carlo Campogalliani, Harlem (1943) by Carmine Gallone and Men of the Mountain (1943) by Aldo Vergano under the supervision of Blasetti. Uomini sul fondo (1941) by Francesco De Robertis is also notable due to its almost documentary approach.[72] The most successful film of the period is We the Living (1942) by Goffredo Alessandrini, made as a single film, but then distributed in two parts due to its excessive length. Referable to the genre of anti-communist drama, this somber melodrama (set in the Soviet Union) is inspired by the novel of the same name by the writer Ayn Rand which exalts philosophical individualism.[73] Among the propaganda directors, there is also Roberto Rossellini, author of a trilogy composed of The White Ship (1941), A Pilot Returns (1942) and The Man with a Cross (1943).[73] Calligrafismo [edit] Main article: Calligrafismo The Calligrafismo style contrasts American style comedies because of its formalistic, expressive manner and its interest in contemporary literary texts taken from Italian realists.[74] The best-known exponent of this genre is Mario Soldati, whose characters often show psychological strength and master internal conflicts. Another important example of a calligraphic film is The Betrothed (1941), which became the most popular feature film in 1941 and 1942.[75] Animation [edit] The pioneer of the Italian cartoon was Francesco Guido, better known as Gibba. Immediately after World War II, he produced the first animated medium-length Italian film.[76] In 1949, The Dynamite Brothers followed. It was released in a package with La Rosa di Bagdad (1949).[76] Neorealism [edit] Main articles: Italian neorealism and Women in Italian neorealism Neorealist films typically dealt with the working class and were shot on location. There were several important precursors to the movement, like What Scoundrels Men Are! (1932) and Four Steps in the Clouds (1942).[78] They were not successful in Fascist-controlled parts of Italy, but after the war Italian neorealism was influential at the international level. Still, neorealist films made up only a small percentage of Italian films produced during this period. Postwar Italian moviegoers preferred escapist comedies starring actors like Totò and Alberto Sordi.[78] Neorealist works such as Roberto Rossellini's trilogy Rome, Open City (1945), Paisà (1946), and Germany, Year Zero (1948), with professional actors such as Anna Magnani and a number of non-professional actors, attempted to describe the difficult economic and moral conditions of postwar Italy and the changes in public mentality in everyday life. Visconti's The Earth Trembles (1948) was shot on location in a Sicilian fishing village and used locals as actors. Poetry and cruelty of life were harmonically combined in the works that Vittorio De Sica wrote and directed together with screenwriter Cesare Zavattini: among them were Shoeshine (1946) and The Bicycle Thief (1948). The 1952 film Umberto D., about a beggar with his dog, is perhaps De Sica's masterpiece.[79] It embodies both a conservative and a progressive view of post-war society.[79] Ossessione (1943), by Luchino Visconti. A still shot from Rome, Open City (1945), by Roberto Rossellini. Bicycle Thieves (1948), by Vittorio De Sica, entered the canon of classic cinema.[80] 1950s [edit] The mid-1950s saw more and more Italian films tackling existential topics; they were often more introspective than descriptive.[81] Michelangelo Antonioni was the first to establish himself and he became a reference for contemporary cinema.[82] His first work, Story of a Love Affair (1950), breaks with neorealism.[82] He investigates the world of the Italian bourgeoisie with a critical eye in films like I Vinti (1952), The Lady Without Camelias (1953) and Le Amiche (1955). Federico Fellini's La Strada (1954) and Pier Paolo Pasolini's first film, Accattone (1961) are also considered neorealist.[78] This period is also referred to as "The Golden Age" of Italian cinema. In commercial productions, the phenomenon of Totò was born. This Neapolitan actor is acclaimed as the major Italian comedian. His films (often with Aldo Fabrizi, Peppino De Filippo and almost always with Mario Castellani) expressed a sort of neorealistic satire.[83] Totò is one of the symbols of the cinema of Naples.[84] Pink neorealism [edit] Although Umberto D. is considered the end of the neorealist period, subsequent works turned toward lighter, sweetened and mildly optimistic atmospheres, more coherent with the improving conditions of Italy just before the economic boom; this genre became known as pink neorealism. Notable films of pink neorealism, which combine popular comedy and realist motifs, are Pane, amore e fantasia (1953) by Luigi Comencini and Poveri ma belli (1957) by Dino Risi, both works are in perfect harmony with the evolution of the Italian costume.[85] The large influx at the box office from the two films remained almost unchanged in the sequels Bread, Love and Jealousy (1954), Scandal in Sorrento (1955) and Pretty But Poor (1957), also directed by Luigi Comencini and Dino Risi. Actresses who excelled in this genre included international celebrities such as Sophia Loren and Gina Lollobrigida. Don Camillo and Peppone [edit] Main article: Don Camillo and Peppone A series of black-and-white films based on the Don Camillo and Peppone characters created by journalist Giovannino Guareschi were made between 1952 and 1965. These were French-Italian coproductions, and starred Fernandel as the Italian priest Don Camillo and Gino Cervi as Giuseppe 'Peppone' Bottazzi, the Communist mayor of their rural town. The movies were hugely successful: In 1952, Little World of Don Camillo was the highest-grossing film in both Italy and France,[86] while The Return of Don Camillo was the second most popular film of 1953 at the Italian and French box office.[87] Hollywood on the Tiber [edit] Main article: Hollywood on the Tiber Hollywood on the Tiber describes the period in the 1950s and 1960s when Rome emerged as a major location for international filmmaking.[15] These movies were made in English for global release and many enjoyed widespread popularity. Large-budget films shot at Cinecittà include Quo Vadis (1951), Roman Holiday (1953), Ben-Hur (1959), and Cleopatra (1963).[88] Quo Vadis by Mervyn LeRoy (1951) Sword-and-sandal (a.k.a. Peplum) [edit] Main article: Sword-and-sandal Sword-and-sandal is a subgenre of historical, mythological, or biblical epics. These films attempted to emulate the big-budget Hollywood historical epics of the time.[89] With the release of 1958's Hercules, starring American bodybuilder Steve Reeves, the genre was established with both European and American audiences. New directors such as Sergio Leone and Mario Bava broke into film with these films. Most sword-and-sandal films were in colour, a novelty. 1960s [edit] Federico Fellini dominated this decade. He won the Palme d'Or for La Dolce Vita, was nominated for more Academy Awards than any director in the history of the academy. His other well-known films include La Strada (1954), Nights of Cabiria (1957), Satyricon (1969), and Fellini's Casanova (1976).[91] Franco and Ciccio were a comedy duo formed by Italian actors Franco Franchi and Ciccio Ingrassia, particularly popular in the 1960s and 1970s. Together, they appeared in 116 films, usually as the main characters.[92] Musicarelli [edit] Main article: Musicarello Musicarello (pl. musicarelli) is a film subgenre which emerged in Italy, and which is characterized by the presence in main roles of young singers, already famous among their peers, and their new record album. The genre began in the late 1950s and had its peak of production in the 1960s.[93] The film which started the genre is considered to be I ragazzi del Juke-Box by Lucio Fulci (1959).[94] The musicarelli were inspired by two American musicals, in particular Jailhouse Rock by Richard Thorpe (1957) and earlier Love Me Tender by Robert D. Webb (1956), both starring Elvis Presley.[95][96][97] At the heart of the musicarello is a hit song, or a song that the producers hoped would become a hit, that usually shares its title with the film itself and sometimes has lyrics depicting a part of the plot.[98] In the films there are almost always tender and chaste love stories accompanied by the desire to have fun and dance without thoughts.[99] Musicarelli reflect the desire and need for emancipation of young Italians, highlighting some generational frictions.[95] With the arrival of the 1968 student protests the genre started to decline, because the generational revolt became explicitly political and at the same time there was no longer music equally directed to the whole youth audience.[100] For some time the duo Al Bano and Romina Power continued to enjoy success in musicarello films, but their films (like their songs) were a return to the traditional melody and to the musical films of the previous decades.[100] Commedia all'Italiana [edit] Main article: Commedia all'Italiana Commedia all'italiana ("Comedy in the Italian way") was a genre that developed from the 1950s to the 1970s. It derives its name from the title of Pietro Germi's Divorce Italian Style, 1961.[101] The term indicates a period in which the Italian film industry was producing many successful comedies about controversial social issues like sexual behavior, divorce, contraception, and the traditional religious influence of the Catholic Church.[102] An entire generation of great actors contributed to the films: Ugo Tognazzi, Marcello Mastroianni, and Nino Manfredi are among them.[103] Dino Risi garnered fame for directing Una vita difficile (A Difficult Life), then Il Sorpasso (The Easy Life), now a cult-movie. Many others followed. Spaghetti Western [edit] Main article: Spaghetti Western On the heels of the sword-and-sandal craze, a related genre, the Spaghetti Western arose. These films differed from traditional westerns because they were filmed in Europe, produced and directed by Italians.[106] The most director was Sergio Leone, credited as the inventor of the genre.[107][108] His A Fistful of Dollars was an unauthorized remake of the Japanese film Yojimbo by Akira Kurosawa. The Good, the Bad and the Ugly featured Clint Eastwood and notorious music by Ennio Morricone. Giallo [edit] Main article: Giallo During the 1960s and 1970s, Italian filmmakers Mario Bava, Riccardo Freda, Antonio Margheriti and Dario Argento developed giallo (plural gialli, from giallo, Italian for "yellow") horror films that become classics and influenced the genre in other countries. Representative films include: The Girl Who Knew Too Much (1963), Castle of Blood (1964), The Bird with the Crystal Plumage (1970), Twitch of the Death Nerve (1971), Deep Red (1975) and Suspiria (1977). Giallo is a genre of mystery fiction and thrillers and often contains slasher, crime fiction, psychological thriller, psychological horror, sexploitation, and, less frequently, supernatural horror elements.[113] Giallo developed in the mid-to-late 1960s, peaked in popularity during the 1970s, and subsequently declined in commercial mainstream filmmaking over the next few decades, though examples continue to be produced. It was a predecessor to, and had significant influence on, the later American slasher film genre.[114] Giallo usually blends the atmosphere and suspense of thriller fiction with elements of horror fiction (such as slasher violence) and eroticism (similar to the French fantastique genre), and often involves a mysterious killer whose identity is not revealed until the final act of the film. Most critics agree that the giallo represents a distinct category with unique features,[115] but there is some disagreement on what exactly defines a giallo film.[116] Giallo films are generally gruesome murder-mystery thrillers that combine the suspense elements of detective fiction with scenes of shocking horror. The archetypal giallo plot involves a mysterious, black-gloved killer who stalks and kills women.[118] While most gialli involve a human killer, some also feature a supernatural element.[119] The protagonists are often unconnected to the murders before they begin; they get drawn in as witnesses.[119] A scene from Blood and Black Lace by Mario Bava (1964) Giuliana Calandra in a famous scene from Deep Red by Dario Argento (1975) Social and political cinema [edit] The auteur cinema of the 1960s included an authorial vision that was less surreal and existential and more political; it sought to denounce corruption and malfeasance,[120] both in politics and industry. In 1962, Francesco Rosi[121] inaugurated an investigation film project retracing, through a series of long flashbacks, the life of a Sicilian criminal, the title figure in Salvatore Giuliano. The following year he directed Rod Steiger in Hands over the City (1963); this film was a denuciation of corruption in real estate and construction companies in Naples. The film was awarded the Golden Lion at the Venice Film Festival. 1970s [edit] In the 1970s the work done by the director Lina Wertmüller was influential. Together with actors Giancarlo Giannini and Mariangela Melato, she made several films and with Seven Beauties (1976), she obtained four nominations for the Academy Awards. That made her the first woman to be nominated for best director.[122] Ettore Scola made his directorial debut in 1964 with Let's Talk About Women. In 1974, he directed his best-known film, We All Loved Each Other So Much. Other films include Down and Dirty (1976) starring Nino Manfredi, and A Special Day (1977) starring Sophia Loren and Marcello Mastroianni.[123] In the 1970s, after many animated documentaries, Gibba returned to the feature film with the erotic Il nano e la strega (1973) and Il racconto della giungla (1974). Emanuele Luzzati contributed what is considered[citation needed] one of the masterpieces of Italian animation: Il flauto magico ("The Magic Flute", 1976), based on Mozart's opera. After many satirical short films (centred on the popular figure of "Signor Rossi"), Bruno Bozzetto returned to the feature film with Allegro Non Troppo (1977). Inspired by Disney's Fantasia, it is a mixed media film, in which animated episodes are combined with classical music pieces. Another notable illustrator was Pino Zac who in 1971 shot (again with mixed technique) The Nonexistent Knight, based on the novel of the same name by Italo Calvino. One of Francesco Rosi's most famous films of denunciation is The Mattei Affair (1972), a documentary into the mysterious disappearance of Enrico Mattei. The film won the Palme d'Or at the Cannes Film Festival. It became (together with Illustrious Corpses (1976)) a model for similar denunciation films produced both in Italy and abroad. Famous films of denunciation by Elio Petri are The Working Class Goes to Heaven (1971), a corrosive denunciation of life in the factory (winner of the Palme d'Or at Cannes) and Investigation of a Citizen Above Suspicion (1970). The latter (accompanied by a soundtrack by Ennio Morricone) is a dry psychoanalytic thriller centred on the aberrations of power.[124] The film won the Academy Award for Best International Feature Film the following year. Poliziotteschi [edit] Main article: Poliziotteschi Poliziotteschi films constitute a subgenre of crime and action films that emerged in Italy in the late 1960s and reached the height of their popularity in the 1970s. They are also known as polizieschi all'italiana, Euro-crime, Italo-crime, spaghetti crime films', or simply Italian crime films. Influenced by both 1970s French crime films and gritty 1960s and 1970s American cop films and vigilante films,[125] poliziotteschi films were made amidst an atmosphere of socio-political turmoil in Italy and increasing Italian crime rates. The films generally featured graphic and brutal violence, organized crime, car chases, vigilantism, heists, gunfights, and corruption. The protagonists were generally tough working-class loners, willing to act outside a corrupt or overly bureaucratic system.[126] Notable international actors who acted in this genre of films include Alain Delon, Henry Silva, Fred Williamson, Charles Bronson, Tomas Milian and others. Bud Spencer and Terence Hill [edit] Also considered Spaghetti Westerns is a film genre which combined traditional western ambience with a Commedia all'italiana-type comedy. Films in this genre included They Call Me Trinity (1970) and Trinity Is Still My Name (1971), both by Enzo Barboni, which featured Bud Spencer and Terence Hill, the stage names of Carlo Pedersoli and Mario Girotti. Terence Hill and Bud Spencer made numerous films together.[127] Most of their early films were Spaghetti Westerns, beginning with God Forgives... I Don't! (1967), the first part of a trilogy, followed by Ace High (1968) and Boot Hill (1969), but they also starred in comedies such as ... All the Way, Boys! (1972) and Watch Out, We're Mad! (1974). The next films shot by the couple of actors, almost all comedies, were Two Missionaries (1974), Crime Busters (1977), Odds and Evens (1978), I'm for the Hippopotamus (1979), Who Finds a Friend Finds a Treasure (1981), Go for It (1983), Double Trouble (1984), Miami Supercops (1985) and Troublemakers (1994). Commedia sexy all'italiana [edit] Main article: Commedia sexy all'italiana Commedia sexy all'italiana is characterized typically by female nudity and comedy, and by the minimal weight given to social criticism that was the basic ingredient of the main commedia all'italiana genre.[128] Stories are often set in affluent environments such as wealthy households. It is closely connected to the sexual revolution. For the first time, films with female nudity could be watched at the cinema, in films that were a a cross between bawdy comedy and humorous erotic film. Today, commedia sexy all'italiana films have lost their trash status and become cult movies. They also allowed the producers of Italian cinema to have enough revenue to produce successful artistic films. These comedy films were of little artistic value and reached their popularity by confronting Italian social taboos, most notably in the sexual sphere. Actors such as Lando Buzzanca, Lino Banfi, Renzo Montagnani, Alvaro Vitali, Gloria Guida, Barbara Bouchet and Edwige Fenech owe much of their popularity to these films. Fantozzi [edit] Main article: Ugo Fantozzi The films starring Ugo Fantozzi, a character invented by Paolo Villaggio for television and short stories, also fell within the comic satirical comedy genre.[129] The adjective fantozziano – referencing the lead actor – entered the film lexicon.[130] Fantozzi represents the archetype of the average Italian of the 1970s.[131][132] Of the many films telling of Fantozzi's misadventures, the most notable and famous were Fantozzi (1975) and Il secondo tragico Fantozzi (1976). Sceneggiata [edit] Main article: Sceneggiata The sceneggiata is a form of musical drama typical of Naples. Beginning as a form of musical theatre after World War I, it was also adapted for cinema; sceneggiata films became especially popular outside of Naples in the 1970s.[133] The most famous actors who played dramas were Mario Merola, Mario Trevi, and Nino D'Angelo.[134] The sceneggiata can be described as a "musical soap opera", where action and dialogue are interspersed with Neapolitan songs and dialogue in Neapolitan dialect. Sgarro alla camorra (i.e. "Offence to the Camorra", 1973), written and directed by Ettore Maria Fizzarotti and starring Mario Merola at his film debut, is regarded as the first sceneggiata film.[135][136] 1980s [edit] The 1980s was a period of decline for Italian filmmaking. In 1985, only 80 films were produced (the least since the postwar period)[138] and the total audience decreased from 525 million in 1970 to 123 million.[139] The era of producers ended; Carlo Ponti and Dino De Laurentiis worked abroad, and Goffredo Lombardo and Franco Cristaldi were no longer key figures. The crisis affected the Italian genre cinema above all, which, by virtue of the success of commercial television, was deprived of most of its audience.[140] As a result, cinemas began showing mainly Hollywood films, which steadily took over, while many other cinemas closed. Among the major artistic films of this era were La città delle donne, E la nave va, Ginger and Fred by Fellini, L'albero degli zoccoli by Ermanno Olmi (winner of the Palme d'Or at the Cannes Film Festival), La notte di San Lorenzo by Paolo and Vittorio Taviani, Antonioni's Identificazione di una donna, and Bianca and La messa è finita by Nanni Moretti. Non ci resta che piangere, directed by and starring both Roberto Benigni and Massimo Troisi, is a cult movie in Italy. Carlo Verdone, actor, screenwriter and film director, is best known for his comedic roles in Italian classics, which he also wrote and directed. His career was jumpstarted by his first three successes, Un sacco bello (1980), Bianco, rosso e Verdone (1981) and Borotalco (1982). Francesco Nuti began his professional career as an actor in the late 1970s, when he formed the cabaret group Giancattivi together with Alessandro Benvenuti and Athina Cenci. Starting in 1985, he began to direct his movies, scoring an immediate success with the films Casablanca, Casablanca and All the Fault of Paradise (1985), Stregati (1987), Caruso Pascoski, Son of a Pole (1988), Willy Signori e vengo da lontano (1990) and Women in Skirts (1991). The cinepanettoni (singular: cinepanettone) are a series of farcical comedy films, one or two of which are scheduled for release annually in Italy during the Christmas period. The films were originally produced by Aurelio De Laurentiis' Filmauro studio.[141] For the majority of critics the "Commedia all'italiana" waned from the beginning of the 1980s, giving way to an "Commedia italiana" ("Italian comedy").[142] 1990s [edit] The economic crisis that emerged in the 1980s began to ease over the next decade.[143] Nonetheless, the 1992–93 and 1993–94 seasons marked an all-time low in the number of films made, in the national market share (15 per cent), in the total number of viewers (under 90 million per year) and in the number of cinemas.[144] The effect of this industrial contraction was the disappearance of Italian genre cinema in the middle of the decade, as it was no longer able to compete with the contemporary big Hollywood blockbusters (mainly due to the enormous budget differences). The most noted film of the period is Nuovo Cinema Paradiso, for which Giuseppe Tornatore won a 1989 Oscar (awarded in 1990) for Best Foreign Language Film. This award was followed when Gabriele Salvatores's Mediterraneo won the same prize in 1991. Il Postino: The Postman (1994), directed by the British Michael Radford and starring Massimo Troisi, received five nominations at the Academy Awards, including Best Picture and Best Actor for Troisi, and won for Best Original Score. In 1998 Roberto Benigni won three Oscars for his movie Life Is Beautiful (La vita è bella). Leonardo Pieraccioni made his directorial debut with The Graduates (1995).[145] In 1996 he directed his breakthrough film The Cyclone, which grossed Lire 75 billion at the box office.[146][147] In the 1990s, Italian animation entered a new phase of production due to the Turin Lanterna Magica studio which in 1996, under the direction of Enzo D'Alò, created the Christmas fairy tale La freccia azzurra, based on a short story by Gianni Rodari. The film was a success and paved the way for other feature films. In fact, in 1998, Lucky and Zorba based on a novel by Luis Sepúlveda was distributed, which attracted the favor of the public.[148] 2000s [edit] The Italian film industry regained stability and critical recognition. In 1995, 93 films were produced,[149] while in 2005, 274 films were made.[150] In 2006, the national market share reached 31 per cent.[151] In 2001, Nanni Moretti's film The Son's Room (La stanza del figlio) received the Palme d'Or at the Cannes Film Festival. Other noteworthy recent Italian films include: Jona che visse nella balena directed by Roberto Faenza, Il grande cocomero by Francesca Archibugi, The Profession of Arms (Il mestiere delle armi) by Olmi, L'ora di religione by Marco Bellocchio, Il ladro di bambini, Lamerica, The Keys to the House (Le chiavi di casa) by Gianni Amelio, I'm Not Scared (Io non-ho paura) by Gabriele Salvatores, Le Fate Ignoranti, Facing Windows (La finestra di fronte) by Ferzan Özpetek, Good Morning, Night (Buongiorno, notte) by Marco Bellocchio, The Best of Youth (La meglio gioventù) by Marco Tullio Giordana, The Beast in the Heart (La bestia nel cuore) by Cristina Comencini. In 2008 Paolo Sorrentino's Il Divo, a biographical film based on the life of Giulio Andreotti, won the Jury prize and Gomorra, a crime drama film, directed by Matteo Garrone won the Gran Prix at the Cannes Film Festival. The director Enzo d'Alò produced other films in the following years such as Momo (2001) and Opopomoz (2003). The Turin studio distributed on its behalf the films Aida of the Trees (2001) and Totò Sapore e la magica storia della pizza (2003), accompanied by a good response at the box office. In 2003, the first entirely Italian animated film in computer graphics was released: L'apetta Giulia and Signora Vita, directed by Paolo Modugno.[152] 2010s [edit] Paolo Sorrentino's The Great Beauty (La Grande Bellezza) won the 2014 Academy Award for Best Foreign Language Film. In 2010, the first Italian animated film in 3D was made, directed by Iginio Straffi, entitled Winx Club 3D: Magical Adventure, based on the homonymous series; in the meantime Enzo D'Alò returned to theatres, presenting his Pinocchio (2012). Cinderella the Cat (2017), taken from the text Pentamerone by Giambattista Basile, won two David di Donatello's, one of which was for special effects, becoming the first animated film to be nominated, and win, in this category. The two highest-grossing Italian films in Italy have both been directed by Gennaro Nunziante and starred Checco Zalone: Sole a catinelle (2013) with €51.8 million, and Quo Vado? (2016) with €65.3 million.[154][155] They Call Me Jeeg, a 2016 critically acclaimed superhero film directed by Gabriele Mainetti and starring Claudio Santamaria, won eight David di Donatello, two Nastro d'Argento, and a Globo d'oro. Gianfranco Rosi's documentary film Fire at Sea (2016) won the Golden Bear at the 66th Berlin International Film Festival. Other successful 2010s Italian films include: Vincere and The Traitor by Marco Bellocchio, The First Beautiful Thing (La prima cosa bella), Human Capital (Il capitale umano) and Like Crazy (La pazza gioia) by Paolo Virzì, We Have a Pope (Habemus Papam) and Mia Madre by Nanni Moretti, Caesar Must Die (Cesare deve morire) by Paolo and Vittorio Taviani, Don't Be Bad (Non essere cattivo) by Claudio Caligari, Romanzo Criminale by Michele Placido (that spawned a TV series, Romanzo criminale - La serie), Youth (La giovinezza) by Paolo Sorrentino, Suburra by Stefano Sollima, Perfect Strangers (Perfetti sconosciuti) by Paolo Genovese, Mediterranea and A Ciambra by Jonas Carpignano, Italian Race (Veloce come il vento) and The First King: Birth of an Empire (Il primo re) by Matteo Rovere, and Tale of Tales (Il racconto dei racconti), Dogman and Pinocchio by Matteo Garrone. Call Me by Your Name (2017), the final installment in Luca Guadagnino's thematic Desire trilogy, following I Am Love (2009) and A Bigger Splash (2015), received widespread acclaim and numerous accolades, including the Academy Award for Best Adapted Screenplay and the nomination for Best Picture in 2018. Perfect Strangers by Paolo Genovese was included in the Guinness World Records as it became the most remade film in cinema history, with a total of 18 versions.[153] 2020s [edit] Successful 2020s Italian films include: The Life Ahead by Edoardo Ponti, Hidden Away by Giorgio Diritti, Bad Tales by Damiano and Fabio D'Innocenzo, The Predators by Pietro Castellitto, Padrenostro by Claudio Noce, Notturno by Gianfranco Rosi, The King of Laughter by Mario Martone, A Chiara by Jonas Carpignano, Freaks Out by Gabriele Mainetti, The Hand of God by Paolo Sorrentino, Nostalgia by Mario Martone, Dry by Paolo Virzì, The Hanging Sun by Francesco Carrozzini, Bones and All by Luca Guadagnino, L'immensità by Emanuele Crialese, Robbing Mussolini by Renato De Maria, Adagio by Stefano Sollima, There's Still Tomorrow by Paola Cortellesi, Last Night of Amore by Andrea Di Stefano, The First Day of My Life by Paolo Genovese, Thank You Guys by Riccardo Milani, Io capitano by Matteo Garrone, A Brighter Tomorrow by Nanni Moretti and Comandante by Edoardo De Angelis. 100 Italian films to be saved [edit] The list of the 100 Italian films to be saved (Italian: 100 film italiani da salvare) was created with the aim to report "100 films that have changed the collective memory of the country between 1942 and 1978". The project was established in 2008 by the Venice Days festival section of the 65th Venice International Film Festival, in collaboration with Cinecittà Holding and with the support of the Ministry of Cultural Heritage. The list was edited by Fabio Ferzetti,[156] film critic of the newspaper Il Messaggero, in collaboration with film director Gianni Amelio and the writers and film critics Gian Piero Brunetta, Giovanni De Luna, Gianluca Farinelli, Giovanna Grignaffini, Paolo Mereghetti, Morando Morandini, Domenico Starnone and Sergio Toffetti.[157][158] Cinematheques [edit] Cineteca Nazionale is a film archive located in Rome. Founded in 1949, it includes 80,000 films on file, 600,000 photographs, 50,000 posters and the collection of the Italian Association for the History of Cinema Research (AIRSC).[159] It arose from the archival heritage of the Centro Sperimentale di Cinematografia, which in 1943, had been removed by the Nazi occupiers.[160][161][162] Cineteca Italiana is a private film archive located in Milan. Established in 1947, and as a foundation in 1996, the Cineteca Italiana houses over 20,000 films and more than 100,000 photographs from the history of Italian and international cinema.[163] Cineteca di Bologna is a film archive in Bologna. It was founded in 1962.[164] Museums [edit] The National Museum of Cinema in Turin is a motion picture museum inside the Mole Antonelliana tower. It is operated by the Maria Adriana Prolo Foundation, and the core of its collection is the result of the work of the historian and collector Maria Adriana Prolo. It was housed in the Palazzo Chiablese. In 2008, with 532,196 visitors, it ranked 13th among the most visited Italian museums.[165] The museum houses pre-cinematographic optical devices such as magic lanterns, earlier and current film technologies, stage items from early Italian movies and other memorabilia. Along the exhibition path of about 35,000 square feet (3,200 m2) on five levels are areas devoted to the different kinds of film crew, and in the main hall, fitted in the temple hall of the Mole, a series of chapels representing several film genres.[166] The Museum of Precinema is a museum in the Palazzo Angeli, Prato della Valle, Padua, related to the history of precinema, or precursors of film. It was created in 1998 to display the Minici Zotti Collection, in collaboration with the Commune of Padova. The Cinema Museum of Rome is located in Cinecittà. The collections consist of movie posters and playbills, cine cameras, projectors, magic lanterns, stage costumes and the patent of Filoteo Alberini's "kinetograph".[167] The Milan Cinema Museum, managed by the Cineteca Italiana, is divided into three sections, the precinema, animation cinema and "Milan as a film set", as well as multimedia and interactive stations.[168] The Catania Cinema Museum exhibits documents concerning cinema, its techniques and its history, particularly the link between cinema and Sicily.[169] The Cinema Museum of Syracuse collects more than 10,000 exhibits on display in 12 rooms.[170] Italian Academy Award winners [edit] After the United States and the United Kingdom, Italy has the most Academy Awards wins. Italy is the most awarded country at the Academy Award for Best Foreign Language Film, with 14 awards won, 3 Special Awards and 31 nominations. Winners with the year of the ceremony: Shoeshine (1947), by Vittorio De Sica (Honorary Award) Bicycle Thieves (1949), by Vittorio De Sica (Honorary Award) The Walls of Malapaga (1950), by René Clément (Honorary Award) La Strada (1956), by Federico Fellini Nights of Cabiria (1957), by Federico Fellini 8½ (1963), by Federico Fellini Yesterday, Today and Tomorrow (1964), by Vittorio De Sica Investigation of a Citizen Above Suspicion (1970), by Elio Petri The Garden of the Finzi-Continis (1971), by Vittorio De Sica Amarcord (1973), by Federico Fellini Cinema Paradiso (1989), by Giuseppe Tornatore Mediterraneo (1992), by Gabriele Salvatores Life Is Beautiful (1998), by Roberto Benigni The Great Beauty (2013), by Paolo Sorrentino In 1961, Sophia Loren won the Academy Award for Best Actress for her role in Vittorio De Sica's Two Women. She was the first actress to win an Academy Award for a performance in any foreign language, and the second Italian leading lady Oscar-winner, after Anna Magnani for The Rose Tattoo. In 1998, Roberto Benigni was the first Italian actor to win the Best Actor for Life Is Beautiful. Italian-born filmmaker Frank Capra won three times at the Academy Award for Best Director, for It Happened One Night, Mr. Deeds Goes to Town and You Can't Take It with You. Bernardo Bertolucci won the award for The Last Emperor, and also Best Adapted Screenplay for the same movie. Ennio De Concini, Alfredo Giannetti and Pietro Germi won the award for Best Original Screenplay for Divorce Italian Style. The Academy Award for Best Film Editing was won by Gabriella Cristiani for The Last Emperor and by Pietro Scalia for JFK and Black Hawk Down. The award for Best Original Score was won by Nino Rota for The Godfather Part II; Giorgio Moroder for Midnight Express; Nicola Piovani for Life is Beautiful; Dario Marianelli for Atonement; and Ennio Morricone for The Hateful Eight. Giorgio Moroder also won the award for Best Original Song for Flashdance and Top Gun. The Italian winners at the Academy Award for Best Production Design are Dario Simoni for Lawrence of Arabia and Doctor Zhivago; Elio Altramura and Gianni Quaranta for A Room with a View; Bruno Cesari, Osvaldo Desideri and Ferdinando Scarfiotti for The Last Emperor; Luciana Arrighi for Howards End; and Dante Ferretti and Francesca Lo Schiavo for The Aviator, Sweeney Todd: The Demon Barber of Fleet Street and Hugo. The winners at the Academy Award for Best Cinematography are: Tony Gaudio for Anthony Adverse; Pasqualino De Santis for Romeo and Juliet; Vittorio Storaro for Apocalypse Now, Reds and The Last Emperor; and Mauro Fiore for Avatar. The winners at the Academy Award for Best Costume Design are Piero Gherardi for La dolce vita and 8½; Vittorio Nino Novarese for Cleopatra and Cromwell; Danilo Donati for The Taming of the Shrew, Romeo and Juliet, and Fellini's Casanova; Franca Squarciapino for Cyrano de Bergerac; Gabriella Pescucci for The Age of Innocence; and Milena Canonero for Barry Lyndon, Chariots of Fire, Marie Antoinette and The Grand Budapest Hotel. Special effects artist Carlo Rambaldi won three Oscars: one Special Achievement Academy Award for Best Visual Effects for King Kong[173] and two Academy Awards for Best Visual Effects for Alien[174] (1979) and E.T. the Extra-Terrestrial.[175] The Academy Award for Best Makeup and Hairstyling was won by Manlio Rocchetti for Driving Miss Daisy, and Alessandro Bertolazzi and Giorgio Gregorini for Suicide Squad. Sophia Loren, Federico Fellini, Michelangelo Antonioni, Dino De Laurentiis, Ennio Morricone, and Piero Tosi also received the Academy Honorary Award. Festivals and film awards [edit] The Association of Italian Film Festivals (AFIC; Italian: Associazione Festival italiani di cinema) is the peak body for film festivals held in Italy.[176][177] Directors [edit] Actors and actresses [edit] See also [edit] Film portal Italy portal Media of Italy Cinema of the world History of cinema 100 Italian films to be saved List of actors from Italy List of actresses from Italy List of film directors from Italy List of Italian movies List of highest-grossing films in Italy Notes [edit] References [edit] Bibliography [edit] Bacon, Henry (1998). Visconti: Explorations of Beauty and Decay. Cambridge University Press. ISBN 978-0521599603. Bondanella, Peter (2002). The Films of Federico Fellini. Cambridge University Press. ISBN 0-521-57573-7. Bondanella, Peter (2002). Italian Cinema: From Neorealism to the Present. Continuum. ISBN 978-0826404268. Brunetta, Gian Piero (2009). The History of Italian Cinema: A Guide to Italian Film from Its Origins to the Twenty-First Century. Princeton University Press. ISBN 978-0691119892. Celli, Carlo; Cottino-Jones, Marga (2007). A New Guide to Italian Cinema. Palgrave MacMillan. ISBN 978-1403975607. Celli, Carlo (2013). "Italian Circularity". National Identity in Global Cinema: How Movies Explain the World. Palgrave MacMillan. pp. 83–98. ISBN 978-1137379023. Cherchi Usai, Paolo (1997). Italy: Spectacle and Melodrama. Oxford University Press. ISBN 978-0198742425. Clark, Martin (1984). Modern Italy 1871-1982. Longman. ISBN 978-0582483620. Forgacs, David; Lutton, Sarah; Nowell-Smith, Geoffrey (2000). Roberto Rossellini: Magician of the Real. London: BFI. ISBN 978-0851707952. Genovese, Nino; Gesù, Sebastiano (1996). Verga e il cinema. Con una sceneggiatura verghiana inedita di Cavalleria rusticana (in Italian). Giuseppe Maimone Editore. ISBN 978-8877510792. Gesù, Sebastiano; Maccarrone, Laura (2004). Ercole Patti: Un letterato al cinema (in Italian). Giuseppe Maimone Editore. ISBN 978-88-7751-211-6. Gesù, Sebastiano (2005). L'Etna nel cinema: Un vulcano di celluloide (in Italian). Giuseppe Maimone Editore. ISBN 978-8877512383. Gesù, Sebastiano; Russo, Elena (1995). Le Madonie, cinema ad alte quote (in Italian). Giuseppe Maimone Editore. ISBN 978-8877510907. Indiana, Gary (2000). Salo or The 120 Days of Sodom. London, BFI. ISBN 978-0851708072. Kemp, Philip (March 2002). "The Son's Room". Sight & Sound. No. 3. p. 56. Landy, Marcia (2000). Italian Film. Cambridge University Press. ISBN 978-0521649773. Mancini, Elaine (1985). Struggles of the Italian Film Industry during Fascism 1930-1935. UMI Press. ISBN 978-0835716550. Marcus, Millicent (1993). Filmmaking by the Book: Italian Cinema and Literary Adaptation. Johns Hopkins University Press. ISBN 978-0801844553. Marcus, Millicent (1986). Italian Film in the Light of Neorealism. Princeton University Press. ISBN 978-0691102085. Nowell-Smith, Geoffrey (2003). Luchino Visconti. British Film Institute. ISBN 978-0851709611. Reich, Jacqueline; Garofalo, Piero (2002). Re-viewing Fascism: Italian Cinema, 1922-1943. Indiana University Press. ISBN 978-0253215185. Reichardt, Dagmar; Bianchi, Alberto (2014). Letteratura e cinema (in Italian). Franco Cesati Editore. ISBN 978-88-7667-501-0. Rohdie, Sam (2002). Fellini Lexicon. London: BFI. ISBN 978-0851709338. Rohdie, Sam (2020). Rocco and his Brothers. London: BFI. ISBN 978-1839021947. Sitney, Adams (1995). Vital Crises in Italian Cinema. University of Texas Press. ISBN 0-292-77688-8. Sorlin, Pierre (1996). Italian National Cinema. London: Routledge. ISBN 978-0415116978. Wood, Michael (May 2003). "Death becomes Visconti". Sight & Sound. No. 5. pp. 24–27.
5438	dbpedia	0	54	https://issuu.com/gardnermuseum/docs/letters_of_berenson_and_gardner_par_5d25e021846233	en	The Letters of Bernard Berenson and Isabella Stewart Gardner (Part II)	https://image.isu.pub/15…age_1_social.jpg	https://image.isu.pub/15…age_1_social.jpg	[ "https://static.isu.pub/fe/product-header-frontend/781e53c/31d186ba39f38e8c4fac.png", "https://static.issuu.com/fe/silkscreen/0.0.3042/icons/gradient/icon-canva-gradient.svg", "https://static.isu.pub/fe/product-header-frontend/781e53c/1e794a8c4ec65e549678.png", "https://photo.isu.pub/gardnermuseum/photo_large.jpg", "https://image.isu.pub/240718184533-16cfb3145c369d6ee8e5798f038eb3f4/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/191025172930-c074fee33f5695abf99dba321abf12d4/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/160210172148-1b13695ab36055acadc16cf0813ba197/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/151204162941-9a9e56b23752b1c09a01321487ad7bbe/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/150928152057-f28f9871deb3a724b61aadb392d3a4b8/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/150211142117-f7f1a3f615fe59aa7e3e36dddbc0d03a/jpg/page_1_thumb_large.jpg", "https://static.issuu.com/fe/silkscreen/0.0.2541/icons/gradient/icon-instagram-gradient.svg" ]	[]	[]	[ "" ]	null	[]	2015-02-11T14:22:10+00:00	Read The Letters of Bernard Berenson and Isabella Stewart Gardner (Part II) by Isabella Stewart Gardner Museum on Issuu and browse thousands of oth...	en	/favicon.ico	Issuu	https://issuu.com/gardnermuseum/docs/letters_of_berenson_and_gardner_par_5d25e021846233	Welcome to Issuu’s blog: home to product news, tips, resources, interviews (and more) related to content marketing and publishing. Here you'll find an answer to your question.
5438	dbpedia	1	18	https://www.intramovies.com/production/misunderstood/	en	MISUNDERSTOOD – Intramovies	https://www.intramovies.…2/Incompreso.png	https://www.intramovies.…2/Incompreso.png	[ "https://www.intramovies.com/wp-content/themes/intramovies/assets/img/logo.png?v=1614162643", "https://www.intramovies.com/wp-content/themes/intramovies/assets/img/logo.png?v=1614162643", "https://www.intramovies.com/wp-content/uploads/2021/02/Incompreso.png", "https://www.intramovies.com/wp-content/uploads/2021/02/Incompreso.png", "https://www.intramovies.com/wp-content/themes/intramovies/assets/img/logo-white.png?v=1614162643", "https://www.intramovies.com/wp-content/themes/intramovies/assets/img/logo-unefa.png?v=1614162643", "https://www.facebook.com/tr?id=374571317558917&ev=PageView&noscript=1" ]	[]	[]	[ "" ]	null	[]	2021-02-08T11:54:39+00:00	Andrew’s brave front convinces his father that he is unaffected by his mother’s death. Playmate and protector of his little brother Miles, he is often blamed when mischief goes wrong. Only when tragedy strikes does his father recognize Andrew’s true qualities.	en	https://www.intramovies.…s-icon-32x32.png	Intramovies	https://www.intramovies.com/production/misunderstood/	Andrew’s brave front convinces his father that he is unaffected by his mother’s death. Playmate and protector of his little brother Miles, he is often blamed when mischief goes wrong. Only when tragedy strikes does his father recognize Andrew’s true qualities.
5438	dbpedia	3	17	https://www.scuolaleonardo.com/news/study-travel-star-award-winner-2023.html	en	THREE TIME CHAMPION! Scuola Leonardo da Vinci won the 'ST Star Awards Star Italian language school' 2023			[ "https://www.facebook.com/tr?id=1536168949992764&ev=PageView&noscript=1", "https://www.scuolaleonardo.com/templates/ja_university_t3/images/logo.png", "https://www.scuolaleonardo.com/images/icon-search.png", "https://www.scuolaleonardo.com/media/mod_languages/images/en.gif", "https://www.scuolaleonardo.com/media/mod_languages/images/en.gif", "https://www.scuolaleonardo.com/media/mod_languages/images/it.gif", "https://www.scuolaleonardo.com/media/mod_languages/images/fr.gif", "https://www.scuolaleonardo.com/media/mod_languages/images/ja.gif", "https://www.scuolaleonardo.com/media/mod_languages/images/de.gif", "https://www.scuolaleonardo.com/media/mod_languages/images/ru.gif", "https://www.scuolaleonardo.com/media/mod_languages/images/es.gif", "https://www.scuolaleonardo.com/media/mod_languages/images/pt_pt.gif", "https://www.scuolaleonardo.com/media/mod_languages/images/nl_nl.gif", "https://www.scuolaleonardo.com/media/mod_languages/images/da_dk.gif", "https://www.scuolaleonardo.com/media/mod_languages/images/cz.gif", "https://www.scuolaleonardo.com/media/mod_languages/images/pl.gif", "https://www.scuolaleonardo.com/media/mod_languages/images/tr.gif", "https://www.scuolaleonardo.com/media/mod_languages/images/ko_kr.gif", "https://www.scuolaleonardo.com/media/mod_languages/images/hu_hu.gif", "https://www.scuolaleonardo.com/media/mod_languages/images/uk_ua.gif", "https://www.scuolaleonardo.com/media/mod_languages/images/zh_cn.gif", "https://www.scuolaleonardo.com/images/icon-search.png", "https://www.scuolaleonardo.com//templates/ja_university_t3/images/logo.png", "https://www.scuolaleonardo.com//templates/ja_university_t3/images/logo.png", "https://www.scuolaleonardo.com/images/notizie-e-segnalazioni/chiarawolfy2023.jpg", "https://www.scuolaleonardo.com/images/corsi-di-italiano/corsi-generali-di-italiano/star-awards-2023-congrat.png", "https://www.scuolaleonardo.com/images/bozza-loghi-reviews.png", "https://www.scuolaleonardo.com/images/italian-language-courses-online/banner/learning.gif", "https://www.scuolaleonardo.com/images/notizie-e-segnalazioni/Star-Awards-2023-Winner-248x126.png", "https://googleads.g.doubleclick.net/pagead/viewthroughconversion/1072737099/?value=0&guid=ON&script=0" ]	[ "https://www.youtube.com/embed/D7l_sgoJ3Ts?si=a_3ivJKVy9_UPUmO" ]	[]	[ "corsi d'italiano", "italiano in Italia", "imparare l'italiano", "scuola di lingua italiana", "corsi di lingua italiana", "cultura italiana", "corsi di lingua in Italia", "corsi di italiano per stranieri" ]	null	[]	2023-09-08T15:29:00+02:00	Corsi di lingua italiana in Italia con la Scuola Leonardo da Vinci. Scuole di lingua italiana a Firenze, Milano, Roma e Siena	en	/templates/ja_university_t3/favicon.ico		https://www.scuolaleonardo.com/news/study-travel-star-award-winner-2023.html	It gives us great pleasure to announce that, for the third consecutive year, we have been awarded the "ST Star Award" as the best Italian language school in Italy! We at the Scuola Leonardo da Vinci are truly honored to receive this important international recognition, sponsored by Study Travel Magazine and awarded by experts in the field, including agencies around the world specializing in overseas study trips, who organize language study vacations for thousands of students every year. So for all this, we have to say a triple thank you! First, we have to thank our partners, who we work with every day. Once again, we have to thank all of you for this prize, which is a reward for our efforts in providing a high quality service for students from around the world! Secondly, we must thank our students. Over the past 46 years, we have shared our knowledge and passion for learning the Italian language with more than a quarter of a million students coming from 120 different countries, often making memories that stay with them for their whole lives. And every time we receive a letter, you talk about us in glowing terms on social media or we read positive feedback on our Google, Tripadvisor and Facebook pages, we feel as excited as we did when we first started out all the way back in 1977. It is these small gestures that give all of our staff energy and enthusiasm, and for this we are so grateful. And lastly, special thanks to all those who made this victory possible: our teachers, secretarial staff and all of our partners. Heartfelt thanks for all of your work which makes these great milestones possible. GRAZIE! GRAZIE! GRAZIE! Listen to the special dedicated episode of the "Italiano ON-Air" podcast entitled: Premiati 3 volte di fila - Episodio 4 (stagione 5) Watch the special video with photos and images from the award ceremony night.
5438	dbpedia	0	15	https://www.screendaily.com/venice-2008-buzz-films/4040384.article	en	Venice 2008: Buzz films	https://d1nslcd7m2225b.c…3513_4039641.jpg	https://d1nslcd7m2225b.c…3513_4039641.jpg	[ "https://www.facebook.com/tr?id=1787080818148630&ev=PageView&noscript=1", "https://www.facebook.com/tr?id=3254793074533493&ev=PageView&noscript=1", "https://www.screendaily.com/magazine/dest/graphics/logo/print_logo.png", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/5/2/5/1429525_locarnodigicropped_364027.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/0/6/8/1427068_croppedcoversot_899857.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/8/0/6/1425806_croppedcoveremmys24_266545.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/8/8/7/1429887_williamtell_2_williamtellclaesbang_ccrossbowfilmslimited2023_163980_crop.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/9/2/8/1429928_wolfscappletv_361110_crop.jpeg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/8/9/1/1429891_alienromulus_731899.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/8/9/6/1429896_asisterstale_964449.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/6/9/0/1428690_nightimeexterior_109206_crop.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/9/7/3/1424973_silverhaze_org_652282_crop.jpeg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/8/0/3/1424803_cannescriticstitles_941519.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/0/6/1/1430061__derspitzname__1529_b_2_432457_crop.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/8/3/7/1429837_boxofficeaug12_969.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/8/3/4/1429834_0091_325622_crop.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/8/1/3/1429813_endstrapborder_428731.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/5/8/9/1429589_megryan_744959_crop.jpeg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/5/6/4/1429564_baftamaskcbaftacarlopaloni_381110.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/4/7/6/1429476_johnturturrophotobymaartendeboer_824533.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/450xAny/P/web/j/b/m/2021screenpackshot_967117.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/100x67/9/5/2/1429952_efa_877116.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/100x67/8/9/5/1429895_theseedofthesacredfig_578107.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/100x67/4/9/2/1429492_mexico86_302611.jpg" ]	[]	[]	[ "" ]	null	[ "Ellie Calnan", "Michael Rosser", "Jonathan Romney" ]	2008-08-27T06:58:00+00:00	BUZZ VENICE FILMS	en	/magazine/dest/graphics/favicons/favicon-32x32.png	Screen	https://www.screendaily.com/venice-2008-buzz-films/4040384.article	BUZZ VENICE FILMS COMPETITION Achilles And The Tortoise (Akires To Kame) (Jap) Dir: Takeshi Kitano The story: Follows a failed painter and the long-suffering family that supports him. The cast: Kitano takes the lead, alongside Kanako Higuchi and popular actress Kumiko Aso, whose credits include Dororo. The buzz: A well-established figure on the Lido, Kitano returns with a more orthodox tale which features his own artwork - he is known for his painting talent - as did his 1997 Golden Lion winner Hana-bi. Int'l sales: Celluloid Dreams, (33) 1 49 70 03 70 Birdwatchers (La Terra Degli Uomini Rossi) (It) Dir: Marco Bechis The story: Amazon-set film about personal identity and tribal heritage as two worlds collide. The cast: Claudio Santamaria, one of Italy's top talents, with credits including Crime Novel and Casino Royale, stars with Chiara Caselli and a Brazilian cast of professionals including Leonardo Medeiros and non-professionals. The buzz: Bechis spent years preparing the film, working with the Amazon natives. The director's last appearance in Venice was in Cinema del Presente in 2001 with Hijos, also set in Brazil. Int'l sales: Celluloid Dreams, (33) 1 49 70 03 70. A Perfect Day (Un Giorno Perfetto) (It) Dir: Ferzan Ozpetek The story: An adaptation of the novel by popular writer Melania Mazzucco, which looks at life in Rome over 24 hours. The cast: As with his previous films, Ozpetek lines up an ensemble cast of Italy's best-loved actors - Valerio Mastandrea and Isabella Ferrari top the bill alongside veteran actress Stefania Sandrelli. The buzz: Last year Ozpetek was on the Venice jury and this is his first year in Venice's official competition. The film is also his first to be produced by Domenico Procacci's Fandango. It is co-produced by Rai Cinema. Int'l sales: Fandango Portobello, (44) 20 7605 1396; Claudia Tomassini, (39) 334 3075056 The Hurt Locker (US) Dir: Kathryn Bigelow The story: The new leader of an elite bomb-disposal unit in Iraq plunges his soldiers into a game of urban combat which has long-term effects on their lives. The cast: Jeremy Renner, Anthony Mackie, Brian Geraghty, Ralph Fiennes. The buzz: Bigelow can always be relied on to deliver heart-pounding thrills with intelligent storytelling. She returns to Venice for the first time in 13 years since the world premiere of Strange Days. North American rights: CAA, (1) 424 288 2000 Int'l sales: Voltage Pictures, (1) 310 890 4199 The Burning Plain (US) Dir: Guillermo Arriaga The story: Four interlinked tales of love and redemption examine the lengths to which people will go to exorcise the demons of the past. The cast: Charlize Theron and Kim Basinger. The buzz: The feature directorial debut from the Oscar-nominated screenwriter of Alejandro Gonzalez Inarritu's Babel and 21 Grams has been a while in the making. Can Arriaga translate his writer's gift for complex storytelling into a well-crafted feature' North American sales: UTA, (1) 310 271 6700 Int'l sales: 2929 International, (1) 310 309 5200 Inland (Gabbla) (Alg-Fr) Dir: Tariq Teguia The story: A topographer meets a traumatised woman in western Algeria who persuades him to accompany her back home across the Sahara and through war-torn regions in the east. The cast: Unknowns including Kader Affak, Ines Rose Djakou, Fethi Ghares, Kouider Medjahed and Djalila Kadi-Hanifi star alongside Ahmed Benaissa who also appeared in Teguia's Rome Rather Than You. The buzz: Inland is one of two African films in competition at Venice this year. Director Teguia has an impressive track record - his debut, the short film Hacla, won the special jury award at Marrakesh in 2003 and his second film, Rome Rather Than You, was in Venice's Horizons sidebar in 2006. Marco Mueller has called him the 'most important voice of new Arab cinema'. Int'l sales: Neffa Films, (213) 66209 6500 Inju, La Bete Dans L'Ombre (Fr) Dir: Barbet Schroeder The story: A French writer heads to Japan to promote his new book and becomes embroiled in a real-life thriller. The cast: Benoit Magimel, Lika Minamoto and Shun Sugata. Magimel is a huge star in France and one of the most prolific actors working today; international audiences may recognise him from Michael Haneke's The Piano Teacher. This is Minamoto's first major role while Sugata has done much work in Japan and had small roles in such US fare as Quentin Tarantino's Kill Bill Vol 1 and The Last Samurai. The buzz: This is a return to Venice for Schroeder who last competed in 2000 with Our Lady Of The Assassins. For that film he took the president of the Italian senate's gold medal. Inju is Schroeder's first fiction work in France since 1986 (last year he directed the documentary Terror's Advocate, about French attorney Jacques Verges). Int'l sales: UGC International, (33) 1 46 40 44 00 Jerichow (Ger) Dir: Christian Petzold The story: A young man returns to his home town in eastern Germany and begins an affair with a married woman. Their plan to murder her husband triggers a catastrophe. The cast: Jerichow marks Petzold's fourth collaboration with lead actress Nina Hoss following Something To Remind Me, Wolfsburg and Yella, for which she was awarded the best actress Silver Bear at last year's Berlinale. It is also the third time the director has cast Benno Furmann (previously seen in Wolfsburg and Ghosts), but the first project with Turkish-born actor Hilmi Sozer, the third member of the love triangle. The buzz: Partly inspired by Vincente Minnelli's 1958 film Some Came Running, Jerichow is 'about love, honesty, deception and betrayal', says Petzold. It is his seventh film with Berlin-based producer Schramm Film which also produced his drama The State I Am In (it premiered in Venice's Cinema del Presente sidebar in 2000). According to producer Florian Koerner von Gustorf: 'Christian is drawing the essence out of all of his previous works and letting everything flow into Jerichow.' Int'l sales: The Match Factory, (49) 2 21 5 39 70 90 Milk (Sut) (Turk-Fr-Ger) Dir: Semih Kaplanoglu The story: The second film in Kaplanoglu's 'Yusef' trilogy - Egg, Milk, Honey - which focuses on the change in the social and economic life in the Anatolian provinces within the framework of a mother-son relationship. Milk is about a young boy who discovers his mother is having a secret affair with the town's stationmaster. The cast: Melih Selcuk plays Yusef, while Basak Koklukaya plays the boy's mother. Her most recent film, Kucuk Kiyamet, was in competition at the Istanbul film festival last year, and she has starred in films for Ferzan Ozpetek. The buzz: Milk is the first Turkish film to screen in competition at Venice since Omer Kavur's Gizli Yuz in 1991. No stranger to success on the international festival circuit (winning nine of the 10 awards for which he has competed), it is not surprising Kaplanoglu is 'excited' to be at Venice for the first time. Could be one to watch. Int'l sales: Match Factory, (49) 2 21 5 39 7090 Nuit De Chien (Fr) Dir: Werner Schroeter The story: A man returns to a fictitious country to join the woman he loves. Instead, he confronts a violent militia which is terrorising the city and has sent it spiralling into chaos. The cast: A starry line-up includes Pascal Greggory, Bruno Todeschini, Eric Caravaca, Amira Casar, Jean-Francois Stevenin and Elsa Zylberstein. The prolific Greggory last appeared in 2007's smash hit La Vie En Rose. The buzz: This is Schroeter's first time in competition in Venice. The German director's last film was also a French effort, Deux in 2002. Int'l sales: Alfama Films Productions, (33) 1 42 01 07 05 Paper Soldier (Bumazhny Soldat) (Rus) Dir: Aleksey German Jr The story: Set in the Baikonur space centre in 1961, Paper Soldier is the story of a doctor involved in preparations for the first human space flight, who is torn between his wife and his lover. The cast: Acclaimed Russian actress Chulpan Khamatova, who appeared in Good Bye Lenin!, stars alongside her Luna Papa co-star, Georgian actor Merab Ninidze, and newcomer Anastasya Shevelyova, a theatre actress from Omsk in Siberia. The buzz: This is the second time German has appeared in competition at Venice. His last film, Garpastum, competed in 2005, and he also won the Luigi De Laurentiis special mention in 2003 for The Last Train (Posledniy Poezd). German, one of Russia's hottest young directors, says he has his 'fingers crossed' for a win this year. Int'l sales: Elle Driver, (33) 1 56 43 48 76 Plastic City (Dangkou) (Braz-Chi-HK-Jap) Dir: Yu Lik-wai The story: Set amid the Japanese immigrant community in Sao Paulo, the story follows an Asian gangster who is forced to defend his father's criminal empire when the older man is arrested and then disappears into the jungle. The cast: Japanese star Joe Odagiri (Shinobi, Bright Future) heads the cast which also include Hong Kong's Anthony Wong (Infernal Affairs) and promising Chinese actress Huang Yi. The buzz: Renowned as a DoP who works with Jia Zhangke, Hong Kong-born Yu Lik-wai has previously directed two highly stylised features - Love Will Tear Us Apart and All Tomorrow's Parties - which were both selected for Cannes. His third feature deals with gangsters in an intriguing multicultural setting, although the action is more psychological then physical, and his depiction of Sao Paulo is tinged with hallucinatory visuals. Int'l sales: Celluloid Dreams, (33) 1 49 70 03 70 The Other One (L'Autre) (Fr) Dirs: Patrick-Mario Bernard, Pierre Trividic The story: Based on the novel L'Occupation by Annie Ernaux, The Other One follows a woman who becomes dangerously obsessed with the new woman in her ex-lover's life. The cast: Dominique Blanc, one of France's best-known stars who has won several Cesars including best actress for 2001's Stand-by, stars alongside Cyril Guei, Peter Bonke and Christele Tual. The buzz: The film is the fifth collaboration between writer-directors Bernard and Trividic - they made their feature debut with festival favourite Dancing in 2003 in which they also starred. Their credits include Ceci Est Une Pipe for Canal Plus and a programme about author HP Lovecraft for France 3. Int'l sales: Films Distribution, (33) 1 53 10 33 99 Ponyo On The Cliff By The Sea (Gake No Ue No Ponyo) (Jap) Dir: Hayao Miyazaki The story: Animated fantasy about a fish with a girl's face who befriends a young boy. The buzz: Japan's animation giant returns to the Lido four years after Howl's Moving Castle screened in competition and won a Golden Osella. Here, Miyazaki trades CG for a hand-painted watercolour look. A megahit in Japan, grossing $50m and counting, Ponyo's international premiere in Venice comes ahead of a US release by Frank Marshall and Kathleen Kennedy. The pair were requested to head the project by Ponyo producer Toshio Suzuki. Int'l sales: Wild Bunch, (33) 1 5301 5021 Rachel Getting Married (US) Dir: Jonathan Demme The story: A cynical drama queen returns home for a family wedding and awakens deep tensions. The cast: Anne Hathaway, Rosemarie DeWitt, Debra Winger. The buzz: Demme returns to Venice with a top-notch female cast following last year's Fipresci-prize winner Jimmy Carter Man From Plains and 2004's The Manchurian Candidate. North American distribution: Sony Pictures Classics Int'l distribution: Sony Pictures Releasing International Il Seme Della Discordia (It) Dir: Pappi Corsicato The story: Comic unofficial remake of Eric Rohmer's The Marquise Of O. A young woman has to explain her pregnancy to her husband on the day he discovers he is sterile. The cast: Alessandro Gassman and Caterina Murino (Casino Royale) take the lead roles. Gassman recently earned Italy's David Di Donatello award for best supporting actor for his role as Nanni Moretti's brother in Quiet Chaos. The cast also includes A Perfect Day's Isabella Ferrari. The buzz: This film from Neapolitan director Corsicato provides the comedy relief in this year's competition; he was last in competition in Venice with The Vesuvians. Rome-based Rodeo Drive produces, and Medusa is opening the film in Italy. Int'l sales: Rodeo Drive, (39) 45 44 97 67/8 Teza (Ethiopia-Ger-Fr) Dir: Haile Gerima The story: Teza charts the life of a young Ethiopian from his student days in 1970s West Germany, to his return to his native village at the age of 60. The cast: Aron Arefe, who appeared in Yehdego Abeselom's 13 Months Of Sunshine, stars with Abiye Tedla and Takelech Beyene. The buzz: This is the first time in Venice competition for US-based Ethopian film-maker Haile Gerima. He was honoured at Locarno in 1976 for Harvest: 3,000 Years (Mirt Sost Shi Amit) which took the Silver Leopard. In Berlin he picked up the Fipresci award in 1983 for Ashes And Embers, and his Sankofa appeared there in competition in 1993. Int'l sales: The Match Factory, (49) 2 215 39 7090 Vegas: Based On A True Story (US) Dir: Amir Naderi The story: A compulsive gambler and his long-suffering wife who live on outskirts of Las Vegas are made an offer by a stranger which tests how far they are prepared to go. The cast: Mark Greenfield, Nancy La Scala and Zach Thomas in their first starring roles. The buzz: Iranian writer-director-photographer Amir Naderi's fifth US feature claims to be an intense tale about money and obsession based on true-life stories told to the director during his stay in Sin City. It marks his third trip to Venice after The Runner (Davandeh) in 1985 (in the Venezia Speciali section) and Manhattan By Numbers in 1993 (Windows On Images). His A, B, C... Manhattan was screened in Un Certain Regard at Cannes in 1997. Int'l sales: Cinetic Media, (1) 212 204 7979 The Wrestler (US) Dir: Darren Aronofsky The story: A former pro wrestler, now on the amateur circuit, seeks one final showdown with his arch-rival. The cast: Mickey Rourke, Marisa Tomei. The buzz: Two years after premiering The Fountain, Aronofsky returns to the Lido with a tale of courage and transformation that has sparked talk of possible awards for Rourke. At press time, rights were available in North America, Spain, Australia, Scandinavia, Japan and Latin America. North American rights: CAA Int'l sales: Wild Bunch, (33) 1 53 01 50 25 The Sky Crawlers (Jap) Dir: Mamoru Oshii The story: Based on the best-selling novel by Hiroshi Mori, this animated film centres on teenage pilots who are raised to engage in aerial battles over Europe for the entertainment of adults. The cast: An A-list Japanese voice cast is headed by Oscar-nominated actress Rinko Kikuchi (Babel) and Ryo Kase (Letters From Iwo Jima). The buzz: Oshii's Innocence was the first animated Japanese film to compete for the Palme d'Or and he returns to the Lido a year after his Tachigui: The Amazing Lives Of The Fast Food Grifters screened in the Horizons sidebar in 2006. Oshii explores new emotional depths in the film which also boasts Production I.G's CG wizardry. Int'l sales: Nippon Television Network Corp, (81) 3 6215 2882 Il Papa Di Giovanna (It) Dir: Pupi Avati The story: Set in the 1930s and 1940s, Il Papa is the story of an artist who is dedicated to his daughter; but tragedy ensues when she commits murder. The cast: Silvio Orlando (Quiet Chaos, The Caiman), Alba Rohrwacher (Days And Clouds, My Brother's An Only Child) and Francesca Neri star. The buzz: The film has the most downbeat subject matter of the Italian entries, however Marco Mueller describes it as the 'zenith' of Avati's career. The director has only once been in competition in Venice, with 2005's La Seconda Notte Di Nozze. He served on the jury in 1989. Medusa distributes. Int'l sales: DueA, (39) 06 321 4851; Medusa, (39) 06 663 901 OUT OF COMPETITION 35 Rhums (Fr) Dir: Claire Denis The story: Drama about the relationship between a father and his adult daughter. The cast: Eriq Ebouaney stars with Gregoire Colin and Alex Descas. Ebouaney has moved between English-language action films such as Kingdom Of Heaven, Hitman and Transporter 3, and French work including Crimson Rivers 2: Angels Of The Apocalypse, this year's Ca$h and the upcoming Les Zones Turquoises. Colin was seen recently in Catherine Breillat's Sex Is Comedy and Denis' L'Intrus, which also featured Descas. The buzz: The horror-themed film marks a departure for Denis who also has another film out this year, White Material. She has appeared in Venice with L'Intrus in 2004. Int'l sales: Elle Driver, (33) 56 43 67 35 Encarnacao Do Demonio (Braz) Dir: Jose Mojica Marins The story: After 40 years in jail, a man is released from prison and goes in search of the woman who can give him the perfect child. The cast: Besides Marins, who plays the lead, the highlight is Brazilian cinema veteran Jece Valadao, in his last film before his death in 2006. Helena Ignez, the muse of 1970s B-movies, also stars. The buzz: This is the third part in the Coffin Joe trash- horror trilogy and closes the story that began with At Midnight I'll Take Your Soul (1963) and This Night I'll Possess Your Corpse (1967). Coffin Joe, Marins' alter ego, is a cult character that has become part of the popular imagination in Brazil. A documentary that examines Marins' life and his works, Coffin Joe: The Strange World Of Jose Mojica Marins, won the special jury prize at the 2001 Sundance film festival. Int'l sales: Gullane Filmes, Manuela Mandler, manuela@gullanefilmes.com.br Les Plages D'Agnes (Fr) Dir: Agnes Varda The story: Varda turns the spotlight on herself, in this autobiographical documentary feature. The buzz: 80-year-old Varda was tipped for a spot in Cannes with Les Plages D'Agnes but the film was reportedly not ready. 'I wanted to invent a genre of story-collage; an autodocumentary, an illustrated filmography and moments of fantasy treated in fiction,' she says of the film. Int'l sales: Roissy Films, (33) 1 53 53 50 50 Shirin (Iran) Dir: Abbas Kiarostami The story: Based on a Persian myth about unrequited love. The cast: Juliette Binoche stars alongside Iranian actor Mahnaz Afshar and award-winning actress and director Niki Karimi, whose 2001 directorial debut To Have Or Not To Have was produced by Kiarostami and who served on the Cannes jury in 2007. The buzz: Festival favourite Kiarostami sat on the Venice jury in 1995 and returned in 1999 with Grand Special Jury Prize winner The Wind Will Carry Us which also won the CinemAvvenire award, Fipresci prize and Ocic award. Besides a segment of the compilation Chacun Son Cinema for Cannes in 2007, his most recent film was one third of the trilogy Tickets, which premiered at Berlin in 2005. Int'l sales: TBC Vinyan (Fr-UK-Bel) Dir: Fabrice du Welz The story: A couple lose their son in the 2004 tsunami in Thailand. Searching for him, they find a nightmare community ruled by children. The cast: Emmanuelle Beart is joined by Rufus Sewell and Julie Dreyfus. Beart is a huge star in France and here will speak English along with UK actor Sewell (The Holiday). Dreyfus also stars in Tokyo, the triptych by Leos Carax, Bong Joon-ho and Michel Gondry which screened at Cannes. The buzz: Du Welz burst on the scene at Cannes in 2004 with Calvaire. Vinyan has been a long-gestating project that has a lot of buzz surrounding it. This is his first film to screen at Venice. Int'l sales: Wild Bunch, (33) 1 53 01 50 20 Burn After Reading (US) OPENING FILM Dirs: Joel and Ethan Coen The story: Comedy-thriller about the memoirs of a sacked CIA analyst that fall into the hands of a pair of opportunistic fitness centre employees. Chaos ensues. The cast: A stellar line-up includes Brad Pitt, George Clooney, Tilda Swinton, Richard Jenkins, John Malkovich and Frances McDormand. The buzz: The Coens are on a roll following their triple-Oscar win this year for No Country For Old Men and bring a powerhouse ensemble for their first return to the Lido since 2003's Intolerable Cruelty. Int'l sales: Focus Features International, (44) 20 7307 1370 Puccini E La Fanciulla Dir: Paolo Benvenuti The story: Drama set during the four months composer Giacomo Puccini wrote La Fanciulla Del West opera. At the same time, his wife accuses a housemaid of being her husband's lover, prompting the maid to commit suicide. The cast: Unknowns, newcomers and a musician make up the cast. The buzz: Benvenuti returns to Venice's official selection after Segreti Di Stato competed in 2003. Int'l sales: Giampaolo Smiraglia, (39) 392 7247116.
5438	dbpedia	2	6	https://blog.indiecinema.co/italian-directors/	en	Italian Directors to Know	https://blog.indiecinema…rico-Fellini.jpg	https://blog.indiecinema…rico-Fellini.jpg	[ "https://blog.indiecinema.co/wp-content/uploads/2023/04/logo-2-2-copia.jpg", "https://blog.indiecinema.co/wp-content/uploads/2022/10/indiecinema-background-sottile-eng.jpg", "https://blog.indiecinema.co/wp-content/uploads/2023/06/CTA-blog-english-copia-1-scaled.jpg", "https://blog.indiecinema.co/wp-content/uploads/2023/12/indiecinema-background-eng.jpg", "https://blog.indiecinema.co/wp-content/uploads/2023/06/CTA-blog-english-copia-1-scaled.jpg", "https://blog.indiecinema.co/wp-content/uploads/2023/12/indiecinema-background-eng.jpg", "https://blog.indiecinema.co/wp-content/uploads/2023/06/CTA-blog-english-copia-1-scaled.jpg", "https://blog.indiecinema.co/wp-content/uploads/2023/12/indiecinema-background-eng.jpg", "https://blog.indiecinema.co/wp-content/uploads/2023/06/CTA-blog-english-copia-1-scaled.jpg", "https://blog.indiecinema.co/wp-content/uploads/2023/12/indiecinema-background-eng.jpg", "https://blog.indiecinema.co/wp-content/uploads/2023/06/CTA-blog-english-copia-1-scaled.jpg", "https://blog.indiecinema.co/wp-content/litespeed/avatar/e19c3b6d4c41b6c9c2f7a830ff40410c.jpg?ver=1723477705", "https://blog.indiecinema.co/wp-content/uploads/2023/04/logo-2-2-copia-1024x250.jpg" ]	[]	[]	[ "" ]	null	[ "Fabio Del Greco" ]	2023-09-17T14:50:56+00:00	Since the origins of cinematographic art, Italian directors have inspired the most famous directors in the world.	en	https://blog.indiecinema…presso-32x32.jpg	Indiecinema	https://blog.indiecinema.co/italian-directors/	Since the origins of cinematographic art, Italian directors have influenced and inspired the most famous directors from all over the world, creating some of the most important absolutely must-see movie, cinema masterpieces of all time. Italy is one of the birthplaces of arthouse cinema and the artistic element has actually been the most essential element in the history of Italian cinema. The first Italian filmmakers began to take an interest in films a couple of months after the Lumière brothers began their film exhibitions. The very first Italian director is thought to have been Vittorio Calcina, an associate of the Lumière brothers, who filmed Pope Leo XIII in 1896. The very first films date back to 1896 and were shot in the main Italian cities. These short experiments immediately interested the working class as entertainment, motivating Italian directors to produce unreleased films to the point of laying the foundations for the birth of a real film market. In the early years of the 20th century, silent cinema established itself, with various avant-garde Italian directors. In the early 1900s, creative and legendary films such as Othello (1906), The Last Days of Pompeii (1908), The Inferno (1911), Quo Vadis (1913), and Cabiria (1914), were made as adaptations of books or theatrical performances. Italian directors used elaborate sets, luxurious clothing and record spending plans to produce pioneering films. The first European film movement, Italian futurism, dates back to the late 1910s. After a period of contraction in the 1920s, the Italian film market rejuvenated in the 1930s with the arrival of sound cinema. Many Italian directors dedicated themselves in those years to the cinema of Telefoni Bianchi, comedies with attractive settings. While the Italian fascist government provided financial support to the country’s film market, particularly the construction of the Cinecittà studios, the largest film studio in Europe, it similarly participated in censorship, and thus many Italian films produced in the late 1930s they were films by propaganda. A renewal for Italian directors occurred at the end of the Second World War with the birth of the Italian neorealist movement, which achieved broad public and critical consensus throughout the post-war period, and which introduced the careers of Luchino Visconti, Roberto Rossellini, Vittorio De Sica. Neorealism declined in the late 1950s in favor of lighter films, such as those of Italian comedy and great directors such as Federico Fellini and Michelangelo Antonioni. Actresses such as Sophia Loren, Giulietta Masina and Gina Lollobrigida achieved worldwide fame during that period. From the mid-1950s to the end of the 1970s, Commedia all’Italiana and many other categories developed thanks to auteur cinema, and Italian directors achieved a position of excellence both nationally and abroad. [13] [14] Spaghetti Westerns achieved appeal in the mid-1960s, reaching their peak with Sergio Leone’s Dollars Trilogy. Italian erotic thrillers, or Giallo, produced by Italian directors such as Mario Bava and Dario Argento in the 1970s, influenced the horror category around the world. In the 1980s, for various reasons, Italian directors went through a crisis. Throughout the 1980s and 1990s, Italian directors such as Ermanno Olmi, Bernardo Bertolucci, Giuseppe Tornatore, Gabriele Salvatores and Roberto Benigni brought Italian cinema crucial praise, while the most appreciated directors of the 2000s and 2010s were Matteo Garrone, Paolo Sorrentino, Marco Bellocchio, Nanni Moretti. Here is a partial list of Italian directors to know (in alphabetical order) Gianni Amelio Gianni Amelio was born in San Pietro di Magisano, province of Catanzaro, in Calabria. His father moved to Argentina soon after he was born. He spent his youth and adolescence with his mother and grandmother. The lack of a father figure will be a common thread in Amelio’s future works. During his university studies in Messina, Amelio began to think about cinema, writing as a film critic for a local newspaper. In 1965 he moved to Rome, where he worked as an operator and assistant director for people such as Liliana Cavani and Vittorio De Seta. Amelio’s initial work is the television film La città del sole, directed in 1973 for RAI and inspired by the work of Tommaso Campanella. In 1982 he made his film debut with Colpire al cuore, about Italian terrorism, presented at the Venice Film Festival. In 1987 Amelio created The Boys of Through Panisperna, about the lives of Italian physicists of the 1930s such as Enrico Fermi and Edoardo Amaldi. 1989’s Open Doors (Open Doors), including Gian Maria Volonté, established Amelio as one of Italy’s best directors and won best foreign film at the 1991 Academy Awards. Interesting was The Child Thief in 1992, which won the Special Jury Prize at the 1992 Cannes Film Festival plus 2 Silver Ribbons and 5 David di Donatello. In 1994 Lamerica, on the Albanian migration to Italy, doubled its success, with 2 Silver Ribbons and 3 Davids. 4 years later, Cosi Laughing (So They Laughed) won the Golden Lion at the Venice Film Festival. Amelio won another Nastro d’Argento for best director for 2004’s The Keys to the House. Michelangelo Antonioni Antonioni was born into a thriving landowning family in Ferrara, Emilia Romagna, in northern Italy. Born into a working class family, he managed to acquire wealth through night classes and work. As a child, Antonioni loved drawing and music. A precocious violinist, he gave his first performance at the age of 9. He abandoned the violin with the discovery of cinema in his adolescence, drawing would remain an enduring enthusiasm. He is best known for directing his trilogy about modernity and alienation: L’Avventura (1960), La Notte (1961) and L’Eclisse (1962), along with the English-language film Blow-up (1966), considered masterpieces of world cinema. His films have been called enigmatic reflections on the human soul and feature escapist plots, surprising visual structure and an obsession with modern landscapes. His work significantly influenced subsequent art cinema. Antonioni has won numerous awards and is the only director to have won the Palme d’Or, the Golden Lion, the Golden Bear and the Golden Leopard. Pupi Avati Pupi Avati, born November 3, 1938, is an Italian screenwriter, producer and film director. He is known to horror film fans for his two crime works of art, The House with Laughing Windows (1976) and Zeder (1983). After attending school and studying Political Science at the University of Florence, he began working at a frozen food company. At the same time, he became passionate about jazz, ending up as a professional clarinetist. In the second half of the 1950s he played and trained in the Doctor Dixie Jazz Band, which also included Lucio Dalla. At first he thought he was an expert musician, then he realized he didn’t have the essential skill. In the mid-1960s he chose to devote himself to cinema after seeing 8 1/2 by Federico Fellini. Avati’s enthusiasm for music, as well as his love for his hometown, which was the setting for most of his films, would end up being recurring themes in his productions. Mario Bava Mario Bava was born in Sanremo, Liguria, on 31 July 1914. Mario Bava’s very first aspiration was to become a painter. Unable to finish paintings at a good pace, he entered his father’s service, working as an assistant to other Italian cinematographers such as Massimo Terzano. He also assisted his father in the special effects department at the Luce Institute. He has worked as a director, cinematographer, special effects artist and film writer, regularly regarded as the Master of Italian horror. His low-budget genre films, known for their unique visual style and ingenious technical resourcefulness, are a mix of fiction and realism. He was a leader of Italian genre cinema, and is considered among the most important authors in the horror genre. After offering impactful work and other help on productions such as Hercules (1958) and Caltiki, The Immortal Monster (1959), Bava made his directorial debut with the horror film Black Sunday, released in 1960. He went on to direct films such as The Girl Who Knew Too Much, Black Sabbath, The Body and the Whip, Six Daughters (1964), Planet of the Vampires, 1965, Kill , Baby, Kill, 1966), Diabolik (1968), Chain Reaction (A Bay of Blood, 1971), The Horrors of Nuremberg Castle (Baron Blood, 1972), Lisa and the Devil (1974) and Rabid Dogs (Rabid Dogs, 1974). Marco Bellocchio Born in Bobbio, near Piacenza, Marco Bellocchio had a strict Catholic childhood: his father was a lawyer, his mother a teacher. He began studying in Milan but then chose to enter film school, first at the Centro Sperimentale di Cinematografia in Rome, then at the Slade School of Fine Art in London. His very first film, Fists in the Pocket, was financed by a relative and shot at home, in 1965. Bellocchio’s films include China is Near (1967), Slap the Monster on Page One) (1972), In the name of the Father (1972), Marcia triumphale (Victory March, 1976), Salto nel vento (A Leap in the Dark, 1980), Enrico IV (Henry IV, 1984 ), Devil in the Flesh, 1986 and My Mother’s Smile, 2002. Bernardo Bertolucci Bernardo Bertolucci was an Italian director and screenwriter with a career that spanned 50 years. Considered among the best directors of Italian cinema, Bertolucci’s work has achieved worldwide recognition. He was the first Italian director to win the Academy Award for Best Director for The Last Emperor (1987), with many awards including 2 Golden Globes, 2 David di Donatello, a British Academy Award and a César Award. A student of Pier Paolo Pasolini, Bertolucci made his directorial debut at 22 years old. His second film, Before the Revolution (1964), had strong global reviews and has been called a work of art of Italian cinema. His 1970 film The Conformist, an adaptation of Alberto Moravia’s original, is considered a classic of world cinema and was shortlisted for an Academy Award for Best Adapted Screenplay and the Berlin Golden Bear. His 1972 sensual drama Last Tango in Paris was scandalous and hampered by censors because of its sex scenes, as well as an unscripted rape scene, which actress Maria Schneider did not allow. This was followed by films such as the historic and impressive Novecento (1976), the family drama La Luna (1979) and the black comedy Tragedy of a Ridiculous Man (1981). His epic movie 1987’s The Last Emperor, a biopic of Chinese emperor Puyi, was a critical and commercial success, garnering rave reviews and Oscars for Best Picture and Best Director. He followed his success with 2 more films in his “Oriental Trilogy”: The Sheltering Sky, an adaptation of the book of the same name, and Little Buddha, an epic spiritual film about Buddhism. His 1996 film, Stealing Beauty, brought him his second nomination for the Palme d’Or. He continued directing well into the 21st century, launching his last film, Io e te (Me and You), in 2012. Bertolucci’s films deal with themes of politics, sexuality, history, class struggle and social taboos and his style has influenced numerous directors. Some of his films are considered among the best films of all time. Claudio Caligari Born in Arona, Piedmont, Claudio Caligari began his profession as a documentary filmmaker, often collaborating with Franco Barbero; his first ever work was Why Drugs (1975). He launched his first feature film in 1983, with the drug-focused drama Toxic Love, which won the De Sica Award at the 40th Venice International Film Festival. Only fifteen years later he directed another work, the neo-noir The Scent of the Night. He finished editing his latest and third film, Don’t Be Bad, a couple of days before his death from cancer. Liliana Cavani Liliana Cavani is an Italian director and screenwriter. He comes from a generation of Italian filmmakers from Emilia-Romagna who entered the scene in the 1970s, made up of Bernardo Bertolucci, Pier Paolo Pasolini and Marco Bellocchio. Cavani ended up becoming known around the world after the success of her 1974 feature film The Night Porter. His films deal with historical issues. In addition to making documentaries and films, he has also directed operas. Sergio Citti Sergio Citti was an Italian director and screenwriter, born in Rome in 1933. He usually worked with Pier Paolo Pasolini, but also for other directors such as Ettore Scola. His films include We Free Kings, for which he won a Silver Ribbon for Best Original Story. His 1981 film Il minestrone participated in the 31st Berlin International Film Festival. His 1977 film Beach House was part of a retrospective on Italian comedy at the 67th Venice International Film Festival. He was the brother of the actor Franco Citti. Among his masterpieces are Ostia (1970), Storie scellerate (1973), Mortacci (1989). Luigi Comencini Luigi Comencini was an Italian director. Together with Dino Risi, Ettore Scola and Mario Monicelli, was considered among the masters of Italian comedy. His first successful film was The Emperor of Capri, with Totò. Comencini’s 1953 Bread, Love and Fantasy, with Vittorio De Sica and Gina Lollobrigida, is considered an example of pink neorealism. Followed by Bread, Love and Jealousy. After having directed Alberto Sordi for the first time in La belle di Roma (1955), Comencini once again confronted Sordi in what is considered his masterpiece, Tutti a casa, a bitter comedy about Italy after the armistice of 1943. The film won the Special Prize at the 2nd Moscow International Film Festival. Set in the Second World War, but dedicated to the Italian partisans, is Bube’s Girl (1963). Followed by Incompreso (1966, based on the English book by Florence Montgomery). One of his must-see films is a TV serial, The Adventures of Pinocchio from 1972, an extraordinarily poetic 6-episode TV miniseries. Vittorio De Sica Vittorio De Sica was an Italian director and actor, a prominent figure in neorealist movement. 4 of the films he directed won the Oscar: Sciuscià and Bicycle Thieves, while Yesterday, Today, Tomorrow and The Garden of the Finzi-Continis won the Oscar for best foreign language film. Sciuscià was the first foreign film to be awarded by the Academy of Motion Picture Arts and Sciences together with Bicycle Thieves. These 2 films are considered masterpieces of cinema history. Bicycle Thieves has been considered the best film of all time by many directors and critics. De Sica was also shortlisted for the 1957 Academy Award for Best Supporting Actor for playing Major Rinaldi in American director Charles Vidor’s 1957 adaptation of Ernest Hemingway’s A Farewell to Arms, a film that was panned by critics and it was a box office flop. Fernando Di Leo Fernando Di Leo was an Italian director and screenwriter. He made 17 films as director and around 50 screenplays from 1964 to 1985. Fernando Di Leo was born on 11 January 1932 in San Ferdinando di Puglia. After working for a short period at the Centro Sperimentale di Cinematografia of a film school in Rome, he made his debut as a director in the comedy The Heroes of Yesterday, Today, Tomorrow with his episode entitled A Place in Paradise. Di Leo later wrote numerous screenplays for westerns, often uncredited, such as A Fistful of Dollars and For a Few Dollars More. Some of his westerns had uncredited literary sources, such as Days of Vengeance which was loosely based on Alexandre Dumas’ The Count of Monte Cristo. Di Leo was a fan of noir movie and wanted to make an Italian variation of these films. Among his very first works was the screenplay for Mino Guerrini’s Appointment for a Murder based on the novel Tempo di massacro by Franco Enna written in 1955. Di Leo began directing some of his own films at the time, including the war film Red roses for the Fuhrer and a couple of sexual films: Lady on Fire, The Wrong Way to Love and Seduction. From 1969 to 1976, di Leo was able to produce much of his own work with his production company Duania cineproduzioni 70. He returned to the noir genre with Naked Violence, a film adapting a short story by Giorgio Scerbanenco, an author that Di Leo will adapt for numerous future film productions. Federico Fellini Federico Fellini was an Italian director and screenwriter known for his unique style that mixes dreamlike and baroque imagery. He is recognized as one of the most important directors of all time. Most of his films are cinema masterpieces: The Road (1954), The Nights of Cabiria (1957), La Dolce Vita (1960), 8 1/2 (1963), Juliet of the Spirits (1965), Toby Dammit (1968), Fellini’s Satyricon (1969), Roma (1972), Amarcord (1973) and Fellini’s Casanova (1976). Fellini was nominated for 16 Academy Awards over the course of his career, winning 4 for Best Foreign Language Film, the most for any director in the award’s history. He received an Honorary Lifetime Achievement Award at the 65th Academy Awards in Los Angeles. Fellini also won the Palme d’Or for La Dolce Vita in 1960, the Moscow International Film Festival twice in 1963 and 1987 and the Golden Lion for Lifetime Achievement at the 42nd Venice International Film Festival in 1985. Among the best directors who ever existed, Fellini ranked 2nd in the directors’ poll and 7th in the critics’ poll. Marco Ferreri Marco Ferreri was born in Milan and was an Italian film director and screenwriter, who began his profession in the 1950s by directing 3 films in Spain, followed by 24 Italian films before his death in 1997. He is considered one of Europe’s cinematic provocateurs of its time and has had a consistent presence on the prominent festival circuit, with 8 films competing at the Cannes Film Festival and a Golden Bear win at the 1991 Berlin Film Festival. 3 of his films are among the 100 films selected for preservation for their notable contribution to Italian cinema. His best-known film is La Grande Bouffe from 1973, with Marcello Mastroianni, Michel Piccoli, Philippe Noiret and Ugo Tognazzi. He was a socialist and atheist. Upon his death, Gilles Jacob, creative director of the Cannes International Film Festival, declared: “Italian cinema has lost among its most important artists, among its most original authors. No one was more demanding nor more allegorical than him in reveal the state of crisis of modern man”. Riccardo Freda Riccardo Freda, born in 1909 in Alexandria, Egypt, was an Italian director who worked in a number of film genres, including cloak and dagger, crime, horror and spy films. Freda began directing The Vampires in 1956. After school he worked as a carver and art critic. Freda began working in the film market in 1937 and directed her first film Don Cesare di Bazan in 1942. The Vampires was the first Italian horror film of the sound period, after the only silent scary film Frankenstein’s Monster (1920) . The wave of Italian horror productions didn’t catch on until Mario Bava’s Black Sunday was released globally. Lucio Fulci Lucio Fulci was an Italian writer, actor and film director. He has worked in a wide selection of categories such as Giallo movie and spaghetti westerns and has garnered a worldwide cult following. His most significant films are in the “Gates of Hell” trilogy – City of the Living Dead (1980), The Beyond (1981) and The House by the Cemetery (1981) – along with Massacre Time (1966), One Above the other (1969), Beatrice Cenci (1969), A lizard with the skin of a woman (1971), Don’t torture a Donald Duck (1972), White Fang (1973), The Four of the Apocalypse (1975), Seven Notes in Black ( 1977), Zombies 2 (1979), Contraband (1980), The New York Ripper (1982), Murder Rock (1984) and A Cat in the Brain (1990). For his telling imagery and nontraditional storytelling, Lucio Fulci has been called “The Poet of the Macabre” by critics and scholars, in reference to Edgar Allan Poe, whom he adapted into The Black Cat (1981). The high level of graphic violence present in many of his films, particularly Zombies 2, The Beyond, Contraband and The New York Ripper, has made him “The Godfather of Blood”. Matteo Garrone Matteo Garrone is an Italian director born in Rome. In 1996 Garrone won the Sacher d’Oro, a prize promoted by Nanni Moretti, with the short film Silhouette, which became one of the 3 episodes that make up his first feature film, Terra di mezzo in 1997. He reached the general public with the noir The embalmer in 2002. He won best director at the European Film Awards and the David di Donatello for Gomorrah (2008), as well as numerous other awards. His film Reality (2012) was shown in competition at the 2012 Cannes Film Festival and won the Grand Prix. His films Tale of Tales (2015) and Dogman (2018) were chosen for the Palme d’Or at the 2015 Cannes Film Festival and the 2018 Cannes Film Festival. Emidio Greco Emidio Greco was an Italian director and screenwriter, best known for the 1974 film Morel’s Invention. Born in Leporano, in the province of Taranto, Greco moved to Turin as a boy. In 1964 he finished at the Centro Sperimentale di Cinematografia, then, 2 years later, he began working as a documentary maker for RAI. In 1971 he collaborated with Roberto Rossellini, accompanying him to Chile for an interview with Salvador Allende. In 1974 Greco made his directorial debut in a feature film with The Invention of Morel which, appreciated by critics, marked him as a true promise of Italian art cinema. His second film, Ehrengard, recorded in 1982, would not be released until 2002 due to the bankruptcy of the producers. Since then he has directed 6 more films, generally adaptations of literary works. In 1991 he was awarded a Nastro d’Argento for best screenplay for the film A simple story. In 2004 Greco, together with Francesco Maselli, conceived and set up the “Giornate degli Autori” space at the Venice Film Festival. Ugo Gregoretti Ugo Gregoretti was an Italian film, television and theater director, actor, screenwriter, author and television host. He directed 20 films during his career. Born in Rome, Gregoretti joined RAI in 1953, working as a director and documentary maker. In 1960 he won the Italy Award for the television documentary La Sicilia del Gattopardo. In 1962 he made his film debut with the comedy drama The New Angels. In 1978 he began his activity in theater and opera. His work as a director has been primarily defined by a level of sensitivity to social and political problems integrated with a strange use of paradox and satire. In 2010 he was awarded a Silver Ribbon for lifetime achievement. Luca Guadagnino Luca Guadagnino was born on August 10, 1971 in Palermo and spent his early youth in Ethiopia, where his father taught Italian history and literature at a technical school in Addis Ababa. The family left Ethiopia for Italy in 1977 to avoid the Ethiopian civil war, settling in Palermo. Guadagnino is a writer, director and film producer. He worked together several times with actress Tilda Swinton in the films The Protagonists (1999), I Am Love (2009), A Bigger Splash (2015) and Suspiria (2018). For the production and direction of Call Me by Your Name (2017), Guadagnino received crucial recognition and numerous awards, including elections for the Oscar for Best Film, the Nastro d’Argento for Best Director, the BAFTA Award for Best Director and Best Film, and the Golden Globe for Best Motion Picture – Drama. Umberto Lenzi Umberto Lenzi was an Italian writer, screenwriter and director. Passionate from a young age, Lenzi studied at the Centro Sperimentale di Cinematografia and made his first film in 1958 which remained unpublished, while his main launch came in 1961 with The Adventures of Mary Read (Queen of the Seas). Lenzi’s films of the 1960s followed the popular patterns of the period, which led him to direct numerous spy films and sensual thrillers. In the 1970s he made crime films, crime films and the first film about an Italian cannibal with Man from the Deep River. He continued making films until the 1990s and later worked as a writer creating a series of thrillers. Sergio Leone Born on 3 January 1929 in Rome, Leone was the son of the director Vincenzo Leone and the silent film actress Edvige Valcarenghi. During his school years, Leone was for a time a classmate of his future musical collaborator Ennio Morricone. After watching his father work on film sets, Leone began his profession in cinema at the age of 18 after leaving his law studies at university. He is the leader of the Spaghetti Western category and commonly considered among the outstanding directors in the history of cinema. Leone’s filmmaking style consists of mixing dramatic close-ups with long, drawn-out shots. His films are the Dollars trilogy with Clint Eastwood: A Fistful of Dollars (1964), For a Few Dollars More (1965) and The Good, the Bad and the Ugly (1966); and the films Once Upon a Time: Once Upon a Time in the West (1968), Once Upon a Time in America (1984), and Once Upon a Time in America (1984). Antonio Margheriti Antonio Margheriti was born in Rome on 19 September 1930. The son of a railway engineer, he began his film career in 1950 with Mario Serandrei. He then began making short documentaries starting with Vecchia Roma in 1953. In 1955 he was credited in film scripts such as The Iron Class. He also worked under the pseudonyms Anthony M. Dawson and Antony Daisies. Margheriti has worked in various genres in the Italian film market: science fiction, cloak and dagger, horror, crime fiction, espionage, Spaghetti Westerns, war films and action films which have been distributed to a wide audience worldwide. Mario Martone Mario Martone is an Italian director and screenwriter. He has directed more than 30 films since 1985. His film L’amore molesto participated in the 1995 Cannes Film Festival. His 2010 film We believed competed for the Golden Lion at the 67th Venice International Film Festival . He was also the director of Lorenzo Ferrero’s opera Charlotte Corday, which premiered at the Teatro dell’Opera di Roma on 21 February 1989. His 2014 film about Leopardi was in competition for the Golden Lion at 71st International Venice Exhibition. Francesco Maselli Francesco Maselli finished the National Film School in 1949 and began his profession as assistant director to Luigi Chiarini, Michelangelo Antonioni and Luchino Visconti. Thanks to Visconti, Maselli managed to direct his first feature film, Abandoned, presented in competition at the 16th Venice Film Festival. In the 1980s Maselli dedicated himself to more intimate films, typically centered on female images, such as A Tale of Love, with which Maselli won the Grand Jury Prize at the 43rd Venice Film Festival, with Valeria Golino awarded as best actress. His 1990 film The Secret participated in the 40th Berlin International Film Festival. He directed 38 films starting his career in 1949. Aristide Massaccesi Aristide Massaccesi, known as Joe D’Amato, was an Italian director, producer, screenwriter and cinematographer who worked in many film genres (western, erotic, peplum, war film, sword, comedy, dream, post-apocalyptic film and thrillers. However he is best known for his adult horror and erotic films. D’Amato worked in the 1950s as a photographer, in the 1960s as a camera operator and from 1969 onwards as a director of photography. Since 1972, he has directed and co-directed approximately 200 films under many pseudonyms as a cinematographer. Since the early 1980s, D’Amato has produced many director’s genre films through his production company. From 1979 to 1982 and 1993 to 1999, D’Amato also produced and directed approximately 120 films for adults. Mario Monicelli Mario Monicelli he was an Italian director and screenwriter and among the masters of Italian comedy. He was chosen 6 times for an Oscar and was awarded the Golden Lion for Lifetime Achievement. Monicelli was born in Rome to a wealthy family from Ostiglia, a municipality in the province of Mantua, Lombardy, the second of 5 children of Tomaso Monicelli, a journalist, and Maria Carreri, a housewife. Raised between Rome, Viareggio and Milan, Monicelli lived a carefree youth, and much of the cinematic jokes he later inserted into Amici Miei were influenced by his own experiences during his youth in Tuscany. Nanni Moretti Nanni Moretti is an Italian director, producer, actor and screenwriter. His films have won awards including a Palme d’Or at the 2001 Cannes Film Festival for The Son’s Room, a Silver Bear at the 1986 Berlin Film Festival for The Mass is Over and a Silver Lion at the 1986 Film Festival Venice cinema in 1981 for Sogni d’oro, as well as the David di Donatello for best film for Dear Diary in 1994, The Son’s Room in 2001 and The Caiman in 2006. Ermanno Olmi Ermanno Olmi was an Italian director and screenwriter. Olmi was born into a Catholic family in Bergamo, Lombardy, northern Italy. When Olmi was 3 years old, his family moved to Milan, where he attended high school and took acting lessons at the Academy of Dramatic Arts. He ended up thinking about cinema while working at the Milanese electricity company Edison Volta, where he began producing 16mm documentaries about power plants. In 1963 he married Loredana Detto, who had played Antonietta Masetti in his film Il Posto (1961). Another early film was The Engaged (1963). His best-known film is The Tree of Clogs, which was awarded the Palme d’Or at the 1978 Cannes Film Festival. The film drew heavily on Olmi’s grandmother’s stories about peasant life in the agricultural areas of Italy. In 1988 his The Legend of the Holy Drinker, based on the novel by Joseph Roth and starring Rutger Hauer, won the Golden Lion at the Venice Film Festival together with Donatello’s David. Pier Paolo Pasolini Pier Paolo Pasolini was an Italian poet, author, intellectual and director as well as a journalist, writer, translator and playwright. He is considered among the intellectuals of reference in 20th century Italy, eminent both as an artist and as a political figure. Gay and avowed Marxist, he expressed strong criticism of the bourgeois class and the nascent consumerism in Italy, with socio-political controversies and sexual taboos. A popular protagonist of the Roman cultural scene after the Second World War, he was a recognized figure of importance in European literature and cinematographic arts. Pasolini’s unsolved murder in Ostia in November 1975 sparked a scandal in Italy, and his work continues to spark heated discussion. Among his masterpieces Accattone, The Gospel according to Matthew, La ricotta, Teorema. Giovanni Pastrone Giovanni Pastrone, also known by his stage name Piero Fosco, was an Italian actor, director, screenwriter and film actor. Pastrone was born in Montechiaro d’Asti. He worked throughout the silent film era and influenced numerous crucial directors in global cinema with Cabiria, such as David Wark Griffith, for his The Birth of a Nation (1915) and Intolerance (1916). Martin Scorsese thinks that Pastrone’s work in Cabiria can be considered as the birth of epic movie and is worthy of credit for a number of developments typically attributed to D. W. Griffith and Cecil B. DeMille. Among these was the full use of a moving camera, which freed the narrative feature from the fixed frame. Elio Petri Elio Petri was born in Rome on 29 January 1929. He was expelled for political reasons from San Giuseppe di Merode, a school run by a priest in Piazza di Spagna, and enrolled in the youth company of the Italian Communist Party (PCI). He wrote for L’Unità and Gioventù nuova as well as Città Aperta. Petri was a film director, screenwriter, theater director and critic associated with political cinema in the 1970s and 1960s. His film Investigation of a Citizen Above Suspicion won the 1971 Oscar for best foreign language film, and his film The Working Class Goes to Heaven won the Palme d’Or at the Cannes Film Festival in 1972. Petri’s other significant films include The Tenth Victim (1965), To Each His Own (1967), A Quiet Country Place (1968), Property Is No Longer theft (1973) and Every Way (1976). Franco Piavoli Degree in law, Franco Piavoli he practiced as a lawyer for several years. He made the short film Stagioni in 1961; he later abandoned the legal profession to teach in a technical institute and dedicate himself to cinema. After making a couple of short films (Domenica sera, Emigranti, Evasi), he came to prominence in 1982 when he made Il Pianeta blu (The Blue Planet), his launch feature film, in competition at the Venice Film Festival, UNESCO award. The knowledge of this work was made possible thanks to the interest of his friend Silvano Agosti who one day in 1979 showed up at Piavoli in Pozzolengo with an Arriflex video camera and a pack of reels, informing him that it was the time to make his first feature film . For an entire year Piavoli was responsible for filming the film which Andrej Tarkovsky would define as a total work of art. In the following years he made 3 more feature films (Nostos – The Return, 1989; Voci nel tempo, 1996; Al primo soffio di vento, 2002). In his cinema Piavoli does not give much meaning to words, focusing above all on images and sounds which in turn end up being protagonists and representing life. A cinema defined as “symphonic video”. Antonio Pietrangeli Antonio Pietrangeli was an Italian director and screenwriter, significant for his Italian Comedies, born in Rome. He started in cinema by writing film reviews for Italian film publications in the magazines Bianco e Nero and Cinema. As a film screenwriter, his works are Ossessione and La terra trema by Luchino Visconti, Fabiola by Alessandro Blasetti and Europa ’51 by Roberto Rossellini. Pietrangeli’s directorial launch was Il sole nelle occhi, a 1953 film starring Gabriele Ferzetti. The comedies with Alberto Sordi followed Lo scapolo (1956) and Souvenir d’Italie (1957). I Knew Her Well (1965), a portrait of a naive young actress played by Stefania Sandrelli, is his masterpiece. Dino Risi Dino Risi was an Italian director. With Mario Monicelli, Luigi Comencini, Nanni Loy and Ettore Scola he was among the masters of Italian comedy. Risi was born in Milan. He had an older brother, Fernando, a cinematographer, and a younger brother, Nelo, a director and author. At the age of twelve, Risi became an orphan and was cared for by family and friends of his family. He studied medicine but refused to become a psychiatrist, as his parents wanted. Risi began his career in cinema as assistant director of characters such as Mario Soldati and Alberto Lattuada. He later began directing his own films and was credited with giving early chances to future stars such as Sophia Loren and Vittorio Gassman. His 1966 film The Treasure of San Gennaro participated in the 5th Moscow International Film Festival where it won an award. In his career he made many films: the most important are Una vita difficile of 1961, Il sorpasso of 196e I monsters of 1963 and Una vita difficile of 1973, all masterpieces of Italian comedy. Francesco Rosi Francesco Rosi was an Italian director. His film The Mattei Case won the Palme d’Or at the 1972 Cannes Film Festival. Rosi’s films, particularly those of the 1970s and 1960s, often contained political messages. While the subjects of his later films ended up being less politically oriented and more literary oriented, he continued directing until 1997, his last film being the adaptation of Primo Levi’s book, The Truce. He received the Golden Bear for Lifetime Achievement. In 2012 the Venice Biennale awarded Rosi the Golden Lion for Lifetime Achievement. The 1963 film Hands on the City is considered his masterpiece. Roberto Rossellini Roberto Rossellini was an Italian director, screenwriter and film producer. He was the pioneer of Italian neorealist cinema, with films such as Rome, Open City (1945), Paisà (1946) and Germany Year Zero (1948). Rossellini was born in Rome. His mother, Elettra, was a housewife born in Rovigo, and his father, Angiolo Rossellini, owner of a construction company. His mother was of partial French descent, from immigrants who had arrived in Italy during the Napoleonic Wars. Rossellini’s films after his early neorealist films, especially his films with Ingrid Bergman, were not commercially successful. He was a master recognized by the critics of the Cahiers du Cinéma. Truffaut wrote in his 1963 essay that Roberto Rossellini preferred real life to films. Rossellini’s impact in France, especially among the directors who entered the New wave, was so formidable that he was called “the father of the French New Wave”. Unlike directors who usually become more restrained and stylistically more conservative as their careers progress, Rossellini became increasingly innovative and continually experimented with new techniques. Corso Salani Corso Salani was an Italian director, screenwriter and actor. Graduated from the Institute of Cinematographic Sciences of Florence in 1984, he made his directorial debut the same year with the short film Zelda, set on the island of Capraia. In 1985, he wrote the story and directed the video for the song Guerra dei Litfiba. Having moved to Rome, he was assistant director to Carlo Mazzacurati on the set of Notte italiana (1987), and in 1989 he made his first feature film, Voci d’Europa, which won an award at the RiminiCinema. He also began his profession as an actor, kept in the background compared to his career as a director. The role of reporter Rocco Ferrante in Marco Risi’s Muro di rubber (1991), about the Ustica massacre, became popular. Gabriele Salvatores Gabriele Salvatores is an Oscar-winning Italian director and screenwriter. Neapolitan by birth, Salvatores made his debut as a theater director in 1972, founding the Teatro dell’Elfo in Milan, for which he directed numerous shows until 1989. In that year he directed his third feature film, Marrakech Express, for which he Turnè’s 1990 sequel. Both films include a group of actor-friends, composed of Diego Abatantuono and Fabrizio Bentivoglio, who will be present in many of his subsequent films. Turné was selected in the Un Certain Regard section at the 1990 Cannes Film Festival. In 1991, Salvatores received worldwide recognition for Mediterraneo, which won an Oscar for best foreign film. He also won 3 David di Donatello and a Nastro d’Argento. Romano Scavolini Romano Scavolini is an Italian director and the younger brother of screenwriter Sauro Scavolini. He has been directing films since the 1960s. Most of his works are independent film individually shot on a low budget and with an original style. His best-known horror films are Nightmare (1981), a gruesome scary film that was banned in the United Kingdom, and 1972’s A White Dress for Marialé. Ettore Scola Ettore Scola was an Italian screenwriter and director. He won a Golden Globe for Best Foreign Language Film in 1978 for his film One Special Day and during his film career he was shortlisted for five Academy Awards for Best Foreign Language Film. Scola was born in Trevico, Avellino, Campania. From the age of 15, he became a ghostwriter. He entered cinema as a screenwriter in 1953 and collaborated with director Dino Risi and fellow writer Ruggero Maccari on the screenplay for Risi’s film, Il Sorpasso (1962). He directed his first film, Let’s Talk About Women, in 1964. In 1974 Scola enjoyed worldwide success with C’erariamo tanto amati, a great fresco of post-World War II Italian life and politics, dedicated to his fellow director Vittorio De Sica. The film won the Gold Prize at the 9th Moscow International Film Festival. In 1976 he won the Prix de la mise en scène at the 1976 Cannes Film Festival for Ugly, Dirty and Bad. Paolo Sorrentino Paolo Sorrentino is an Italian writer and film director. His 2013 film The Great Beauty won the Oscar, Golden Globe and Bafta Award for Best Foreign Language Film. In Italy he was awarded 8 David di Donatello and 6 Nastri d’Argento. Sorrentino’s direction and screenplays such as Il divo, The consequences of love, The family friend, This Must Be the Place and the 2016 television series The Young Pope, have received 3 Cannes Lions, 4 Venice Film Awards and 4 European Film Awards. He often collaborates with the actor Toni Servillo and with the director of photography Luca Bigazzi. He has also written three novels. Perhaps his best films are the 2 initial ones: The Extra Man and The Consequences of Love. Giuseppe Tornatore Born in Bagheria, in the province of Palermo, Tornatore has been interested in acting and theater since the age of 16 and dedicated himself to the works of Luigi Pirandello and Eduardo De Filippo. He initially worked as a freelance photographer. Moving on to cinema, he made his debut with Ethnic Minorities in Sicily, a collective documentary awarded at the Salerno Festival. He then worked for RAI before launching his first feature film, Il camorrista, in 1985. This sparked a favorable reaction from critics and audiences and Tornatore received the Nastro d’argento for best debut director. He is considered among the directors who have brought important recognition to Italian cinema. In a profession that has spanned over 30 years, he is known for writing and directing dramatic films such as Everybody’s Fine, The Legend of the Pianist on the Ocean, Malèna, Baarìa and The Best Offer. His best remembered film is Nuovo Cinema Paradiso, for which Tornatore won the Oscar for best foreign language film. He also directed several commercials for Dolce & Gabbana. His most personal film, from a linguistic point of view, is A Pure Formality. Then his style became more and more mainstream and “Hollywood”. Roberta Torre Roberta Torre is an Italian director and screenwriter. In 1997 he won the Nastro d’Argento as best debut director with his first film, Tano to Die, a truly original kaleidoscopic “mafia” musical. The film was presented at the 54th Venice International Film Festival, winning the FEDIC Award, the Kodak Award and the Luigi De Laurentiis Award for best debut director. The film also won 2 David di Donatello and 2 Nastri d’argento. Florestano Vancini Florestano Vancini was an Italian director and screenwriter. He has directed over 20 films since 1960. His 1966 film The Seasons of Our Love, starring Enrico Maria Salerno, participated in the 16th Berlin International Film Festival. His 1973 film The Assassination of Matteotti participated in the 8th Moscow International Film Festival where it won a Special Prize. In 1999 he was part of the jury of the 21st Moscow International Film Festival. Luchino Visconti Luchino Visconti was an Italian film director, director and screenwriter. A significant figure in Italian art and culture in the mid-20th century, Visconti was among the fathers of cinematic neorealism, but later moved towards melodrama and themes such as decadence, death and European history, particularly the decay of bourgeoisie and nobility. He received numerous awards, including the Palme d’Or and the Golden Lion, and many of his works are considered influential to subsequent generations of directors. Born into a noble Milanese family, Visconti worked as an assistant director to Jean Renoir. His 1943 directorial debut, Ossessione, was condemned by the fascist party for its depictions of working-class characters turning into criminals, but today it is known as a pioneering work of Italian cinema. His best-known films are Senso (1954) and Il Gattopardo (1963), both historical melodramas based on classics of Italian literature, the gritty drama Rocco and His Brothers (1960), and his “German Trilogy” – The Fall of the Gods (1969), Death in Venice (1971) and Ludwig (1973). He was also a skilled theater director of theatrical and lyrical works, both in Italy and abroad. Lina Wertmüller Lina Wertmüller was born in Rome in 1928. During her youth she was expelled from 15 different Catholic high schools. Throughout this time, she remained fascinated by comic books and defined them as particularly important to her in her youth, especially Alex Raymond’s Flash Gordon. Wertmüller characterized Raymond’s comic framing as “quite cinematic, more cinematic than most films”, an early sign of his predisposition towards cinema. Wertmüller’s desire to work in cinema and theater took hold at a young age, and from a young age she was fascinated by the works of Russian playwrights Pietro Sharoff, Vladimir Nemirovich-Danchenko and Konstantin Stanislavsky. She is known for her films of the 1970s Pasqualino Settebellezze, for which she was the first female director to be chosen for the Oscar as best director in 1977, Mimì metallurgico, Film of love and anarchy and Overwhelmed by an unusual destiny in the blue sea of August. In 2019, Lina Wertmüller was one of 4 recipients of the Academy Honorary Award for Lifetime Achievement, the second female director to receive the award. Cesare Zavattini Cesare Zavattini was an Italian film writer and among the very first theorists and supporters of the neorealist movement. Born in Luzzara, near Reggio Emilia, on 20 September 1902, Zavattini studied law at the University of Parma, but dedicated himself to writing. He began his profession at the Gazzetta di Parma. In 1930 he moved to Milan and worked for the book publisher Angelo Rizzoli. After Rizzoli began producing films in 1934, Zavattini obtained his first film script in 1936. Valerio Zurlini While studying law in Rome, he began working in the theater. In 1943 he joined the Italian Resistance. Zurlini was a member of the Italian Communist Party. He shot short documentaries in the immediate post-war period and in 1954 he directed his first feature film, The Girls of San Frediano, his only comedy film. In 1958, together with Leonardo Benvenuti, Piero De Bernardi and Alberto Lattuada, Zurlini won the Nastro d’argento for best screenplay for Lattuada’s Guendalina. Zurlini made his name as a director with his second feature film, Estate Violenta (1959), starring Eleonora Rossi Drago and Jean Louis Trintignant. In 1976 he created the greatest adaptation of the famous novel The Desert of the Tartars by Dino Buzzati.
5438	dbpedia	1	52	https://gomontecarlo.net/en/tag/chazz-palminteri/	en	Chazz Palminteri – GO MONTE CARLO	https://gomontecarlo.net…GO_002-32x32.jpg	https://gomontecarlo.net…GO_002-32x32.jpg	[ "https://gomontecarlo.net/wp-content/uploads/2017/06/cropped-ND4_5280©-Charly-Gallo-Centre-de-Presse-de-Monaco.jpg", "https://gomontecarlo.net/wp-content/uploads/2018/09/cropped-LOGO_GO_004-whitesmall.png", "https://gomontecarlo.net/wp-content/uploads/2021/07/1.All-Artists-on-stage-final©RosannaCalo18MCFF-1024x684.jpg", "https://gomontecarlo.net/wp-content/uploads/2021/07/5.Raoul-Bova-president-du-Jury©RosannaCalo18MCFF-1024x683.jpg", "https://gomontecarlo.net/wp-content/uploads/2021/07/7.Chazz-Palminteri©RosannaCalo18MCFF-1024x678.jpg", "https://gomontecarlo.net/wp-content/uploads/2021/07/9.Micaela-Ramazzotti©RosannaCalo18MCFF-1024x683.jpg", "https://gomontecarlo.net/wp-content/uploads/2021/07/11.Todd-Stephens-SWAN-SONG_Prix-Public©RosannaCalo18MCFF-1024x684.jpg", "https://gomontecarlo.net/wp-content/uploads/2021/07/14.Giacomo-Ferrara_E.Greggio_Maire-G.Marsan©RosannaCalo18MCFF-1024x683.jpg", "https://gomontecarlo.net/wp-content/uploads/2021/07/12.E.Greggio_Rocio-Munos-Morales_SE-L.Anselmi©RosannaCalo18MCFF-1024x683.jpg", "https://gomontecarlo.net/wp-content/uploads/2021/07/Fotografi_red-carpet_18MCFF_©GO-Monte-Carlo-1024x768.jpeg", "https://gomontecarlo.net/wp-content/uploads/2021/07/Giacomo-Ferrara_Mario-de-la-Rosa_Raoul-Bova_Ezio-Greggio_Chazz-Palminteri_Mario-Sesti_Nick-Vallelonga©RosannaCalo18MCFF©RosannaCalo18MCFF-1024x638.jpg", "https://gomontecarlo.net/wp-content/plugins/sitepress-multilingual-cms/res/flags/en.png", "https://gomontecarlo.net/wp-content/plugins/gdpr-cookie-compliance/dist/images/gdpr-logo.png" ]	[]	[]	[ "" ]	null	[]	2021-06-06T18:17:00+02:00		en	https://gomontecarlo.net…GO_002-32x32.jpg		null	SATURDAY JUNE 5 AT THE GRIMALDI FORUM THE CEREMONY PRESENTED BY EZIO GREGGIO The gala evening with the award ceremony of the 18th Monte-Carlo Film Festival of Comedy, took place at the Grimaldi Forum on Saturday 5 June 2021 from 7 p.m. to 8:30 p.m. An event chaired by Ezio Greggio. The Jury, made up of Raoul Bova (President), Mario de la Rosa, Giacomo Ferrara, Mario Sesti, deliberated and awarded the prizes: To the Spanish film SENTIMENTAL directed by Cesc Gay the prize for the best film and Argentinian actress Griselda Siciliani received the award for best actress. The award for best director was won by Adam Rehmeier for the comedy DINNER IN AMERICA. Todd Stephens‘ other American film SWAN SONG won the Audience Award and Udo Kier won the Best Actor award. The Monte-Carlo Film Festival Jury wished to award a special mention to the Israeli film HONEYMOOD, directed by Talya Lavie. Finally, the “Short Comedy Award” in the section dedicated to short films went to WICHITA by Sergine Dumais (USA-Canada). On the stage of the Grimaldi Forum in Monte-Carlo, Ezio Greggio presented the award ceremony. International and Italian guests from the small and big screen participated. Successful actor Chazz Palminteri (“Once Upon a Time in the Bronx”, “The Usual Suspects”, “Shots on Boradway”, “Modern Family”) arrived straight from the United States to receive the prestigious “Movie Legend” Award ”. Nominated for an Oscar for Best Supporting Actor for “Shots on Broadway” by Woody Allen, he recently appeared on “Godfather of Harlem”. Return to Monaco and one more prize to Nick Vallelonga (winner of two “Academy Awards” for “Green Book”) who chaired the jury of the Monte-Carlo Film Festival last year. Radiant Italian actress Micaela Ramazzotti, nominated several times and winner of the “David di Donatello” for the film “La prima cosa bella”, she was awarded the prestigious “Monte-Carlo Award” for her career. Actress, presenter and writer Rocio Munos Morales received the “Monte-Carlo Award” for her exceptional role as a woman, mother, writer and model of “empowerment”. The Monte-Carlo Film Festival Award was also presented to the President of the Jury Raoul Bova, to the Spanish actor Mario de la Rosa and to the Italian Giacomo Ferrara, who were members of the jury for this edition. Among the celebrities, the audience applauded Antonia Truppo, Francesco Di Leva, Giovanni Esposito, protagonists of the new comedy “Benvenuti a casa Esposito”, which premiered at the Film Festival of Comedy on June 4th. Spotlight also on the former player of the national team of Italy and Juventus of Turin, Claudio Marchisio, and on the stars of TV and cinema in Italy Giancarlo Magalli, Enzo Iacchetti, Remo Girone, the actress and Brazilian model Desirée Popper, presenter Elisa Isoardi. Applause also for the young singer Leo Gassmann, idol of teenagers, (X Factor Italy and Sanremo Festival Youth category) and who has performed on stage with his new single “Down”. Monegasque and Italian personalities present were called on stage to present the awards. Among them: the Mayor of Monaco Georges Marsan, the Government Counselor – Minister of External Relations and Cooperation Laurent Anselmi, as well as the Italian Ambassador to Monaco Giulio Alaimo. The event, in collaboration with EFG Bank (Monaco) and Marlù Gioielli, has always taken place under the High Patronage of HSH Prince Albert II of Monaco and the Italian Embassy. Once again this year Radio Monte Carlo was the official radio of the Festival. Media Relations Monaco GO MONTE CARLO Info Monte-Carlo Film Festival of Comedy The 18th edition of the Monte-Carlo Film Festival de la Comédie has started. The event chaired by Ezio Greggio takes place from May 31 to June 5, 2021 in the Principality of Monaco. The presentation press conference took place at the Fairmont Monte-Carlo hotel on Tuesday, June 1, in compliance with sanitary rules: “We are happy to have succeeded in carrying out this edition in a difficult context – started Ezio Greggio – As they say for the show, the Comedy must also continue, “The Comedy must go on”, because it is the genre that has always told our story the best ”. This is evidenced by the films selected and screened at the Grimaldi Forum until Friday, June 4, which tell and reflect the daily life of today, with themes such as the family in its different forms, generational conflicts, sex and emancipation of women. The winners of this edition will be chosen by the international jury chaired by Italian actor Raoul Bova, accompanied by the actors Giacomo Ferrara and Mario de la Rosa, and the director and film critic Mario Sesti, who, speaking about the current period which sees us confronted with the health emergency, recalled that “It is the most tragic moments that have given rise to great comedies”, and quoting a sentence from Pirandello : “To make people laugh you have to be terribly serious“. Two Hollywood stars were also the guests of the press conference: American actors, directors, screenwriters and producers Chazz Palminteri, who will receive the “Career Award” at the gala on Saturday June 5, and Nick Vallelonga, twice Oscar winner for the film “Green Book: on the roads of the South”, and president of the jury of the Monte-Carlo Film Festival last year. The long-awaited grand finale will take place during the award ceremony, on the traditional Gala scheduled for Saturday 5 June at the Grimaldi Forum and during which Ezio Greggio, with his many guests from cinema and television, will reward this year’s winners. Already confirmed the “Movie Legend Award 2021”, awarded to Chazz Palminteri (“Once upon a time in the Bronx”, “Usual Suspects”, “Shots on Broadway”, “Modern Family”), nominated at the Oscars for Best Actor in a supporting role for “Shots on Broadway” by Woody Allen and which recently appeared in “Godfather of Harlem”. The “Career Prize” will go to Italian actress Micaela Ramazzotti, nominated several times for the “David di Donatello” Prize and winner of the “David di Donatello Prize for Best Actress” for “La prima cosa bella”. Giancarlo Magalli, the presenter par excellence will also participate in the Gala evening with Enzo Iacchetti, the longtime companion of Ezio in ‘Striscia la Notizia’ (satirical news program on the first italian TV channel Canale 5 of the Mediaset Group); Brazilian actress and model Desirée Popper, and Antonia Truppo, Francesco Di Leva, Giovanni Esposito, protagonists of the new comedy “Benvenuti a casa Esposito”, which will have its world premiere at the Monte-Carlo Film Festival on Friday June 4th. Also eagerly awaited: Elisa Isoardi, the attractive Elisabetta Gregoraci, the former footballer Claudio Marchisio and the actress, presenter and writer Rocio Munos Morales, who will receive the “Monte-Carlo Award” for her exceptional role, as a woman, mother, writer and empowerment model. During the evening, the idol of teenagers in Italy, released from the TV talent “X Factor” and who has asserted himself among the New Proposals at the music event Sanremo Festival in 2020, Leo Gassmann, will perform on stage with his new single “Down”. The main objective of the Monte-Carlo Film Festival is the promotion of the different genres of comedy through previews of films in competition and out of competition. A unique showcase on the international scene for a genre highly appreciated by the public but generally considered “minor” by the critics. But thanks to the event designed by Ezio Greggio and the late Maestro Mario Monicelli (Festival co-founder), it has reassessed comedy at other international festivals such as Cannes, Rome, Berlin and Venice. The event, in collaboration with EFG Bank (Monaco) and Marlù Gioielli, has always taken place under the High Patronage of HSH Prince Albert II of Monaco and the Italian Embassy in Monaco. Also this year Radio Monte Carlo is the Official Radio of the Monte-Carlo Film Festival. Media Relations Monaco GO MONTE CARLO See more Monte-Carlo Film Festival of Comedy
5438	dbpedia	1	6	https://www.imdb.com/title/tt0060538/awards/	en	Der Unverstandene (1966)	https://m.media-amazon.c…Mjpg_UX1000_.jpg	https://m.media-amazon.c…Mjpg_UX1000_.jpg	[ "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:144-3218867-4046648:4ZP97GJNAZB79SRVES1A$uedata=s:%2Fuedata%2Fuedata%3Fstaticb%26id%3D4ZP97GJNAZB79SRVES1A:0", "https://m.media-amazon.com/images/M/MV5BOWU2YzJhOTMtZmQwZi00NmM1LWFhMzYtNThlNzc4MTIyMTMzXkEyXkFqcGdeQXVyODQ0OTczOQ@@._V1_QL75_UY133_CR2,0,90,133_.jpg", "https://m.media-amazon.com/images/M/MV5BZTU1ZGZiYzMtZWFiNS00MTgxLTgzZmMtNGE4MTMxMzYyNmE4L2ltYWdlL2ltYWdlXkEyXkFqcGdeQXVyMTc4MzI2NQ@@._V1_QL75_UY50_CR9,0,50,50_.jpg", "https://m.media-amazon.com/images/M/MV5BZTU1ZGZiYzMtZWFiNS00MTgxLTgzZmMtNGE4MTMxMzYyNmE4L2ltYWdlL2ltYWdlXkEyXkFqcGdeQXVyMTc4MzI2NQ@@._V1_QL75_UY50_CR9,0,50,50_.jpg", "https://m.media-amazon.com/images/M/MV5BOWU2YzJhOTMtZmQwZi00NmM1LWFhMzYtNThlNzc4MTIyMTMzXkEyXkFqcGdeQXVyODQ0OTczOQ@@._V1_QL75_UY133_CR2,0,90,133_.jpg", "https://m.media-amazon.com/images/G/01/IMDb/Mobile/DesktopQRCode-png.png", "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:144-3218867-4046648:4ZP97GJNAZB79SRVES1A$uedata=s:%2Fuedata%2Fuedata%3Fnoscript%26id%3D4ZP97GJNAZB79SRVES1A:0" ]	[]	[]	[ "Awards", "Nominations", "Oscars", "MTV Movie Awards", "Emmys", "Won", "Winner", "Nominated", "Nominee" ]	null	[]	null	Der Unverstandene (1966) - Awards, nominations, and wins	en	https://m.media-amazon.c…B1582158068_.png	IMDb	https://www.imdb.com/title/tt0060538/awards/
5438	dbpedia	2	50	https://academic.oup.com/book/33534/chapter/287889247	en				[]	[]	[]	[ "" ]	null	[]	null					null
5438	dbpedia	2	46	https://www.cambridge.org/core/journals/renaissance-quarterly/article/for-honor-and-profit-benvenuto-cellinis-medal-of-clement-vii-and-his-competition-with-giovanni-bernardi/04F60EB581089A50769F291FFAC21745	en	For “Honor and Profit”: Benvenuto Cellini’s Medal of Clement VII and His Competition with Giovanni Bernardi	https://static.cambridge…-size-image=true	https://static.cambridge…-size-image=true	[ "https://www.cambridge.org/core/cambridge-core/public/images/icn_circle__btn_close_white.svg", "https://www.cambridge.org/core/cambridge-core/public/images/logo_core.png", "https://www.cambridge.org/core/cambridge-core/public/images/logo_core.svg", "https://www.cambridge.org/core/cambridge-core/public/images/logo_core.svg", "https://www.cambridge.org/core/cambridge-core/public/images/logo_core.svg", "https://static.cambridge.org/covers/RQX_0_0_0/renaissance-quarterly.jpg", "https://www.cambridge.org/core/page-component/img/share-icon.cbcfad8.svg", "https://www.cambridge.org/core/page-component/img/close-icon.194b28a.svg", "https://www.cambridge.org/core/page-component/img/cite-icon.44eaaa4.svg", "https://www.cambridge.org/core/page-component/img/rights-icon.d4a677c.svg", "https://assets.crossref.org/logo/crossref-logo-100.png", "https://upload.wikimedia.org/wikipedia/commons/a/a9/Google_Scholar_logo_2015.PNG", "https://assets.crossref.org/logo/crossref-logo-100.png", "https://www.cambridge.org/core/cambridge-core/public/images/cambridge_logo.png" ]	[]	[]	[ "" ]	null	[ "Beth L. Holman" ]	null	For “Honor and Profit”: Benvenuto Cellini’s Medal of Clement VII and His Competition with Giovanni Bernardi - Volume 58 Issue 2	en	/core/cambridge-core/public/images/favicon.ico	Cambridge Core	https://www.cambridge.org/core/journals/renaissance-quarterly/article/abs/for-honor-and-profit-benvenuto-cellinis-medal-of-clement-vii-and-his-competition-with-giovanni-bernardi/04F60EB581089A50769F291FFAC21745
5438	dbpedia	1	13	https://awards.wga.org/awards/awards-recipients/special-achievement/suso-damico	en	Suso D’amico			[ "https://awards.wga.org/NewWGAAwards/images/AwardsLogo23NoYear.png", "https://awards.wga.org/newwgaawards/images/wga-logo-17-2945-whitetype-borderbox.png" ]	[]	[]	[ "" ]	null	[]	null		en			null	2009 Award Recipient Legendary Italian screenwriter Suso D’Amico has been chosen as the first recipient of the WGAW’s newly created Jean Renoir Award for Screenwriting Achievement. D’Amico is credited with writing more than 100 films, including The Bicycle Thief, Rocco and His Brothers, and Big Deal on Madonna Street. Named after the immortal filmmaker Renoir, who wrote almost all of his films, the lifetime achievement award will be given on an occasional basis to honor screenwriters working outside the U.S. and in other languages. “Renoir used to say ‘everyone has his reasons.’ No other observation, it seems to me, has said more about the way to view humanity or suggested a better way for writers to humanize their creations,” said screenwriter Robert Towne, who served on the Guild committee which established the new international award. “Renoir was that rarest of beings, a great artist and a great teacher. And though Suso D'Amico has famously referred to herself as an artisan not an artist, may this award help disabuse her of that notion. My heartfelt congratulations to Ms. D'Amico.” “We felt that Ms. D’Amico deserved this honor for The Bicycle Thief alone,” commented WGAW Board of Directors member Nicholas Kazan, who also served on the committee. “In light of her astonishing list of credits, our only regret is that we can’t give it to her twice.” Along with other honorees, D’Amico will be feted at the 2009 Writers Guild Awards’ West Coast ceremony on Saturday, February 7, 2009, in Los Angeles. Nominated for an Academy Award in 1966 for her screenplay for Casanova ’70 (shared with Agenore Incrocci, Furio Scarpelli, Mario Monicelli, Tonino Guerra, and Giorgio Salvioni), D’Amico has previously earned David di Donatello Awards for Best Screenplay for Speriamo che sia femmina (Let’s Hope It’s a Girl, 1986, shared with Tullio Pinelli, Mario Monicelli, Leonardo Benvenuti, and Piero De Bernardi) and Il Male oscuro (The Obscure Illness, 1990, shared with Tonino Guerra), as well as receiving a Special David Award in 1980 and a 50th Anniversary Special David Award in 2006, as well as the Luchino Visconti Award, a special honor given on the tenth anniversary of Visconti’s death. Over the past six decades, D’Amico has garnered a stunning eight Silver Ribbon Awards for her screenwriting work from the Italian National Syndicate of Film Journalists, including shared nods for Il Male oscuro (The Obscure Illness, 1991), L’Inchiesta (The Inquiry, 1987), Speriamo che sia Femmina (Let’s Hope It’s a Girl, 1986), Rocco e i suoi fratelli (Rocco and His Brothers, 1960), La Sfida (The Challenge) and I Soliti ignoti (Big Deal on Madonna Street, 1959, tied that year), E primavera… (It’s Forever Springtime, 1950), Ladri di biciclette (The Bicycle Thief, 1949), and Vivere in pace (To Live in Peace, 1947). D’Amico has also received a pair of honorary awards from the Venice Film Festival for lifetime achievement: the Career Golden Lion in 1994 and the Pietro Bianchi Award in 1993. D’Amico’s other writing credits include writing or co-writing classic Italian films such as Bruno Is Waiting on the Car, Private Affairs, History, White Nights, Husbands in the City, The Anatomy of Love, and Red Shirts, as well as television miniseries including Jesus of Nazareth and The Adventures of Pinocchio. The Guild’s inaugural Jean Renoir Award for Screenwriting Achievement is given to “that international writer who has advanced the literature of motion pictures through the years and who has made outstanding contributions to the profession of screenwriter.”
5438	dbpedia	2	11	https://www.ranker.com/list/famous-screenwriters-from-italy/reference%3Fpage%3D2	en	Famous Screenwriters from Italy	https://imgix.ranker.com/list_img_v2/14363/1074363/original/famous-screenwriters-from-italy-u2	https://imgix.ranker.com/list_img_v2/14363/1074363/original/famous-screenwriters-from-italy-u2	[ "https://sb.scorecardresearch.com/p?c1=2&c2=10600724&cv=3.6&cj=1", "https://static.ranker.com/img/brand/ranker-logo.svg?v=1&auto=format&q=60&fit=crop&fm=png&dpr=2&w=104", "https://static.ranker.com/img/brand/wordmark.svg?v=1&auto=format&q=60&fit=crop&fm=png&dpr=2&w=210", "https://imgix.ranker.com/img/icons/menuSearch.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=30&w=30", "https://imgix.ranker.com/img/icons/vote-on-pill.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=24&w=105", "https://imgix.ranker.com/user_img/1/1/original/reference?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=40&w=40", "https://imgix.ranker.com/img/icons/chevronExpand.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=13&w=71", "https://imgix.ranker.com/user_node_img/62/1238708/original/1238708-photo-u1245800477?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=150", "https://imgix.ranker.com/img/icons/book-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/node_img/91/1802741/original/pier-paolo-pasolini-writers-photo-1?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=150", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/node_img/26/502193/original/asia-argento-writers-photo-2?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=150", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/user_node_img/41/813313/original/dan-castellaneta-photo-u2?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=150", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/node_img/51/1018417/original/frank-capra-writers-photo-1?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=150", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/node_img/27/537263/original/bam-margera-writers-photo-2?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=150", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://v3api.ranker.com/api/px?lid=1074363" ]	[]	[]	[ "" ]	null	[ "Reference" ]	2013-12-19T00:00:00	List of notable or famous screenwriters from Italy, with bios and photos, including the top screenwriters born in Italy and even some popular screenwriters ...	en	/img/icons/touch-icon-iphone.png	Ranker	https://www.ranker.com/list/famous-screenwriters-from-italy/reference	Isabella Rossellini is an Italian actress, filmmaker, author, philanthropist, and model. Born into a family of cinematic royalty on June 18, 1952, in Rome, Italy, she is the daughter of Swedish actress Ingrid Bergman and Italian director Roberto Rossellini. Rossellini's early life was marked by her parents' high-profile careers and their eventual divorce, shaping her unique perspective on fame and personal life. Rossellini's film career began in 1976 with a minor role in A Matter of Time, directed by Vincente Minnelli. However, her breakthrough came in 1986 when she starred in David Lynch's Blue Velvet, a role that earned her widespread acclaim for her intense performance. Rossellini continued to work with Lynch in Wild at Heart and has since starred in numerous films such as Death Becomes Her, Fearless, and Joy. Despite being known primarily for her acting, Rossellini also ventured into writing, directing, and producing, notably creating the series of short films Green Porno, exploring animal behavior. In addition to her acting career, Rossellini's striking features led her to become a successful model. She served as the face of Lancôme for 14 years, becoming one of the highest-paid models worldwide. Beyond her work in film and fashion, Rossellini is committed to conservation efforts, specifically focusing on wildlife preservation. She studied animal behavior and conservation at Hunter College in New York City and has used her platform to raise awareness and funds for various environmental causes. Pier Paolo Pasolini (Italian: [ˌpjɛr ˈpaːolo pazoˈliːni]; 5 March 1922 – 2 November 1975) was an Italian film director, poet, writer, and intellectual, who also distinguished himself as an actor, journalist, novelist, playwright, and political figure. He remains a controversial personality in Italy due to his blunt style and the focus of some of his works on taboo sexual matters, but he is an established major figure in European literature and cinematic arts. His murder prompted an outcry in Italy and its circumstances continue to be a matter of heated debate. Asia Argento (Italian: [ˈaːzja arˈdʒento]; born Aria Maria Vittoria Rossa Argento, 20 September 1975) is an Italian actress and director. The daughter of filmmaker Dario Argento, she had roles in the films XXX (2002), Land of the Dead (2005) and Marie Antoinette (2006). She has won two David di Donatello awards for Best Actress for Let's Not Keep in Touch (1994) and Traveling Companion (1996).After the Weinstein scandal in 2017, she became a leader of the "#MeToo" women's rights movement. In August 2018, The New York Times detailed allegations that Argento sexually assaulted actor Jimmy Bennett in 2013 when he was 17 and she was 37; Argento denied the allegations. Dan Castellaneta, a formidable talent in the world of entertainment, is renowned for his versatility that extends from acting to voice-over artistry and writing. Born on October 29, 1957, in Oak Park, Illinois, his passion for performance began at an early age. He honed his craft at Northern Illinois University and, upon graduation, became a regular player in Chicago's improvisational scene before joining the famed Second City improv troupe. His career in television started with The Tracey Ullman Show, but it was his role in The Simpsons that catapulted him into the limelight. Castellaneta has voiced the iconic character of Homer Simpson since the show's inception in 1989. His ability to portray a broad range of characters with distinctive voices, from the dim-witted yet lovable Homer to the cantankerous Groundskeeper Willie, has earned him recognition as a premier voice-over artist. His work on The Simpsons led to several Emmy Awards, demonstrating his prowess in bringing animated characters to life. In addition to his success as a performer, Castellaneta has also made his mark as a writer. He has contributed scripts to several episodes of The Simpsons, showcasing his ability to weave engaging narratives. Beyond this, he has acted in various live-action roles in shows like Friends and Parks and Recreation, and has lent his voice to numerous other animated series. Despite his prolific career, Castellaneta maintains a sense of humility and dedication to his craft, a testament to his enduring appeal in the entertainment industry. Frank Russell Capra (born Francesco Rosario Capra; May 18, 1897 – September 3, 1991) was an Italian-American film director, producer and writer who became the creative force behind some of the major award-winning films of the 1930s and 1940s. Born in Italy and raised in Los Angeles from the age of five, his rags-to-riches story has led film historians such as Ian Freer to consider him the "American Dream personified."Capra became one of America's most influential directors during the 1930s, winning three Academy Awards for Best Director from six nominations, along with three other Oscar wins from nine nominations in other categories. Among his leading films were It Happened One Night (1934), You Can't Take It with You (1938), and Mr. Smith Goes to Washington (1939); Capra was nominated as Best Director and as producer for Academy Award for Best Picture on all three films, winning both awards on the first two. During World War II, Capra served in the U.S. Army Signal Corps and produced propaganda films, such as the Why We Fight series. After World War II, Capra's career declined as his later films, such as It's a Wonderful Life (1946), performed poorly when they were first released. In ensuing decades, however, It's a Wonderful Life and other Capra films were revisited favorably by critics. Outside of directing, Capra was active in the film industry, engaging in various political and social issues. He served as President of the Academy of Motion Picture Arts and Sciences, worked alongside the Writers Guild of America, and was head of the Directors Guild of America.
5438	dbpedia	1	44	https://gomontecarlo.net/en/tag/award-en/	en	award – GO MONTE CARLO	https://gomontecarlo.net…GO_002-32x32.jpg	https://gomontecarlo.net…GO_002-32x32.jpg	[ "https://gomontecarlo.net/wp-content/uploads/2017/06/cropped-ND4_5280©-Charly-Gallo-Centre-de-Presse-de-Monaco.jpg", "https://gomontecarlo.net/wp-content/uploads/2018/09/cropped-LOGO_GO_004-whitesmall.png", "https://gomontecarlo.net/wp-content/uploads/2021/07/1.All-Artists-on-stage-final©RosannaCalo18MCFF-1024x684.jpg", "https://gomontecarlo.net/wp-content/uploads/2021/07/5.Raoul-Bova-president-du-Jury©RosannaCalo18MCFF-1024x683.jpg", "https://gomontecarlo.net/wp-content/uploads/2021/07/7.Chazz-Palminteri©RosannaCalo18MCFF-1024x678.jpg", "https://gomontecarlo.net/wp-content/uploads/2021/07/9.Micaela-Ramazzotti©RosannaCalo18MCFF-1024x683.jpg", "https://gomontecarlo.net/wp-content/uploads/2021/07/11.Todd-Stephens-SWAN-SONG_Prix-Public©RosannaCalo18MCFF-1024x684.jpg", "https://gomontecarlo.net/wp-content/uploads/2021/07/14.Giacomo-Ferrara_E.Greggio_Maire-G.Marsan©RosannaCalo18MCFF-1024x683.jpg", "https://gomontecarlo.net/wp-content/uploads/2021/07/12.E.Greggio_Rocio-Munos-Morales_SE-L.Anselmi©RosannaCalo18MCFF-1024x683.jpg", "https://gomontecarlo.net/wp-content/uploads/2021/07/Fotografi_red-carpet_18MCFF_©GO-Monte-Carlo-1024x768.jpeg", "http://gomontecarlo.net/wp-content/uploads/2021/01/Cristiano-Ronaldo-footprint-2-Golden-Foot-2020_©Juventus-683x1024.jpg", "http://gomontecarlo.net/wp-content/uploads/2021/01/Cristiano-Ronaldo-footprint-1-Golden-Foot-2020_©Juventus-1024x683.jpg", "http://gomontecarlo.net/wp-content/uploads/2021/01/Cristiano-Ronaldo-with-Golden-Foot-Award-2020_©Juventus-1024x683.jpg", "http://gomontecarlo.net/wp-content/uploads/2021/01/Golden-Foot-2020.jpg", "http://gomontecarlo.net/wp-content/uploads/2020/10/Maggie_Civantos-MCFF_Award_Ezio_Greggio_Victoria_Silvstedt-©RosannaCalo-1024x673.jpg", "http://gomontecarlo.net/wp-content/uploads/2020/10/Alessio_Lapice_Leader_Future_Under_30-Ezio_Greggio_Lotte_Verbeek_MCFF©RosannaCalo-1024x684.jpg", "http://gomontecarlo.net/wp-content/uploads/2020/10/Sabrina_Impacciatore_MCFF_Award_©RosannaCalo-684x1024.jpg", "http://gomontecarlo.net/wp-content/uploads/2020/10/Nick_Vallelonga-1_MCFF_Legend_Award_SE_Laurent_Anselmi-©RosannaCalo-1024x639.jpg", "http://gomontecarlo.net/wp-content/uploads/2020/10/Nino_Frassica-1_King_MCFF_Comedy_Award_Ezio_Greggio_Desire_Popper-©RosannaCalo-1024x727.jpg", "http://gomontecarlo.net/wp-content/uploads/2020/10/Andrea_Morricone_MCFF_Award_Romina_Pierdomenico_Ezio_Greggio-©RosannaCalo-1024x690.jpg", "http://gomontecarlo.net/wp-content/uploads/2020/10/Patrice_Leconte_Career-Award_Ezio_Greggio_Kate_Katzman-©RosannaCalo-1024x669.jpg", "http://gomontecarlo.net/wp-content/uploads/2020/10/Final_galaMCFF2020-©RosannaCalo-1024x629.jpg", "https://gomontecarlo.net/wp-content/plugins/sitepress-multilingual-cms/res/flags/it.png", "https://gomontecarlo.net/wp-content/plugins/sitepress-multilingual-cms/res/flags/en.png", "https://gomontecarlo.net/wp-content/plugins/gdpr-cookie-compliance/dist/images/gdpr-logo.png" ]	[]	[]	[ "" ]	null	[]	2021-06-06T18:17:00+02:00		en	https://gomontecarlo.net…GO_002-32x32.jpg		null	SATURDAY JUNE 5 AT THE GRIMALDI FORUM THE CEREMONY PRESENTED BY EZIO GREGGIO The gala evening with the award ceremony of the 18th Monte-Carlo Film Festival of Comedy, took place at the Grimaldi Forum on Saturday 5 June 2021 from 7 p.m. to 8:30 p.m. An event chaired by Ezio Greggio. The Jury, made up of Raoul Bova (President), Mario de la Rosa, Giacomo Ferrara, Mario Sesti, deliberated and awarded the prizes: To the Spanish film SENTIMENTAL directed by Cesc Gay the prize for the best film and Argentinian actress Griselda Siciliani received the award for best actress. The award for best director was won by Adam Rehmeier for the comedy DINNER IN AMERICA. Todd Stephens‘ other American film SWAN SONG won the Audience Award and Udo Kier won the Best Actor award. The Monte-Carlo Film Festival Jury wished to award a special mention to the Israeli film HONEYMOOD, directed by Talya Lavie. Finally, the “Short Comedy Award” in the section dedicated to short films went to WICHITA by Sergine Dumais (USA-Canada). On the stage of the Grimaldi Forum in Monte-Carlo, Ezio Greggio presented the award ceremony. International and Italian guests from the small and big screen participated. Successful actor Chazz Palminteri (“Once Upon a Time in the Bronx”, “The Usual Suspects”, “Shots on Boradway”, “Modern Family”) arrived straight from the United States to receive the prestigious “Movie Legend” Award ”. Nominated for an Oscar for Best Supporting Actor for “Shots on Broadway” by Woody Allen, he recently appeared on “Godfather of Harlem”. Return to Monaco and one more prize to Nick Vallelonga (winner of two “Academy Awards” for “Green Book”) who chaired the jury of the Monte-Carlo Film Festival last year. Radiant Italian actress Micaela Ramazzotti, nominated several times and winner of the “David di Donatello” for the film “La prima cosa bella”, she was awarded the prestigious “Monte-Carlo Award” for her career. Actress, presenter and writer Rocio Munos Morales received the “Monte-Carlo Award” for her exceptional role as a woman, mother, writer and model of “empowerment”. The Monte-Carlo Film Festival Award was also presented to the President of the Jury Raoul Bova, to the Spanish actor Mario de la Rosa and to the Italian Giacomo Ferrara, who were members of the jury for this edition. Among the celebrities, the audience applauded Antonia Truppo, Francesco Di Leva, Giovanni Esposito, protagonists of the new comedy “Benvenuti a casa Esposito”, which premiered at the Film Festival of Comedy on June 4th. Spotlight also on the former player of the national team of Italy and Juventus of Turin, Claudio Marchisio, and on the stars of TV and cinema in Italy Giancarlo Magalli, Enzo Iacchetti, Remo Girone, the actress and Brazilian model Desirée Popper, presenter Elisa Isoardi. Applause also for the young singer Leo Gassmann, idol of teenagers, (X Factor Italy and Sanremo Festival Youth category) and who has performed on stage with his new single “Down”. Monegasque and Italian personalities present were called on stage to present the awards. Among them: the Mayor of Monaco Georges Marsan, the Government Counselor – Minister of External Relations and Cooperation Laurent Anselmi, as well as the Italian Ambassador to Monaco Giulio Alaimo. The event, in collaboration with EFG Bank (Monaco) and Marlù Gioielli, has always taken place under the High Patronage of HSH Prince Albert II of Monaco and the Italian Embassy. Once again this year Radio Monte Carlo was the official radio of the Festival. Media Relations Monaco GO MONTE CARLO Info Monte-Carlo Film Festival of Comedy For ANDREA AGNELLI the Lifetime Achievement Award. He is the first club president to be awarded the GOLDEN FOOT PRESTIGE AWARD. The awards ceremony, held behind closed doors on Sunday 21 December, will be streamed worldwide on 28 December, with a fundraiser for the WORLD CHAMPIONS CLUB and FIGHT AIDS MONACO associations. Today Cristiano Ronaldo was finally able to hold the prestigious Golden Foot Award in his hands, the only award a player can win only once in his career. “Receiving this award is an honor – said Ronaldo – I am glad that my footprints will be close to those of other great champions and I thank all the fans who voted for me. I will always do my best to play well and score goals.” Proclaimed the winner on 1 December, the award ceremony took place on Sunday afternoon 20 December behind closed doors, due to the health emergency. The champion of Juventus and the Portuguese national team has also left his footprints, which will be exhibited in the famous “Champions Promenade” in Monte-Carlo. From this edition, the Golden Foot Prestige award was established, a career award dedicated exclusively to a President still in business, which was presented to Andrea Agnelli. The President of Juventus Football Club is one of the most successful in the history of Italian and international football. Presenting the 18th Golden Foot Award to Cristiano Ronaldo was Louis Ducruet, son of Princess Stephanie of Monaco, representing S.A.S. Prince Albert II of Monaco. The Monegasque Sovereign also sent a video message, to congratulate the winners: “It will be an honor for the Principality of Monaco to have the footprints of a champion such as Cristiano Ronaldo and of the President of Juventus Football Club, Andrea Agnelli in the new The Champions Promenade”. The other big news of this edition will be the worldwide streaming of the award ceremony of the Golden Foot Award 2020, scheduled for Monday 28 December. A deliberate decision to offer the most exciting and spectacular moments of this unique event in the world to the general public of football fans and to raise funds for the WORLD CHAMPIONS CLUB and FIGHT AIDS MONACO associations. The special live show will last 45 minutes and will be broadcast online in three different time zones. There will be interviews with the winners and protagonists, the delivery of prizes, the laying of footprints, video contributions and testimonies of great football champions of the past. To watch the award ceremony in streaming on December 28th, you must reserve the dedicated Ticket Pass, by connecting to the website www.goldenfoot.com or directly to the link goldenfoot2020.discoveryvp.com. The online reservation is open from Sunday 20 December. International Media Relations GO MONTE CARLO In 2020, the champion of Juventus of Turin and the Portugal team receives the most votes from football fans around the world. The first GOLDEN FOOT PRESTIGE is awarded to club president Andrea Agnelli for his entire career. Fans and supporters from all over the world have chosen the best footballer of 2020, awarding the 18th Golden Foot Award to Cristiano Ronaldo. The star of Juventus and the Portuguese national team received the highest number of votes among the 10 contenders selected this year: Lionel Messi (Barcelona), Robert Lewandowski (Bayern Munich), Giorgio Chiellini (Juventus), Neymar Jr. (PSG), Sergio Ramos (Real Madrid), Sergio Aguero (Manchester City), Gerard Piqué (Barcelona), Mohamed Salah (FC Liverpool), Arturo Vidal (Inter). As every year, voting took place on the official website – www.goldenfoot.com – and ended on November 20, 2020. The history of world football is made up of great champions, but also great club presidents. That’s why this year saw the first Golden Foot Prestige Award, a recognition dedicated exclusively to a president who is still active, and who has distinguished himself by his results and for having achieved the ambitious goals of his team. The Golden Foot Prize Commission, following a survey of the international press, has decided to award the first Golden Foot Prestige Award to Andrea Agnelli – President of the Juventus Football Club, who has won the championship 9 consecutive times and can now boast of having won 17 trophies in 10 years. He is thus one of the most successful presidents in the history of international football. The Golden Foot organisation wishes to make it known that in the current context, the health crisis has prevented the running of the 2020 awards ceremony and its traditional gala evening which usually takes place in the heart of the Principality of Monaco. We will therefore send you a press release to announce the details of the awards for this edition. Radio Monte Carlo has been the Official Radio of the Golden Foot Award since its first edition. International Media Relations GO MONTE CARLO Info GOLDEN FOOT The Awards Ceremony took place on Saturday 10th October The 17th edition of the Monte-Carlo Film Festival of Comedy, the prestigious kermesse dedicated to comedy, conceived and directed by Ezio Greggio, ends on Saturday, October 10th, with a big success and always following the security anti-Covid measures. The jury, led by the two times Academy Award winner Nick Vallelonga and composed by the eclectic Sabrina Impacciatore, the Dutch actress Lotte Verbeek and the talented Spanish actress Maggie Civantos, has chosen the Palmares. The German Nightlife by Simon Verhoeven has won the awards as best movie, best direction, the public award and the special mention for the cast ensemble. The movie narrates the story of the bartender Milo who meets the woman of his dreams Sunny in a fateful moment and arranges to go on a date. Everything seems to be running smoothly, but when Milo‘s chaotic friend Renzo turns up, the romantic evening escalates into an absolutely mad chase through Berlin‘s nightlife pursued by some underworld thugs. However, nothing will shake Milo and Sunny‘s love if they can survive this date. Best actress Candelá Pena for the movie La Boda de Rosa directed by Icìar Bollain for her extraordinary performance of a woman about to turn 45 who realizes that she’s always lived her life to serve everyone else. So she decides to leave it all behind and take charge of her life and fulfil her dream of starting her own business. The award for best actor goes to Nando Paone for Il ladro di Cardellini by Carlo Luglio. In the movie he plays Pasquale Cardinale, an elder ranger, who spends his days between alcohol and video poker in the Campania countryside. To settle the debts he organizes a scam of 200 white pure goldfinches, replacing them with common ones, but it will not end as expected. The award for best short film goes to the French Cash Stash by Enya Baroux & Martin Darondeau. Special Awards at the evening Gala at the Grimaldi Forum directed by Ezio Greggio: the Monte-Carlo Film Festival Award to Maggie Civantos, Sabrina Impacciatore and Andrea Morricone, to the French film director Patrice Leconte goes the Career Award, the Award as Future Leader Under 30 goes to the italian actor Alessio Lapice and another great Italian actor, Nino Frassica, wins the King of Comedy Award. This year the Legend Award goes to the president of the jury Nick Vallelonga. The Monte-Carlo Film Festival of Comedy, in collaboration with EFG Bank ( Monaco), has always been held under the High Patronage of S.A.S. Prince Albert II de Monaco and of the Italian Embassy. Radio Monte Carlo is the Festival’s official radio. Marlú is media partner. Media Relations Monaco GO MONTE CARLO Info Monte-Carlo Film Festival de la Comédie
5438	dbpedia	0	24	http://www.englishgratis.com/elingue/elingue/en/wikimag/serie10/14.htm	en	Sophia Loren			[ "http://www.kivio.net/elingue/elingue-logo100.png", "http://www.kivio.net/elingue/home.png", "http://www.kivio.net/elingue/serie1.png", "http://www.kivio.net/elingue/serie2.png", "http://www.kivio.net/elingue/serie3.png", "http://www.kivio.net/elingue/serie4.png", "http://www.kivio.net/elingue/serie5.png", "http://www.kivio.net/elingue/serie6.png", "http://www.kivio.net/elingue/serie7.png", "http://www.kivio.net/elingue/serie8.png", "http://www.kivio.net/elingue/serie9.png", "http://www.kivio.net/elingue/serie10.png", "http://www.kivio.net/elingue/serie11.png", "http://www.kivio.net/elingue/ascolto.png", "http://www.kivio.net/elingue/1pixel.png", "http://www.kivio.net/elingue/start.png", "http://upload.wikimedia.org/wikipedia/commons/thumb/a/ae/Sophia_Loren_-_1955.JPG/220px-Sophia_Loren_-_1955.JPG", "http://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/'La_baia_di_Napoli%22.jpg/230px-'La_baia_di_Napoli%22.jpg", "http://bits.wikimedia.org/static-1.22wmf13/skins/common/images/magnify-clip.png", "http://upload.wikimedia.org/wikipedia/commons/thumb/e/eb/Five_Miles_to_Midnight_1962.JPG/230px-Five_Miles_to_Midnight_1962.JPG", "http://bits.wikimedia.org/static-1.22wmf13/skins/common/images/magnify-clip.png", "http://upload.wikimedia.org/wikipedia/commons/thumb/c/c2/Cary_Grant-Sophia_Loren_in_Houseboat_trailer.jpg/220px-Cary_Grant-Sophia_Loren_in_Houseboat_trailer.jpg", "http://bits.wikimedia.org/static-1.22wmf13/skins/common/images/magnify-clip.png", "http://upload.wikimedia.org/wikipedia/commons/thumb/a/a0/Sophia_Loren_impronte.jpg/220px-Sophia_Loren_impronte.jpg", "http://bits.wikimedia.org/static-1.22wmf13/skins/common/images/magnify-clip.png", "http://upload.wikimedia.org/wikipedia/commons/thumb/f/f0/Sophia_Loren_in_London.jpg/220px-Sophia_Loren_in_London.jpg", "http://bits.wikimedia.org/static-1.22wmf13/skins/common/images/magnify-clip.png", "http://upload.wikimedia.org/wikipedia/commons/thumb/a/af/Sophia_Loren_-_1959.jpg/220px-Sophia_Loren_-_1959.jpg", "http://bits.wikimedia.org/static-1.22wmf13/skins/common/images/magnify-clip.png", "http://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png", "http://upload.wikimedia.org/wikipedia/commons/thumb/d/d6/Wikiquote-logo-en.svg/40px-Wikiquote-logo-en.svg.png", "http://www.kivio.net/elingue/stop.png", "http://www.kivio.net/elingue/elingue-logo100.png" ]	[]	[]	[ "" ]	null	[]	null					null	Sophia Loren (Italian pronunciation: [soˈfiːa ˈlɔːren]; born Sofia Villani Scicolone [soˈfiːa vilˈlaːni ʃʃikoˈloːne]; 20 September 1934) is an Italian actress. Loren is widely recognized as Italy's most renowned and honored actress. She was the first actress of the talkie era to win an Academy Award for a non-English-speaking performance, for her portrayal of Cesira in Vittorio De Sica's Two Women. Her other awards include a Grammy Award, five special Golden Globes, a BAFTA Award and a Laurel Award. In 1995 she received the Cecil B. DeMille Award for lifetime achievements, one of many such awards. Her films include: Houseboat (1958), El Cid (1961), Yesterday, Today and Tomorrow (1963), Marriage Italian-Style (1964), and A Special Day (1977). In later years she has appeared in American blockbusters such as Grumpier Old Men (1995), and Nine (2009). In 1994 she starred in Robert Altman's Prêt-à-Porter, which earned her a Golden Globe nomination the same year. She has also achieved critical and commercial success in TV movies such as Courage (1986). Early life Loren was born in the Clinica Regina Margherita in Rome, Italy,[1][2] daughter of Romilda Villani (19141991) and Riccardo Scicolone, a construction engineer. Scicolone refused to marry Villani, leaving Romilda, a piano teacher and aspiring actress, without support.[3] Loren's parents had another child together, her sister Anna Maria Villani Scicolone, in 1938. Loren has two younger paternal half-brothers, Giuliano and Giuseppe.[4] Romilda, Sofia and Maria lived with Loren's grandmother in Pozzuoli, near Naples.[5] During World War II, the harbour and munitions plant in Pozzuoli was a frequent bombing target of the Allies. During one raid, as Loren ran to the shelter, she was struck by shrapnel and wounded in the chin. After that, the family moved to Naples, where they were taken in by distant relatives.[citation needed] After the war, Loren and her family returned to Pozzuoli. Grandmother Luisa opened a pub in their living room, selling homemade cherry liquor. Villani played the piano, Maria sang and Loren waited on tables and washed dishes. The place was very popular with the American GIs stationed nearby. When she was 14 years old, Loren entered a beauty contest in Naples and, while not winning, was selected as one of the finalists. Later she enrolled in acting class and was selected as an extra in Mervyn LeRoy's 1951 film Quo Vadis, launching her career as a motion picture actress. Career 195057 (beginnings and Hollywood stardom) After being credited professionally as Sofia Lazzaro, she began using her current stage name in 1952's La Favorita. Her first starring role was in Aida (1953), for which she received critical acclaim.[6] After playing the lead role in Two Nights with Cleopatra (1953), her breakthrough role was in The Gold of Naples (1954), directed by Vittorio De Sica.[6] Too Bad She's Bad, also released in 1954, became the first of many films in which Loren co-starred with Marcello Mastroianni. Over the next three years she acted in many films such as Scandal in Sorrento (1955) and Lucky to Be a Woman (1956). In 1957, Loren's star had begun to rise in Hollywood, with the films Boy on a Dolphin (her U.S. film debut), Legend of the Lost with John Wayne, and The Pride and the Passion in which she starred opposite Cary Grant and Frank Sinatra. International fame Loren became an international film star following her five-picture contract with Paramount Pictures in 1958. Among her films at this time were Desire Under the Elms with Anthony Perkins, based upon the Eugene O'Neill play; Houseboat, a romantic comedy co-starring Cary Grant; and George Cukor's Heller in Pink Tights, in which she appeared as a blonde for the first time. In 1961, she starred in Vittorio De Sica's Two Women, a stark, gritty story of a mother who is raped while trying to protect her daughter in war-torn Italy. Originally cast as the daughter, Loren fought against type and was re-cast as the mother (actress Eleonora Brown would portray the daughter). Loren's performance earned her many awards, including the Cannes Film Festival's best performance prize, and an Academy Award for Best Actress, the first major Academy Award for a non-English-language performance and to an Italian actress. She won 22 international awards for Two Women. The film proved to be extremely well accepted by the critics and it was a huge commercial success. Loren is known for her sharp wit and insight. One of her most frequently quoted sayings is a quip about her famously voluptuous figure: "Everything you see, I owe to spaghetti". However, on the 20 December 2009, episode of CBS News Sunday Morning, Loren denied ever delivering the line. During the 1960s, Loren was one of the most popular actresses in the world, and she continued to make films in the United States and Europe, starring with prominent leading men. In 1964 her career reached its pinnacle when she received $1 million to appear in The Fall of the Roman Empire. In 1965, she received a second Academy Award nomination for her performance in Marriage Italian-Style. Among Loren's best-known films of this period are Samuel Bronston's epic production of El Cid (1961) with Charlton Heston, The Millionairess (1960) with Peter Sellers, It Started in Naples (1960) with Clark Gable, Vittorio De Sica's triptych Yesterday, Today, and Tomorrow (1963) with Marcello Mastroianni, Peter Ustinov's Lady L (1965) with Paul Newman, the 1966 classic Arabesque with Gregory Peck, and Charlie Chaplin's final film, A Countess from Hong Kong (1967) with Marlon Brando. Loren received four Golden Globe Awards between 1964 and 1977 as "World Film Favorite Female".[7] 197088 Loren worked less after becoming a mother. During the next decade, most of her roles were in Italian features. During the 1970s, she was paired with Richard Burton in the last De Sica-directed film, The Voyage (1974), and a remake of the film Brief Encounter (1974). The film had its premiere on U.S. television on 12 November 1974 as part of the Hallmark Hall of Fame series on NBC. In 1976 she starred in The Cassandra Crossing, a classic disaster film featuring such veteran stars as Richard Harris, Martin Sheen, and Ava Gardner. It fared extremely well internationally, and was a respectable box office success in U.S. market. She also co-starred with Marcello Mastroianni in Ettore Scola's A Special Day (1977). This movie was nominated for eleven international awards such as two Oscars (best actor in leading role, best foreign picture). It won a Golden Globe award and a César award for best foreign movie. Loren's performance was awarded with a David di Donatello award, the seventh in her career. In addition the movie was extremely well received by American reviewers and was a box office hit and kick Following this success, Loren starred in an American thriller Brass Target. This movie received mixed reviews, although it was moderately successful in the United States and internationally. In 1978 she won her fourth Golden Globe for "world film favourite". Other movies of this decade were Academy award nominee Sunflower (1970) which was a critical success and Arthur Hiller's Man of La Mancha (1972) which was a critical and commercial failure despite being nominated for several awards including two Golden Globes awards. O'Toole and James Coco were nominated for two NBR awards, in addition the NBR listed Man of La Mancha in its best 10 pictures of 1972 list. In 1980, after the international success of the biography Sophia Loren: Living and Loving, Her Own Story by A. Hotchner, Loren portrayed herself and her mother in a made-for-television biopic adaptation of her autobiography, Sophia Loren: Her Own Story. Ritza Brown and Chiara Ferrari each portrayed the younger Loren. In 1981, she became the first female celebrity to launch her own perfume, Sophia, and a brand of eyewear soon followed.[6] In 1982, while in Italy, she made headlines after serving an 18-day prison sentence on tax evasion chargesa fact that failed to hamper her popularity or career. In fact, Bill Moore, then employed at Pickle Packers International advertising department, sent her a pink pickle-shaped trophy for being "the prettiest lady in the prettiest pickle". She acted infrequently during the 1980s and turned down the role of Alexis Carrington in 1981 for the TV series Dynasty. Although she was set to star in thirteen episodes of CBS's Falcon Crest in 1984 as Angela Channing's half-sister Francesca Gioberti, negotiations fell through at the last moment and the role went to Gina Lollobrigida instead. Sophia preferred devoting more time to raising her sons.[8][9] In 1988 she starred in the miniseries The Fortunate Pilgrim. Loren has also recorded well over two dozen songs throughout her career, including a best-selling album of comedic songs with Peter Sellers; reportedly, she had to fend off his romantic advances. It was partly owing to Sellers' infatuation with Loren that he split with his first wife, Anne Howe. Loren has made it clear to numerous biographers that Sellers' affections were reciprocated only platonically. This collaboration was covered in The Life and Death of Peter Sellers where actress Sonia Aquino portrayed Loren. It is said that the song "Where Do You Go To (My Lovely)?" by Peter Sarstedt was inspired by Loren.[citation needed] Later career In 1991 Loren received the Academy Honorary Award for her contributions to world cinema and was declared "one of the world cinema's treasures". In 1995 she received the Golden Globe Cecil B. DeMille Award.[10] She presented Federico Fellini with his Honorary Oscar. In 2009 Loren stated on Larry King Live that Fellini had planned to direct her in a film shortly before his death in 1993.[11] Throughout the 1990s and 2000s, Loren was selective about choosing her films and ventured into various areas of business, including cookbooks, eyewear, jewelry, and perfume. She received a Golden Globe nomination for her performance in Robert Altman's film Ready to Wear (1994), co-starring Julia Roberts. In 1994, a Golden Palm Star on the Palm Springs, California, Walk of Stars was dedicated to her.[12] In the comedy Grumpier Old Men (1995), Loren played a femme fatale opposite Walter Matthau, Jack Lemmon, and Ann-Margret. The film was a box-office success and became Loren's biggest U.S. hit in years.[6] At the 20th Moscow International Film Festival in 1997, she was awarded an Honorable Prize for contribution to cinema.[13] In 2001, Loren received a Special Grand Prix of the Americas Award at the Montreal World Film Festival for her body of work.[14] She filmed two projects in Canada during this time: the independent film Between Strangers (2002), directed by her son Edoardo and co-starring Mira Sorvino, and the television miniseries Lives of the Saints (2004). In 2009, after five years off the set and fourteen years since she starred in a prominent US theatrical film, Loren starred in Rob Marshall's film version of Nine, based on the Broadway musical that tells the story of a director whose midlife crisis causes him to struggle to complete his latest film; he is forced to balance the influences of numerous formative women in his life, including his deceased mother. Loren was Marshall's first and only choice for the role. The film also stars Daniel Day-Lewis, Penélope Cruz, Kate Hudson, Marion Cotillard, and Nicole Kidman. As a part of the cast she received her first nomination for a Screen Actors Guild Award. In 2010, Loren played her own mother in a two-part Italian television miniseries about her early life, directed by Vittorio Sindoni, entitled La Mia Casa È Piena di Specchi (translated My House Is Full of Mirrors), based on the memoir written by her sister Maria.[15] In July 2013, it was reported that Loren was to make her film comeback in an Italian adaptation of Jean Cocteau's 1930 play The Human Voice (La Voce Umana) which charts the breakdown of a woman who is left by her lover with her youngest son, Edoardo Ponti, as director. Filming is to take under a month during July in various locations in Italy including Rome and Naples. It will be Loren's first significant feature film since the 2009 film Nine in which critics received it to mixed reviews.[16] Personal life Loren's primary residence has been in Geneva, Switzerland since late 2006.[17] She also owns homes in Naples and Rome. In September 1999 Loren filed a lawsuit against 76 adult websites for posting altered nude photos of her on the internet.[18][19] Loren is a huge fan of the football club S.S.C. Napoli. In May 2007, when the team was third in Serie B, she told the Gazzetta dello Sport that she would do a striptease if the team won.[20] Loren posed scantily clad at 72 for the 2007 Pirelli Calendar, along with such actresses as Penélope Cruz and Hilary Swank.[21] Loren is a Roman Catholic,[22] though on various issues, such as modesty in dress and her marriage, she has been at odds with the Church.[23] Marriage and family Loren first met Carlo Ponti in 1950 when she was 15 and he was 37. They married on 17 September 1957. However, Ponti was still officially married to his first wife Giuliana under Italian law because Italy did not recognize divorce at that time. The couple had their marriage annulled in 1962 to escape bigamy charges.[24] In 1965, Ponti obtained a divorce from Giuliana in France, allowing him to marry Loren on 9 April 1966.[25] They became French citizens after their application was approved by then French President Georges Pompidou.[26] They had two children: Carlo Ponti, Jr. born on 29 December 1968 (age 44) Edoardo Ponti born on 6 January 1973 (age 40) Loren remained married to Carlo Ponti until his death on 10 January 2007 of pulmonary complications.[27] When asked in a November 2009 interview if she were ever likely to marry again, Loren replied "No, never again. It would be impossible to love anyone else."[28] In 1962 her sister, Anna Maria Villani Scicolone, married the youngest son of Benito Mussolini, Romano, with whom she had a daughter, the neofascist Italian politician Alessandra Mussolini. Her daughters-in-law are Sasha Alexander and Andrea Meszaros.[4][29] Loren has four grandchildren: Lucia Sofia Ponti (born 12 May 2006),[30] Vittorio Leone Ponti (born 3 April 2007).[4] Leonardo Fortunato Ponti (born 20 December 2010) and Beatrice Lara Ponti (born 15 March 2012). Filmography Year Title Role Notes 1950 I Am the Capataz Secretary of the Dictator 1950 Barbablu's Six Wives Girl kidnapped 1950 Tototarzan A tarzanide 1950 I Devote, Thee A popular to the party of piedigrotta 1950 Hearts at Sea Extra Uncredited 1951 White Leprosy A girl in the boardinghouse 1951 Owner of the Vapor Ballerinetta 1951 Milan Billionaire Extra Uncredited 1951 Magician for Force The bride 1951 Quo Vadis Lygia's slave Uncredited 1951 It's Him!... Yes! Yes! Odalisca 1951 Anna Night club assistant Uncredited 1952 And Arrived the Accordatore Amica di Giulietta 1952 I Dream of Zorro Conchita As Sofia Scicolone 1952 Leonora 1953 Bonbon 1953 Pilgrim of Love 1953 We Find Ourselves in Arcade Marisa 1953 Two Nights with Cleopatra Cleopatra/Nisca 1953 Girls Marked Danger Elvira 1953 Good Folk's Sunday Ines 1953 Aida Aida 1953 Africa Under the Seas Barbara Lama 1954 Neapolitan Carousel Sisina 1954 Anna 1954 1954 Poverty and Nobility Gemma 1954 Sofia Segment "Pizze a Credito" 1954 Attila Honoria 1954 Too Bad She's Bad Lina Stroppiani 1955 Agnese Tirabassi 1955 Carmela 1955 Nives Mongolini 1955 Scandal in Sorrento Donna Sofia 1956 Lucky to Be a Woman Antonietta Fallari 1957 Boy on a Dolphin Phaedra 1957 Juana 1957 Legend of the Lost Dita 1958 Desire Under the Elms Anna Cabot 1958 Stella 1958 Rose Bianco Volpi Cup-Venice Film Festival 1958 Houseboat Cinzia Zaccardi 1959 That Kind of Woman Kay 1960 Heller in Pink Tights Angela Rossini 1960 It Started in Naples Lucia Curio Nominated Golden Globe Award for Best Actress Motion Picture Musical or Comedy 1960 Epifania Parerga 1960 Princess Olympia 1960 Two Women Cesira 1961 Chimena 1961 Madame Sans-Gêne, a.k.a., "Madame" Catherine Hubscher, known as "Madame Sans-Gêne" 1962 Boccaccio '70 Zoe Segment "La Riffa" 1962 Five Miles to Midnight Lisa Macklin 1963 Yesterday, Today and Tomorrow Adelina Sbaratti/Anna Molteni/Mara David di Donatello for Best Actress 1964 Lucilla 1964 Marriage Italian-Style Filumena Marturano 1965 Operation Crossbow Nora 1965 Lady L Lady Louise Lendale/Lady L 1966 Judith Judith 1966 Arabesque Yasmin Azir 1967 Natasha 1967 More Than a Miracle Isabella Candeloro 1968 Ghosts - Italian Style Maria Lojacono 1970 Sunflower Giovanna David di Donatello for Best Actress Nominated Fotogramas de Plata Best Foreign Performer 1971 Lady Liberty Maddalena Ciarrapico 1971 Valeria Billi 1972 Man of La Mancha Aldonza/Dulcinea 1973 The Sin Hermana Germana 1974 The Voyage Adriana de Mauro 1974 Verdict Teresa Leoni 1974 Brief Encounter Anna Jesson TV movie(Hallmark hall of fame) 1975 Sex Pot Pupa 1976 Jennifer Rispoli Chamberlain 1977 Antoinette David di Donatello for Best Actress Globo d'Oro Award for Best Actress Nastro d'Argento for Best Actress 1978 Blood Feud Titina Paterno 1978 Brass Target Mara/cameo role 1978 Angela Angela Kincaid 1979 Firepower Adele Tasca 1980 Sophia Loren: Her Own Story herself/Romilda Villani (her mother) 1984 Aurora Aurora Television film 1986 Courage Marianna Miraldo Television film 1988 Lucia Television miniseries 1989 Running Away Cesira TV miniseries(remake of "two women") 1990 Saturday, Sunday and Monday Rosa Priore premiered during the Chicago film festival 1994 Prêt-à-Porter Isabella de la Fontaine 1995 Grumpier Old Men Maria Sophia Coletta Ragetti 1997 Soleil Maman Levy 2001 Francesca e Nunziata Francesca Montorsi TV miniseries 2002 Between Strangers Olivia 2004 Too Much Romance... It's Time for Stuffed Peppers Maria 2004 Lives of the Saints Teresa Innocente TV miniseries 2009 Nine Mamma 2010 My House Is Full of Mirrors Romilda Villani TV miniseries 2011 Cars 2 Mama Topolino voice (in non-English speaking countries) 2013/14 La Voce Umana One-woman film role Short film; currently filming References
5438	dbpedia	3	4	https://www.nytimes.com/2000/11/07/arts/leonardo-benvenuti-77-writer-of-classic-italian-screenplays.html	en	Leonardo Benvenuti, 77, Writer Of Classic Italian Screenplays	https://static01.nyt.com…op.png?year=2000	https://static01.nyt.com…op.png?year=2000	[]	[]	[]	[ "" ]	null	[ "Elisabetta Povoledo", "www.nytimes.com", "elisabetta-povoledo" ]	2000-11-07T00:00:00	Leonardo Benvenuti, who wrote some 200 film scripts, including classics like Sergio Leone's Once Upon a Time in America and Vittorio De Sica's Marriage, Italian Style, dies at age 77; photo (M)	en	/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico		https://www.nytimes.com/2000/11/07/arts/leonardo-benvenuti-77-writer-of-classic-italian-screenplays.html	Leonardo Benvenuti, who wrote some 200 film scripts, including classics like Sergio Leone's ''Once Upon a Time in America'' and Vittorio De Sica's ''Marriage, Italian Style,'' died on Friday in San Giacomo Hospital. He was 77. The cause was complications after heart bypass surgery. In a career that spanned 50 years, Mr. Benvenuti reflected a changing Italy, from the desolation of the postwar period to the country's growing prosperity, its political upheavals and the shifts in its moral codes. The writer and director Carlo Verdone, who in recent years had worked with Mr. Benvenuti on a series of comic films that are among Italy's biggest box office successes, described him as ''an author who with intelligence was able to move us, make us laugh and make us reflect upon the vices and virtues of our country.'' Leonardo Benvenuti was born in Florence on Sept. 8, 1923. His earliest film scripts included opulent studio productions, period pieces like dramatizations of the lives of Puccini and Verdi. But he was to make his mark writing comic scripts, especially what became known as commedia all'Italiana. In these projects, he addressed important themes with a humorous but often bitter point of view. For much of his life, Mr. Benvenuti was part of an indelible artistic partnership with another screenwriter, Piero De Bernardi, with whom he shared writing credits on almost all his projects. The list of directors for whom Mr. Benvenuti and Mr. De Bernardi wrote scripts reads like a syllabus for a college course on contemporary Italian cinema. It includes De Sica, Alberto Lattuada, Pietro Germi, Mario Monicelli, Luigi Comencini, Dino Risi, Carlo Vanzina and Lina Wertmuller. The two men received numerous Italian cinema awards, including seven Silver Ribbons, given by the Italian National Syndicate of Film Journalists, and three Davids, the equivalents of the American Oscars. Using the pseudonym Al Hine, Mr. Benvenuti was the executive producer of Peter Brook's ''Lord of the Flies.'' He also wrote under the names Leo Benvenuti and Ralph Grave, and acted in Ms. Wertmuller's 1999 film, ''Ferdinando e Carolina,'' and Ettore Scola's 1980 ''Terrazza,'' which he did not write. Most recently he had worked with Mr. De Bernardi and Mr. Monicelli on television projects. He is survived by his wife, Cristiana De Vita, and two sons, Roberto and Francesco.
5438	dbpedia	3	30	http://www.rialtopictures.com/catalogue/marriage-italian-style	en	Marriage Italian Style	https://s3.amazonaws.com…0d05628747b.jpeg	https://s3.amazonaws.com…0d05628747b.jpeg	[ "https://s3.amazonaws.com/files.collageplatform.com.prod/application/56d076fc6aa72c8630e65aa7/e6a068ebb22855a35514c0bc2dffad39.png", "https://img.artlogic.net/w_2020,h_1160,c_limit/exhibit-e/56d076fc6aa72c8630e65aa7/f76b3c1ae9873948a26d1fd077e75be0.jpeg", "https://img.artlogic.net/w_2020,h_1160,c_limit/exhibit-e/56d076fc6aa72c8630e65aa7/dbf3c99e4f9e0771b1c9c528fd7aa9eb.jpeg", "https://img.artlogic.net/w_2020,h_1160,c_limit/exhibit-e/56d076fc6aa72c8630e65aa7/81d7d8c0d021ab428591f955d6289b31.jpeg", "https://img.artlogic.net/w_2020,h_1160,c_limit/exhibit-e/56d076fc6aa72c8630e65aa7/b25b8f12f5bf700acace72cabb9bc1c2.jpeg", "https://img.artlogic.net/w_680,h_1000,c_lfill/exhibit-e/56d076fc6aa72c8630e65aa7/cebb976a1a2e6af030cc077941ae9b4a.jpeg", "https://img.artlogic.net/w_680,h_1000,c_lfill/exhibit-e/56d076fc6aa72c8630e65aa7/ce2811d8556df25fa822364b43c818b5.jpeg", "https://img.artlogic.net/w_680,h_1000,c_lfill/exhibit-e/56d076fc6aa72c8630e65aa7/aea309831114a5b5883205a05ec9c218.jpeg", "https://img.artlogic.net/w_200,h_50,c_limit/exhibit-e/56d076fc6aa72c8630e65aa7/2bdc9270d91c05b1b55884e0bc5608b7.png", "https://img.artlogic.net/w_200,h_50,c_limit/exhibit-e/56d076fc6aa72c8630e65aa7/e2ff4f1e8bf0b9e0d94777f5b6a4117e.png", "https://img.artlogic.net/w_200,h_50,c_limit/exhibit-e/56d076fc6aa72c8630e65aa7/bd9664c21217c463e7022e4772d98b6e.png", "https://img.artlogic.net/w_200,h_50,c_limit/exhibit-e/56d076fc6aa72c8630e65aa7/c64cee4f31e0d7ad775e7bfc8341db01.png", "https://img.artlogic.net/w_200,h_50,c_limit/exhibit-e/56d076fc6aa72c8630e65aa7/1e7fe545f75c0107826f0ad241c94ee8.png" ]	[]	[]	[ "" ]	null	[]	null	The gold standard of reissue distributors.	en	https://s3.amazonaws.com…fb0e64b6f3e2.png		http://www.rialtopictures.com	Synopsis: After a wartime romance between successful Domenico (Marcello Mastroianni) and sexy young woman Filomena (Sophia Loren), many years pass until they reunite and Domenico brings her into his home as his official mistress. When she catches wind that he intends to marry another woman, after she has spent years at his side, Filomena plots to catch him for herself. Awards & Nominations: Best Actress in a Leading Role nomination (Academy Awards, 1965) Best Foreign Language Film nomination (Academy Awards, 1966) Best Foreign Language Film (Golden Globes, 1965) Best Actress - Comedy or Musical nomination (Golden Globes, 1965) Best Actor - Comedy or Musical nomination (Golden Globes, 1965)
5438	dbpedia	1	29	https://blog.scuolaleonardo.com/2023/10/18/3-volte-di-fila-episode-4-season-5/	en	EPISODE 4 (SEASON 5) ITALIANO ON	https://blog.scuolaleona…5E41600x1084.png	https://blog.scuolaleona…5E41600x1084.png	[ "https://blog.scuolaleonardo.com/wp-content/plugins/sitepress-multilingual-cms/res/flags/it.svg", "https://blog.scuolaleonardo.com/wp-content/plugins/sitepress-multilingual-cms/res/flags/it.svg", "https://blog.scuolaleonardo.com/wp-content/uploads/2015/10/logo-blog1.jpg", "https://blog.scuolaleonardo.com/wp-content/uploads/2015/10/logo-blog-scuolaleonardo.jpg", "https://blog.scuolaleonardo.com/wp-content/uploads/2023/10/PODCASTS5E41600x1084-620x420.png", "https://blog.scuolaleonardo.com/wp-content/uploads/gravatar/ba256d6f6e71b6e83dfc411825531719.png", "https://blog.scuolaleonardo.com/wp-content/uploads/gravatar/ba256d6f6e71b6e83dfc411825531719.png", "https://blog.scuolaleonardo.com/wp-content/uploads/2022/09/star-award-web-350x320.jpg", "https://blog.scuolaleonardo.com/wp-content/uploads/2023/11/Bufale-1600x1084-1-350x320.png", "https://blog.scuolaleonardo.com/wp-content/uploads/2023/01/S3E1-copertina1600x1084-350x320.png", "https://blog.scuolaleonardo.com/wp-content/uploads/2015/09/summer-in-siena-130x130.jpg", "https://blog.scuolaleonardo.com/wp-content/uploads/2015/09/studiare-italiano-alla-ldv-130x130.jpg", "https://blog.scuolaleonardo.com/wp-content/uploads/2015/09/leonardino-130x130.jpg", "https://blog.scuolaleonardo.com/wp-content/uploads/2024/07/IMG_20240624_163811-1-130x130.jpg", "https://blog.scuolaleonardo.com/wp-content/uploads/2024/02/akikostory-130x130.png", "https://blog.scuolaleonardo.com/wp-content/uploads/2023/09/chiarawolfy2023-130x130.jpg", "https://blog.scuolaleonardo.com/wp-content/uploads/2023/06/ued-award-2022-130x130.jpg", "https://blog.scuolaleonardo.com/wp-content/uploads/2023/04/S4E1-copertina-1600x1084-mangiapregama-130x130.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/sitepress-multilingual-cms/res/flags/it.svg" ]	[]	[]	[ "" ]	null	[ "Scuola Leonardo da Vinci", "www.facebook.com" ]	2023-10-18T00:00:00	Discover the meaning of the expression "volte di fila" in this episode with 2 special guests. They will tell us about the award won by the school and the elegant ceremony they attended.	en		Blog of Leonardo da Vinci ;)	https://blog.scuolaleonardo.com/2023/10/18/3-volte-di-fila-episode-4-season-5/	In this episode of our podcast, we have two guests from the Scuola Leonardo Da Vinci: Chiara Avidano and Wolfango Poggi, the directors of the schools in Turin and Milan. They will tell us about the 2023 "ST Star Award" award ceremony in which they participated, and how exciting it was to receive the award as the best "Italian language school". This award, very important in the language travel sector, is collected every year at a gala evening held in a luxury hotel in London. A real Oscar (but we could say a "David di Donatello"… do you remember the episode?) for all those who work in the field of study holidays abroad. The episode will also focus on the expression "3 volte di fila". You can listen to the 4th episode of the fifth season of ITALIANO ON-AIR on our website at: https://podcast.scuolaleonardo.com/premiati-3-volte-di-fila-episodio-4-stagione-5/ Or you can listen to it below. On our website https://podcast.scuolaleonardo.com/ you will find the transcripts of the episode! We are also present on the main streaming platforms! Follow ITALIANO ON-AIR on Spotify or Apple Podcasts to receive a notification every time a new episode is released. Through the site, you can also send us feedback. Write to podcast@scuolaleonardo.com or leave us a voice message. Listen to the episode "Premiati 3 volte di fila" on the leading podcast platforms: Apple Podcasts Spotify Amazon Music Google Podcasts Find all the episodes at: https://podcast.scuolaleonardo.com/ with the transcript of the episodes.
5438	dbpedia	2	1	https://m.imdb.com/name/nm1080144/awards/	en	Leo Benvenuti	https://m.media-amazon.c…al/imdb_logo.png	https://m.media-amazon.c…al/imdb_logo.png	[ "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:134-5508316-8637861:9SHBXMZM23XTEZG1SC8F$uedata=s:%2Fuedata%2Fuedata%3Fstaticb%26id%3D9SHBXMZM23XTEZG1SC8F:0", "https://m.media-amazon.com/images/M/MV5BZTZjODUyMjQtOTI1OC00OGY3LWJlYmMtYWFhNmQ0Mjc4MDRhXkEyXkFqcGdeQXVyNzc5MjA3OA@@._V1_QL75_UX50_CR0,5,50,74_.jpg", "https://m.media-amazon.com/images/M/MV5BYTVlNzNlMmMtMjY2Zi00N2ZlLTk4YTktMjcxZDYzNTdjNGJjXkEyXkFqcGdeQXVyMzIzNDU1NTY@._V1_QL75_UY74_CR3,0,50,74_.jpg", "https://m.media-amazon.com/images/G/01/IMDb/Mobile/DesktopQRCode-png.png", "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:134-5508316-8637861:9SHBXMZM23XTEZG1SC8F$uedata=s:%2Fuedata%2Fuedata%3Fnoscript%26id%3D9SHBXMZM23XTEZG1SC8F:0" ]	[]	[]	[ "Leo Benvenuti", "Awards", "Awards", "Nominations", "Oscars", "MTV Movie Awards", "Emmys", "Won", "Winner", "Nominated", "Nominee" ]	null	[ "IMDb" ]	null	Leo Benvenuti - Awards - IMDb - Awards, nominations, and wins	en	https://m.media-amazon.c…B1582158068_.png	IMDb	https://www.imdb.com/name/nm1080144/awards/
5438	dbpedia	3	47	https://www.gg.ca/en/honours/recipients/127-101241	en	The Governor General of Canada	https://www.gg.ca/sites/…egal-lion-01.png		[ "https://www.gg.ca/sites/all/themes/osgg_full_width/images/viceregal-lion-01.png" ]	[]	[]	[ "" ]	null	[]	null		en	https://www.gg.ca/sites/all/themes/osgg_full_width/favicon.ico	The Governor General of Canada	https://www.gg.ca/en/honours/recipients/127-101241	Police Exemplary Service Medal First Bar Awarded on: July 30, 2019 Medal Awarded on: March 13, 2009
5438	dbpedia	0	12	https://libguides.stthomas.edu/filmographies/Italian	en	Research and Course Guides at University of St. Thomas	https://www.stthomas.edu…avicon-32x32.png	https://www.stthomas.edu…avicon-32x32.png	[ "https://static.assets.libraries.stthomas.edu/site/_headers/spacer.png", "https://syndetics.com/index.aspx?isbn=1558904255/LC.GIF&client=uofstthom", "https://syndetics.com/index.aspx?isbn=1592413307/LC.GIF&client=uofstthom" ]	[]	[]	[ "" ]	null	[ "Karen Brunner" ]	null	The following filmographies are a compilation of films held at OSF Library. They include documentaries and feature films in the selected subject areas. Feature films and documentaries regarding Italy	en	//www.stthomas.edu/favicon-32x32.png		https://libguides.stthomas.edu/filmographies/Italian	8 1/2 Call Number: PN1997 .O88 2001 Guido Anselmi is a film director overwhelmed by a large production he is working on. He is hassled by producers, his wife, his mistress, and all while he is struggling to find the inspiration to finish his film. The stress eventually forces Anselmi into a psychological world where fantasy and memory overwhelm his present reality. Agata e la Tempesta Call Number: PN1997 .A366 2005 In Genoa, Agata runs her bookstore and, without meaning to, causes light bulbs and appliances to burn out. At the same time that a younger man declares his attraction to her, her brother Gustav, a morose architect, a distant husband, and an indifferent father, discovers that he was adopted and has a half-brother in the Po Valley. To Agata's great pain, she sees her young man with another woman - plus, Gustav cuts himself off from her and from his wife and son. Agata goes to the Po Valley, meets Gustav's brother and the brother's wife, and tries to reconnect. Alza la Testa Call Number: PN1997 .A4548 2010 Region 2 Mero, a skilled shipyard worker, is a single father. His son Lorenzo, born from a relationship with an Albanian girl, is his only reason for living. The father dreams that the boy will become a champion boxer, to make up for his own anonymous career as an amateur in the ring. He puts him through a tough training program, teaching him day after day to throw punches and protect himself from life's low blows. The balance of this relationship is disturbed by the return of Lorenzo's mother Denisa and by the son's meeting with Ana. Mero's trials are not over and he must face up to pain, his prejudices and the remoteness of Italy's north east. Apnea Call Number: PN1997 .A652 2005 Thriller about a man who discovers that his best friend was not the person he thought he was. After a brilliant career as a fencer Paolo is now thirty-five and has become a sports journalist for a local newspaper in Vicenza. His friend Franz, the former fencing champion, took a different path and became a successful businessman. But one day Franz dies suddenly and unexpectedly, supposedly of a heart attack. Suspicious of the cause of death, Paolo sets out in search of an explanation and finds himself immersed in the unseemly practices of Franz's lucrative leather tannery, symbol of many tainted businesses in the illustrious Italian Northeast. Paolo's investigation exposes him to ever increasing risks as he comes closer and closer to the truth. Artemisia Call Number: ND623.G364 A7 2001 In French Artemisia Gentileschi is forbidden to fully pursue her own passion of painting. She convinces a renowned artist to tutor her. He not only liberates her into the world of art but initiates her into the world of sex and love. Baarìa Call Number: PN1997 .B314 2011 The course of a lifetime reflects the evolution of a country as Peppino takes work as a shepherd to support his family in the Sicilian town of Bagheria, nicknamed "Baarìa" by its residents. During the next five decades he experiences the love of his life, undergoes a political awakening and discovers a destiny he could have never imagined. Baciami Ancora Call Number: PN1997 .B337 2010 Region 2 Set in Rome, Italy, this film looks at the lives of Carlo, Giulia, and their friends some 10 years after the events of "L'ultimo bacio." Over the years since Carlo and Giulia were married, they had a beautiful baby girl, Sveva, but soon left one another after a series of betrayals and mutual resentments. Now Carlo is single, turning forty, and has difficulties having long-lasting relationships with women, while Giulia and her daughter live with a new boyfriend named Simone, a penniless actor. Adriano returns from a long journey, after serving two years in jail in Cuba for trying to smuggle cocaine into Italy. Now he intends to make up for lost time with his son, who has not heard from him for ten years and who lives with his mother Livia, who is romantically involved with Paul. Bella addormentata Call Number: PN1997 .B446 2014 Assisted suicide made national headlines in Italy when the decision was made to end the life of Eluana Englaro, after she spent seventeen years in a vegetative state after a car accident. This drama, set suring the last six days of Englaro's life, affects the lives of four people struggling with their own beliefs. A senator, forced to vote for a law with which he profoundly disagrees, is torn between his conscience and his loyalty toward the leaders of his party. His daughter, a right-to-life activist, falls in love with an advocate for assisted suicide. A famous actress turns towards faith and miracle cures in the hope of bringing her daughter out of an irreversible coma. And Rossa is saved by the doctor Pallido and reawakens to life. Benvenuti al Sud Call Number: PN1997 .B463 2010 Region 2 Alberto, a postmaster trying to secure a transfer to Milan to please his wife, attempts a subterfuge which results in his banishment to a small town south of Naples. Culture shock ensues. Buongiorno, notte Call Number: PN1997 .B8695 2006 A young woman, Chiara, moves into a new apartment with her husband. On the surface she lives a routine existence, but all is not as it seems. She conceals her true identity as a member of The Red Brigades, Italy's terrorist underground, which is currently planning to kidnap the Prime Minister. Passionate about a revolutionary utopia, Chiara's suspicions and doubts grow and she questions, both emotionally and ideologically, her commitment and acts. Caos Calmo Call Number: PQ4882.E7675 C3 2010 After an eventful afternoon at the beach with his brother, Pietro, a successful executive, returns to his summer home only to discover that his wife has suddenly died. Devastated, he vows to be a source of stability for their ten-year-old daughter, Claudia, while trying to make sense of his loss. But in the meantime, his company is in the midst of a high-stakes merger, with Pietro's colleagues desperate to know which side he's on, and his volatile sister-in-law has unexpected news of her own. Capri-revolution Call Number: PN1997 .C36546 2019 It's 1914 and Italy is about to go to war. A group of young North Europeans has found on the island of Capri the ideal place for their quest for life and art. But the island has its own strong identity, embodied in a goatherdess named Lucia. The film explores the encounters between Lucia, the commune led by Seybu, and a young doctor from the island. Caravaggio Call Number: ND623.C26 C3 2008 In English Set during the late Italian Renaissance in 17th-century Rome. Michelangelo da Caravaggio was rescued from the streets by the Catholic Church, in order to create Biblical paintings. However, Caravaggio did not adhere to his religious creations, but instead traveled among thieves and prostitutes, many of whom were his models, kept a deaf and mute child as a slave, squandered every penny he ever made, and ultimately killed a man in a brawl, eventually leading him to his life's own violent end. Caro diario Call Number: PN1997 .C3695 2009 Region 2 Presented in three chapters, Moretti uses the experiences from travelling on his vespa, cruising with his friend around a set of remote islands and consulting a series of medical experts to cure his annoying rash in order to find peace so he can finish his film. Caterina va in città Call Number: PN1997.C376 2005 Caterina moves with her family from the small town of Montalto di Castro to Rome. The sensitive and intelligent young girl enrolls in the eighth grade in one of the most prestigious schools in the capital, where she finds her class totally divided between the snobbish, radical chic and reactionary, spoiled brats. Worse, her own father, a frustrated professor, begins to manipulate her as he sees in the parents of her new school acquaintances the possibility for him to achieve a long dreamed of writing career. Cesare deve morire Call Number: PN1997 .C337 2013 As part of a rehabilitative prison program, inmates at a high-security prison in Rome prepare for a public performance of Shakespeare's "Julius Caesar." As they rehearse, the prisoners find that the classic play has both a striking resonance and contrast to their confined lives. Ciao Call Number: PN1997 .C50 2010 In English After his best friend Mark dies, Jeff decides to meet Andrea, an Italian man who Mark has been internet dating. The two strangers quickly bond and develop a meaningful friendship that changes their lives forever. Cinema Paradiso Call Number: PN1997 .C532 2006 A famous film director returns home to a Sicilian village for the first time after almost 30 years after receiving word from his aging mother that a mentor from his past has died. His return causes him to reminisce about his childhood at the Cinema Paradiso where his friend and mentor Alfredo, the projectionist, first brought about his love of films. Their bond was one that contained many highlights and tragedies, and shaped the way for a young boy to grow and move out of his rundown village to pursue a dream, which also meant leaving behind his teenage love, Elena. Clare and Francis Call Number: BX4700.F6 C6 2008 In English & Italian Francis renounces his inheritance of wealth to live the Gospel and serve the poor and outcasts. Clare reads deep into his heart and decides to follow him, leaving her home and family to give herself as the bride of Christ. Both found major religious orders and together they inspire many to follow their radical call to live the Gospel, and their impact has even reached across the centuries to change the world. Come te nessuno mai Call Number: PQ4913.U33 C6 2007 Restless Silvio and his close friend Ponzi find themselves in a desperate search for life and love, or at the very least, sex. When student radicals occupy their high school, Silvio and Ponzi join the melee--not for the politics, but for the chance to score. Caught between parents, protest, and the blind rush of a generation eager to stake its claim on the world, Silvio and Ponzi will not only confront history, but also the future of their friendship. Comizi d'amore Call Number: DG451 .C66 2003 A documentary featuring director Pier Paulo Pasolini asking questions about sex, love, and morality of a variety of people from all over Italy: he asks children where babies come from, young and old women if they are men's equals, men and women if a woman's virginity matters, how they view homosexuals, how sex and honor connect, if divorce should be legal, and if they support closing the brothels (the Merlina Act). It features interviews with psychologist Cesare Musatti and author Alberto Moravia. Compagna di Viaggio Call Number: PN1997 .C659 2003 Cora, an attractive, unstable girl in her teens with no stable job or home, is hired by a rich woman to follow her forgetful father throughout Rome and beyond. As the old man makes pointless trips across Italy, Cora unknowingly embarks on a journey of self-discovery, dealing with past memories and colorful encounters. Unable to deal with the old man's delirium, Cora wanders off on her own, becoming involved with various men and evading her low-life brother's plans to kidnap the old man for ransom. Lost in despair, Cora abandons the pursuit and returns to Rome, where an accidental encounter lifts her spirits. The Confessions Call Number: PQ4861.N295 C6 2017 A G8 meeting is being held at a luxury hotel where the world's most powerful economists are gathered to enact provisions that will influence the world economy. One guest is a mysterious Italian monk, Salus, invited by Daniel Rochè, the director of the International Monetary Fund. Rochè wants him to receive his confession--that night--in secret. The next morning, Rochè is found dead and Salus is now the main suspect in his death. Corpo celeste Call Number: PN1997 .C6694 2012 13-year-old Marta struggles to find her place in her new home in southern Italy by testing the boundaries of her religion and the unfamiliar city. Her only source of socialization is the local church, where she is sent to attend prep classes for confirmation. Eventually, Marta forges her own way of the cross, which turns out to have much less to do with God than with her own ascent into adulthood. Cosa Voglio Di Più Call Number: PN1997 .C6785 2010 A married woman becomes involved in a heated affair with a married waiter, and as their neatly ordered world falls apart, they are faced with a life-changing choice which neither is entirely prepared to make. Cosimo e Nicole Call Number: PN1997 .C6795 2013 Region 2 Cosimo and Nicole are a young couple in love. She is french and he is Italian, they live in Genoa where they work for a concert organizer, Paolo. On day a clandestine man from Guinea falls on the ground while working on the stage construction. Paolo knows that if the police finds the body his whole business will be in trouble as he also finds himself to be in big debt with the banks. Therefore he decides to hide the corpse of the worker in an abandoned place, helped by Nicole and Cosimo. Nicole though, cannot forget what happened and obsessed by her sense of guilt decides to do something about it. Così ridevano Call Number: PN1997 .C679 2004 Two brothers emigrate to Turin to escape the poverty of their Sicilian hometown. The story unfolds over a period of six years. The older brother Giovanni, has the desire to see his brother, Pietro, become a school teacher. Giovanni makes tremendous sacrifices, unaware that Pietro is squandering his money and skipping school. When Giovanni's obsession with money transforms him into a labor boss, Pietro makes a sacrifice that will cost them both. Cristo si è Fermato a Eboli Call Number: PQ4827.E93 C4 2003 The story follows a real life anti-fascist intellectual, Carlo Levi, into his forced exile in small, isolated village in a remote region of Southern Italy. The village is populated by inhabitants who barely survive on the meager harvest of the unyielding land. Eboli, the closest train station, is the last outpost of civilization (such as it is) before entering a world that has changed very little since the Middle Ages. The movie title, after the book written by Carlo Levi, expresses all the sense of abandon, neglect, desolation and human despair. According to the local tales, even Christ, in his southward journey, went no further than Eboli. Daughter of Mine Call Number: PN1997 .F542 2019 Shy, ten-year-old Vittoria has a close relationship with her loving mother, Tina ... but their life is upset when the young girl discover that local party girl Angelica ... is her birth mother. When Angelica is forced to move away because of financial troubles, she asks to become acquainted with Vittoria. Tina agrees, knowing the woman will leave town soon, but Vittoria and Angelica soon spend more time together against Tina's will Dillo Con Parole Mie Call Number: PN1997 .D55 2003 After breaking up with her boyfriend, 30-year-old Stefania vacations on the Greek "Isle of Love", and reluctantly agrees to chaperone her precocious 15-year-old niece, Meggy. But Stefania doesn't know that Meggy plans to lose her virginity before the summer is over, and the guy she has her eye on is none other than Stefania's ex. Divorzio all'italiana Call Number: PQ4864.E23934 D5 2005 Ferdinando longs to marry his cousin Angela, but one obstacle stands in his way: his wife, Rosalia. His solution? Since divorce is illegal, he hatches a plan to lure his spouse into the arms of another and then murder her in a justifiable effort to save his honor. Dogman Call Number: PN1997 .D64 2019 In a seaside village on the outskirts of an Italian city, where the only law seems to be survival of the fittest, Marcello is a slight, mild-mannered man who divides his days between working at his modest dog grooming salon, caring for his daughter Alida, and being coerced into the petty criminal schemes of the local bully Simoncino, an ex-boxer who terrorizes the neighborhood. When Simoncino's abuse finally brings Marcello to a breaking point, he decides to stand up for his own dignity through an act of vengeance, with unintended consequences. Don Matteo: Set 1 - 5 Call Number: PN1997 .D665 2012 Don Matteo is a detective with a difference. He is the local Catholic priest in a parish of the town of Gubbio in Perugia, with a profound knowledge of the human psyche. Riding his bike through the countryside of Umbria as he cares for his parishioners, Don Matteo really cannot stay out of trouble. Whether it's catching a thief or bringing a murderer to justice, Don Matteo uses his disarming smile and twinkling blue eyes to put the guilty off their guard and bring the truth to light. Duns Scoto Call Number: BX4705.D89 D8 2011 True story of the Franciscan priest and theologian who won a famous debate against the Dominicans in the 13th century in which he defended Our Lady's privilege of her Immaculate Conception, laying the groundwork for the Church to later define that as a dogma of the Catholic faith. Edith Stein: The Seventh Chamber Call Number: BX4705.S814 E3 2010 A portrayal of the life of Jewish philosopher, Catholic convert and Carmelite martyr, Edith Stein, capturing her interior struggles, as well as the great conflicts from her decision to convert to Catholicism. Influenced by the writings of St. Teresa of Avila, she joined the Carmelites and took the name of Teresa Benedicta of the Cross, was put to death in Auschwitz in 1942, and canonized by John Paul II in 1998. Enrico IV Call Number: PQ4835.I7 E5 2000 After a modern aristocrat falls off his horse, he believes that he is Henry IV, Emperor of the Holy Roman Empire. For years, everyone around him adapts to this fantasy, dressing and acting accordingly. Then one day, some friends try to cure "Henry." Fate Ignoranti Call Number: PN1997 .F38 2003 Antonia and her husband Massimo have been happily married for the better part of 10 years when a sudden and tragic accident kills Massimo. While going through her husband's possessions, Antonia discovers that her beloved Massimo has had a secret life for the last seven years. Ferdinando e Carolina Call Number: PQ4883.E7 F4 2006 After an arranged marriage, King Ferdinando and Carolina discover that the one thing they have in common is sexual desire. The sovereigns begin to lapse in their reigning duties, oblivious to the tide of revolution threatening to tear France apart. Finestra di fronte Call Number: PN1997.F56 2004 A young working-class wife and mother, Giovanna, has no time for the senile elderly man her husband has rescued from the streets. But as she uncovers the stranger's secrets, it unlocks a freedom within her heart she never expected; a freedom that will lead her to the arms of a neighbor she secretly adores, and to fulfillment her husband and family cannot provide. Fiorile Call Number: PN1997 .F565 2008 The Benedetti family has been haunted by a curse for generations. On a long drive to visit their grandfather in Tuscany, Luigi Benedetti tells his children the mysterious story of their ancestors -- a tale filled with forbidden love, passion, vengeance, and betrayal. Fuori dal Mondi Call Number: PN1997 .F86 2002 Caterina, a beautiful young nun, is about to take her final vows. But her life changes when she takes in an abandoned baby. As she seeks the baby's family, she meets Ernesto. Together, they seek the truth about the baby, and re-evaluate their own lives. Galileo Call Number: PT2603.R397 G3 2003 A bio-pic about Galileo, the 17th century Italian who laid the foundations of modern science. Galileo made himself one of the world's first telescopes and discovered the moons of Jupiter. He supported Copernicus' theory that the Earth revolved around the Sun. This brought him into conflict with the Catholic Church. By threatening him with torture, the Church forced him to recant his views in front of a tribunal, and sentenced him to house arrest. However, Galileo's trials and theories inspired others like Newton and Kepler to prove that the Earth was not the center of the Universe. Germania, Anno Zero Call Number: PN1997 .G47 2002 12-year-old Edmund Koehler struggles for survival. Among the nine people he lives with are: a father, who is suffering from malnutrition and a fatal illness; a brother, who is a former Nazi soldier hiding to avoid arrest; and a sister, who has turned to prostitution. Scouring the rubble-strewn city for food, money, and cigarettes, he comes upon a former teacher, Herr Enning, who evinces a barely restrained sexual attraction to the boy while providing him with records of Hitler's speeches that can be bartered on the black market. He also drums into the boy a classic piece of Nazi propaganda about the importance of having the courage to let the weak be destroyed. Under his influence, the confused young protagonist heads down a tragic path. Gianni e le donne Call Number: PN1997 .G53 2012 A middle-aged retiree has become invisible to all the women of Rome, regardless of age or relation. He contends with a demanding mother; a patronizing wife; a slacker daughter; and a wild party-girl neighbor who uses him, as a dog walker. Watching his codger friends snare girlfriends on the sun-kissed cobblestones of Trastevere, Giovanni tries his polite, utterly gracious best to generate some kind of extracurricular love life--with both hilarious and poignant results. Ginger & Fred Call Number: PQ4867.U3 G5 2007 Fellini's satirical attack on television in general and Italian TV in particular, portrays Amelia and Pippo, who wowed crowds with recreations of the dances of Fred Astaire and Ginger Rogers decades ago, reuniting for a nationwide TV special that features a list of guest stars that is both long and bizarre. Giorni e Nuvole Call Number: PN1997 .G56 2008 Well-to-do, sophisticated couple, Elsa and Michele, have a 20 year-old daughter, Alice, and enough money for Elsa to leave her job and fulfill an old dream of studying art history. After she graduates, however, their lives change. Michele confesses he hasn't worked in two months and was fired by the company he founded years ago. Elsa overcomes her initial shock by pouring extra energy into facing the crisis while Michele, exhausted by an unsuccessful job hunt, lets himself go, alternating between vivacity and apathy. The growing distance between them eventually leads to a break-up. Only when they part will they realize that they risk losing their most precious possession: the love that binds them. The Girl in the Fog Call Number: PQ4903.A666 R3 2019 Follows the sudden disappearance of Anna Lou, a 16-year-old girl from a small mountain village in the Italian Alps. Called to investigate the mystery is the enigmatic Detective Vogel ..., who soon realizes that this case is far from simple. Working against the clock and amidst an unprecedented and growing media frenzy, Vogel must make use of his unconventional methods to uncover the truth, in a town where motives are obscure, facts are distorted--and everyone could be a suspect. Giulietta Degli Spiriti Call Number: PN1997 .G58 2002 Juliet lives in a beautiful house by the ocean. Her sisters, and especially her Mother overshadow her with their beauty. She is a spiritual, superstitious and naive woman. She visits a psychic seer who tells her she must follow the sex trade in order to be happy. Not long after she meets her eccentric and sexy neighbour, Suzy, who, by all counts appears to be a high class prostitute and encourages Juilet into sexual acts which make her guilty and nervous. A rare night when her husband is at home she wakes up to catch him talking to another woman on the phone. He calls out the name "Gabriella" while sleeping, but when she questions him he lies his way out of it. She finds out who Gabriella is and fears her husband will leave her. Juliet begins having visions who accuse and terrorize her. The pinnacle of the visions comes at the end where it is implied she realizes she would be better off without her husband and is ultimately emotionally emancipated. Gomorra Call Number: PN1997 .G657 2009 Set in contemporary Naples, five interrelated stories of Italy's largest organized crime syndicate, the Camorra, intersect. The stories reveal how men, women and children are caught up in the mafia underworld, a corrupt system that transcends the housing projects and is run by Italy's political elite. Habemus papam Call Number: PQ4876.I3143 H3 2012 At the Vatican, following the demise of the Pope, the conclave to elect his successor settles on Cardinal Melville. Caught off guard and unwilling to take the job, Melville panics as the faithful wait for the new Pope's appearance in St. Peter's Square. To prevent a worldwide crisis, the Vatican calls in an unlikely psychiatrist to find out what is wrong with Melville and get him to take the position. While the world waits outside, inside the Vatican Palace the therapist works desperately with Melville to rid him of his fears and reaffirm his duty to God. Happy family Call Number: PN1997 .H3733 2010 Region 2 Recently dumped screenwriter Ezio is having trouble writing a story about two neurotic families whose paths cross when their teenage children, Filipo and Marta, decide to marry. Filipo's parents and Marta's parents arrange to have dinner to meet for the first time, with hilarious consequences. Ezio soon writes himself into his script, and into a love story, while the characters bother him about having bigger and better roles! Harem suare Call Number: PQ4915.Z73 H3 2003 Region 2 In Baghdad in the early 1900's, a woman rises up through the ranks of power in the waning days of the Ottoman Empire. She and a eunuch plan an elaborate scheme for the release of the female slaves. Heaven Call Number: PN1997 .H42 2001 Philippa a British teacher living in Turin, Italy, has watched helplessly as her husband and friends have fallen victim to drug overdoses. To compound her desperation, the police -- who are complicit in the actions of Turin's biggest drug dealer -- have completely ignored Philippa's repeated offers of information. So, with the unexpected help of a sympathetic police officer, Philippa feels she has nothing to lose by taking divine justice into her own hands! I bambini ci guardano Call Number: PQ4847.I5 B3 2006 A four-year-old boy, Pricò, is trapped in a loveless family, with his suicidal father, his adulteress mother, and inattentive relatives. I cento passi Call Number: PQ4866.A87 C4 2001 Region 2 "One hundred steps" was the distance between the Impastatos' house and the house of Tano Badalamenti, an important Mafia boss, in the small Sicilian town of Cinisi. Based on the true story of Peppino Impastato, a left-wing activist, that in the late seventies repeatedly denounced Badalamenti crimes and the whole Mafia system using a small local radio station. In 1978 Peppino was killed by an explosion. The police archived the case as an accident or a suicide, which his friends never accepted. Ieri, oggi, domani Call Number: PQ4815.I48 I3 2011 Three different stories set throughout Italy. In the first vignette, a woman avoids jail time by pumping out babies with a willing accomplice; in the second, a pair of clandestine lovers are forced to work out their problems in a car; and in the third, a prostitute quits her best john for a wavering priest. I fidanzati Call Number: PQ4875.L65 F5 2003 In the industrial North, Giovanni is a skilled Milanese factory worker offered a promotion if he'll go to Sicily for 18 months to assist in a new department. His impending absence strains his already nearly wordless relationship with Liliana, his fiancée. Across this distance, can anything bring about a breakthrough? Do they have a future? I girasoli Call Number: PQ4867.U3 G5 2011 Mere days after marrying Giovanna, Antonio is called to the Russian front to fight for the Italian forces. Years after Antonio is reported missing in action, Giovanna travels to Russia to learn what happened to him, only to discover he's alive. Their reunion is bittersweet, however, as Antonio has married another woman. Il capitale umano Call Number: PS3551.M52 C3 2015 Hedge-fund manager Giovanni Bernaschi seemingly has it all. Meanwhile, real-estate agent Dino Ossola struggles to maintain his family's middle-class existence and faces even worse financial straits when his wife announces that she is pregnant with twins. Leveraging his daughter's relationships with Giovanni's son, Dino deceives the bank and manipulates his way into the Bernaschi hedge-fund. As the destinies of both families become further entwined, a fateful hit-and-run accident sets in motion a chain of events, triggering dangerous consequences that will change their lives forever. Il Casanova di Federico Fellini Call Number: PN1997.C372 2010 An episode tale which mostly takes place in 18th century Italy. Giacomo Casanova is a modestly wealthy adventurer who leads a futile existence; his only strengths lie in seduction and sexual performance. His life becomes increasingly meaningless as lovers slip away. The film is loosely based off of the biography by Giacomo Casanova himself, although, like all of Fellini's literary adaptations (post 8 1/2), the film is decorated with a wreathe of absurdity. Il Cielo Cade Call Number: PQ4873.A956 .C5 2003 In 1944, newly-orphaned sisters, Penny and Baby, come to live in the Tuscan villa of their aunt and uncle. Their uncle is a German-Jewish intellectual, and discourages the pro-Mussolini and fascist sympathies the girls inherited from their late father. Penny and Baby gradually make friends in their new surroundings and become somewhat smitten with their uncle; but as war rages around them, the family receives a warning from the local priest to flee to Switzerland as the Nazis make towards their town. Il Commissario Montalbano Call Number: PQ4863.A3894 D4 2010 Detective Salvo Montalbano and his police squad solve crimes in the town of Vigata, crossing paths with Mafia dons, priests, housewives, liars, and saints. He also wages a personal war with his own demons, which fight against his professional ideals and personal commitment to his long-distance girlfriend, Livia. Il compleanno Call Number: PN1997 .C662 2011 A group of old friends rent an Italian seaside villa to spend the afternoon together. Their reunion changes, however, when Shary and Diego's son David shows up and attracts everyone's attention. Even happily married psychiatrist Matteo finds himself drawn to David, although he carefully hides this from his wife. Soon a dangerous tension builds up, although the friends pretend nothing is wrong. Before it ends, this vacation will indelibly mark all of their lives. Il decameron Call Number: PQ4267.A1 D4 2012 Boccaccio's classic tales of passion brought to the screen. Among the stories are a man's exploits with a gang of robbers, a flock of randy nuns who sin with a gardener, and a pupil of the painter Giotto working on a massive fresco. Il Divo Call Number: PN1997 .D585 2009 Seven-time Italian prime minister Giulio Andreotti's long career was dogged by persistent accusations of conspiracy, Mafia connections and state-sponsored terror. This film explores the political machinations and criminal underworld surrounding this controversial figure. Il fiore delle mille e una notte Call Number: PQ4835.A48 F5 2012 A selection of erotic stories from "The Thousand and One Nights". The film focuses on the book's more erotic tales, framed by the story of a man's quest to reconnect with his beloved slave girl. Il Gattopardo Call Number: PN1997 .G38 2004 disc 1-3 Recounting the years of Italy's Risorgimento-when the aristocracy lost its grip and the middle classes rose and formed a democratic Italy. Contains the original Italian version with optional subtitles, the English-language version and special features. Il generale Della Rovere Call Number: PQ4829.O575 G4 2009 Emanuele Bardone, a petty con man in wartime Genoa, fleeces his victims by posing as a colonel. Persuaded by the Nazis to impersonate a partisan leader they have killed, he assumes the admirable qualities of the heroic officer and the German plan backfires. Il giardino dei Finzi Contini Call Number: PQ4807.A79 G5 2001 Set in Italy in 1938, when Mussolini's anti-Semitic edicts began to isolate the Jews from their communities. Among them were the Finzi-Continis, an aristocratic Jewish family forced for the first time to acknowledge the world beyond its fenced garden. Il giovane Montalbano Call Number: PQ4863.A3894 G5 2012 In this prequel series to Detective Montalbano, watch the genesis of the friendships, the rivalries and the romance as the players arrive to take their places in the Sicilian town of Vigata. These stories set the stage for the group's transformation from rookie cops to the experienced crime-solving ensemble they are now. Il momento della verità Call Number: PQ6652.E45 M6 2012 About an impoverished Spanish lad who becomes a famous bullfighter, known as Miguelín. He quickly rises to the top and is soon appearing before capacity crowds in the bullrings of Barcelona. Charting his rise and fall, the film places the viewer right in the thick of the ring's action, as close to death as possible. Il mostro Call Number: PQ4862.E555 M6 1999 A vicious serial killer is on the loose committing rape and murder. Landscape gardener and shop-window outfitter Loris is the prime suspect, due to his unfortunate habit of getting caught in compromising yet innocent situations. An undercover policewoman, Jessica, is assigned by eccentric police psychologist Taccone to watch the suspect and find evidence for his arrest. Il paese delle spose infelici Call Number: PQ4904.E85 P3 2012 Region 2 Veleno, the son of a lawyer, makes friends with some street kids when he is drafted by their leader, Zazà, to be the goalie of their soccer team. The two friends become obsessed with Annalisa, after they witness her throw herself off the roof of the local church. Il Postino Call Number: PQ8098.29.K3 A7 1995 Il posto Call Number: PQ4875.L65 P6 2003 When Domenico ventures from the village of Meda to Milan in search of employment, he finds himself on the bottom rung of the bureaucratic ladder in a huge, faceless company. The prospects are daunting, but Domenico finds reason for hope in Antonietta. A tale of one man's stumbling entrance into the perils of modern adulthood. Il Regista di Matrimoni Call Number: PN1997 .R437 2008 Franco Elica is a dissolute movie director who slides into despair after being asked--to his horror--to make a film. Hoping to avoid a looming sexual-harassment scandal, Franco flees to Sicily where he hids out and meets a host of colorful characters: a man who makes his living shooting wedding films, a film director who is faking his own death to finally achieve fame, and a cultured prince. The menacing prince, a huge fan of Franco's movies, commissions him to shoot the wedding of his tempestuous daughter, Bona, with whom Franco quickly falls impulsively, dangerously in love and whose wedding he becomes driven to sabotage at all costs. Il resto della notte Call Number: PN1997 .R479 2008 Silvana, the depressed wife of a provincial industrialist, convinces herself that Marie, their Romanian maid, is stealing from her. With no proof and against her husband's wishes, Silvana fires Marie without notice. After desperately wandering around, Maria goes to live with her former boyfriend, Ionut, who has just been released from prison. While co-habitating together, their long-extinguished passion reignites. Il segreto di rahil Call Number: PN1997 .S4335 2007 Tells the story of a 12-year-old Iraqi girl living in Rome, who finds herself rejected by both Italians and Arabs because of a secret in her past. Her story is revealed in a series of flashbacks, as told by Rahil herself, through the bars of a jail-cell from an undisclosed location. Despite her hardships, Rahil dreams of a life of a different adventure than the one she now has. Il sorpasso Call Number: PN1997 .S6738 2014 Roberto, a shy law student in Rome, meets Bruno, a forty-year-old exuberant, capricious man, who takes him for a drive through the Roman and Tuscany countries in the summer of 1962. They will spend two days together, meet both Roberto's and Bruno's family. The time Roberto spends with Bruno is a hilarious, but sometimes emotionally merciless accelerated maturization process. While Bruno's easy going "l'usage du monde" and societal success attract Roberto's great admiration, he also slowly realizes Bruno's hollowness, superficiality and unhappiness. Il Sud è niente Call Number: PN1997 .S8619 2016 Region 2 Grazia, a 17-year-old teenage girl, lives in a small town in the south of Italy. Her brother Pietro disappeared--emigrated to Germany--years ago; her father told her that he was dead and never wanted to talk about it. One night, after a fight, Grazia enters into the sea and sees a human figure whom she recognized as her brother. That night she decides to search for him, breaking the silence that her father has always held on to. Il Vangelo Secondo Matteo Call Number: PN1997 .V36 2003 The birth, life, teachings and death on the cross of Jesus Christ presented almost as a cinema-verité documentary. Pasolini's second feature ... is an attempt to take Christ out of the opulent church and present him as an outcast Italian peasant. Il villaggio di cartone Call Number: PQ4875.L65 V5 2012 Region 2 An elderly priest is devastated when his church is deconsecrated, leaving him without a role in life. It is not long before a group of illegal immigrants find shelter in the "church" and give the priest a new role and set of responsibilities. Incantato Call Number: PN1997 .I5315 2006 Nello is a shy and clumsy man devoted to the academic world. His lack of interest in women worries his father, who sends him to work at a school to find a wife. Nello finds himself at a dance where he meets and falls for a beautiful blind woman. The Inspector Vivaldi mysteries Call Number: PN1997 .I568 2013 Inspector Federico Vivaldi is an old-school cop in a new world. His son, Stefano, is also a cop, and father and son make a good team solving crimes together in the northeastern Italian city of Trieste. Together, they investigate cases ranging from insurance fraud to murder and human trafficking. Their toughest challenge involves the murder of a math professor who had been solving some equations linked to a long-ago kidnapping and murder. When Federico's best friend and former colleague gets called in as a suspect in the same cold case, it seems as if his world has turned inside out. Io e te Call Number: PQ4861.M54 I59 2013 Region 2 A 14-year-old pretends to go on a ski trip, but actually spends the week in isolation in his basement, escaping society's pressure. When his 25-year-old half-sister enters the basement, a few emotional and confronting days and nights ensue. Io Non Ho Paura Call Number: PQ4861.M54 I6 2004 While playing outside one day in a wheat field, nine-year-old Michele discovers Filippo, who is chained to the ground at the bottom of a hole. Michele witnesses town bad boy Felice nearby and suspects something bad is happening. Michele is unsure whom he should tell about his discovery, eventually spilling the tale to his closest friend. When Michele's parents learn of his discovery, they warn him to forget whatever he saw. Io sono l'amore Call Number: PN1997 .I63 2010 The Recchi family has undergone sweeping changes. Eduardo Sr. has named a successor to the reins of his company, and surprised everyone by splitting power between his son Tancredi and grandson Edo. But Edo had always dreamed of opening a restaurant with his friend Antonio. To make matters worse, the very foundation of the entire family may be totally shattered after Tancredi's wife Emma falls in love with Antonio and begins a love affair. Io sono Li Call Number: PN1997 .I635 2013 Shun Li works in a textile factory near Rome. She is suddenly transferred to work as a bartender at a pub in a small town along the Venetian Lagoon. The pub is the hangout of the local fishermen, including Bepi, a Slav immigrant nicknamed "The Poet." A friendship grows between them, but gossip soon threatens their innocent relationship; a bond that had once transcended two very different, yet not at all distant cultures. I racconti di Canterbury Call Number: PC947.9.P3 R3 2012 A selection of stories from Chaucer's "The Canterbury Tales". Shot in England, it offers an earthy re-creation of the medieval era. From the story of a nobleman struck blind after marrying a much younger and promiscuous bride, to a climactic trip to a hell populated by friars and demons. I soliti ignoti Call Number: PQ4869.N395 S6 2001 Five men conspire to burglarize a small-time jeweler's safe. When the time comes to carry out the scheme, the men become hopelessly clumsy and have to eventually give up and go home. I vitelloni Call Number: PQ4815.L23 V5 2004 This film details a year in the life of five young men lingering in post-adolescent limbo, dreaming of adventure and escape from their small town and struggling to find meaning in their lives. Jona che visse nella balena Call Number: PT5881.25.B39 L6 2007 Dubbed in English, Italian version unavailable Depicts a hope-filled view of the Holocaust from the perspective of a young Dutch boy, Jonah, who spends much of his childhood behind the bars of a Nazi concentration camp. Only through strength and perseverance does he emerge from the camp and grow. Kaos Call Number: PQ4835.I7 K3 2008 Magic, drama, horror and humor are all evoked in this adaptive collection of five tales of Sicilian peasantry, based on short stories by Luigi Pirandello. In "The Other Son," a mother spends her life waiting for news from two sons, emigrated to America, while ignoring her third. "Moonsickness" tells the tale of a newly-wed girl who discovers her husband acts strangely every full moon. "The Jar" tells the story of a wealthy man's brand new olive jar, which is repaired with the craftsman inside. The fourth vignette, "Requiem," tells the story of villagers banding together against their landlord. An epilogue is included, which centers on Pirandello's journey home. Each of four vignettes examines a varied point of view to convey a sense of understanding and compassion for ordinary people and their extraordinary plights. Kapò Call Number: PN1997 .K365 2010 The story of a Jewish girl from Paris sent to a concentration camp during World War II and her struggle to survive by stealing another's identity and becoming a warden. L'Albero Degli Zoccoli Call Number: PN1997 .A42 2004 Details the life of three peasant families in 19th century Italy. Evokes the time and place rather than telling a narrative. L'amore ritrovato Call Number: PQ4809.A679 A4 2010 Region 4 Set in Tuscany in 1936, this is the story of two lovers, Giovanni and Maria. Their first meeting, as teenagers, was a brief infatuation in the seaside town of Livorno, but it isn't until a chance encounter, years later, that their romance kindles. Giovanni, now settled in life as a bank worker with a wife and a young son, is transferred back to his hometown of Livorno, where he again meets Maria, who has always been in the back of his mind since their first encounter. They begin an affair, but the complications of their personal lives begin to take their toll on the relationship. La Strada Call Number: PN1997 .S7605 2003 Gelsomina is sold by her very poor mother to Zampanò, an itinerant strongman. She follows him on the road ("la strada") and helps him during his shows. Zampanò ill-treats her. She meets "The Fool", a funambulist. She feels like going with him, but he puts confusion in her mind by pointing out that perhaps Zampanò is in fact in love with her. La terra trema Call Number: PQ4734.V5 T4 2012 In the poor Sicilian village of Aci Trezza the fisherman have been exploited for generations. Tired of the endless cycle of poverty, a young soldier returns home from war and convinces his family to strike out on their own. Tragically, his plan to change the system is met with a cruel blow that pushes them even further under water. La tigre e la neve Call Number: PQ4862.E555 T5 2007 Soon after the start of hostilities in Iraq, Attilio heads to Baghdad when he learns from his friend that the woman he loves has been critically injured in a bomb explosion. Attilio does everything in his power to save her, risking his own life amidst the chaos of war. La visita Call Number: PN1997 .V574 2012 Pina takes out an ad in the personal column hoping to find a man to take her away from the tiny Italian village where she lives. For months now she has been trying to find the right one--a man with a solid career, a family in mind, and plenty of stamina. Adolfo, a successful businessman from Rome, replies to Pina's ad, and the couple arrange to meet in the village where Pina lives. Incorporating flashbacks from both of their lives, the complexity of their characters is slowly revealed and when the two finally meet, Pina quickly concludes that Adolfo is the one. La Vita e Bella Call Number: PN1997 .V58 1999 A charming but bumbling waiter who's gifted with a colorful imagination and an irresistible sense of humor has won the heart of the woman he loves and has created a beautiful life for his young family. Then that life is threatened by World War II. Le Chiavi di Casa Call Number: PN1997 .C448 2005 Gianni is reunited with Paolo, the 15-year-old son he has never seen, a son he abandoned at birth. The reunion is not Gianni's idea, but that of Paolo's doctor who hopes the connection will benefit the troubled boy. Gianni experiences a Pandora's box in Paolo, full of shocks and wonders, but the key to one's house are oftern found in the keys to one's heart. Le mani sulla città Call Number: PQ4872.A24 M3 2006 The structure of power and the facade of democracy are explored in this political exposé of corruption in Naples. Following the fatal collapse of a tenement building, an investigation reveals that profits from municipal developments are going to city council members and developers in backroom negotiations. Le notti bianche Call Number: PG3325.B5 N6 2007 Region 2 Set in Livorno in the 1950s, Mario, a shy young man, meets a mysterious girl, Natalie, sobbing on a canal bridge. She tells him she loves a sailor who left on a long journey and promised to return in one year. The year is up and he hasn't arrived. Mario falls in love with her and has just persuaded her that the sailor will never return ... when he does in fact appear. Le Quattro Volte Call Number: PN1997 .Q38 2011 With little dialogue, this film is a meditation on the mysterious cycles of life. Set in Italy's mountainous region of Calabria, it traces the path of one goat herder's soul as it passes from human to animal to vegetable to mineral. Working as both a spiritual investigation and a documentary of Calabrian life, the film's surface hides a complex understanding of humanity. Luce dei Miei Occhi Call Number: PN1997 .L83 2003 Antonio, a youngish chauffeur who is a model of professional promptness and courtesy. He also possesses a vivid inner world dominated by images of other worlds and other planets. A chance near-accident introduces him to Maria), a struggling single mother trying desperately to keep her frozen foods store afloat and to keep her daughter from being taken away from her by the child's grasping grandparents. Even though Maria is extremely suspicious of Antonio's intentions, the two form a slow tentative relationship. When he learns Maria's dire circumstances, he selflessly tries to intercede at the expense of his own career. Antonio makes quiet deals with the sleazy gangster whom Maria owes money, drives the crime boss around on his various errands, and eventually participates in some of his shady dealings. Là-bas Call Number: PN1997 .L25 2012 Region 2 Yussouf is an African artist who is promised a job by his uncle in Italy. Unable to find his uncle once he gets there, Yussouf ends up in Castel Volturno, a city of African immigrants. There, he discovers the day-to-day struggles these people face, their mistreatment, and exploitation. He is also unfortunate enough to witness the activities of the criminal Camorra, a deadly Naples-based Mafia. The Mafia Kills Only in Summer Call Number: PN1997 .M339 2017 The story of growing up and falling in love in the Mafia-ridden city of Palermo. Seen through the eyes of Arturo, a child brought up in a fascinating yet terrifying city, the story spans twenty years of life filled with passion and laughter. Mafioso Call Number: PQ6601.Z45 M3 2008 Nino is an auto-factory foreman who takes his wife and two daughters from industrial Milan to the antiquated, rural Sicily to visit his family and get back in touch with his roots. Nino gets more than he bargained for when he discovers some harsh truths about his ancestors and himself. Malèna Call Number: PN1997 M3553 2001 On the day that Italy enters World War II, Renato, a 13-year-old boy, gets his first look at Malèna, a young woman who has recently moved to Renato's small Sicilian village with her husband, Nico. However, once Nico is called off to war, Malè̀na becomes the center of the town's gossip. During the next few years, as Renato grows towards manhood, he witnesses Malèna's suffering, when Nico is reported dead, her poverty and search for work, and her final humiliations. Manuale d'amore 3 Call Number: PQ4863.H578 M3 2012 Region 4 Examines three different couples united in their quest for love: Roberto, an ambitious lawyer is going to marry Sara. His whole life is perfectly planned out. Things get complicated when he meets Micol, a woman from a small village in Tuscany. Fabio, a famous anchorman, has been the perfect husband for 25 years. A one-night stand with Eliana proves to be more than what he bargained when she refuses to leave. Adrian, an American art history professor, has been living the loner life in Rome since divorcing his wife years ago. His limited and tranquil existence is disturbed when he meets his doorman's daughter. Martin Eden Call Number: PS3523.O46 M3 2020 Adapted from a 1909 novel by Jack London yet set in a provocatively unspecified moment in Italy's history, [this film] is a passionate and enthralling narrative fresco in the tradition of the great Italian classics. Martin is a self-taught proletarian with artistic aspirations who hopes that his dreams of becoming a writer will help him rise above his station and marry a wealthy young university student. The dissatisfactions of working-class toil and bourgeois success lead to political awakening and destructive anxiety. Maternity blues Call Number: PQ4882.E645 M3 2012 Region 2 In a moment of madness Clara has killed her baby. Found not bearing liability for her acts by the court, she is sent to a carceral psychiatric hospital. There, she shares a room with women who, like her, committed an act from which there is no going back. Clara and her roommates try to go on living with the weight of their sins on their shoulders, but consolation escapes their minds. Matrimonio all'italiana Call Number: PQ4815.I48 M3 2011 Domenico first meets 17-year-old Filumena in a Neapolitan brothel in the second World War. After the war they become lovers on and off for 22 years. Domenico eventually rents an apartment for Filumena and even lets her run his shop but is always chasing other women. When Domenico chooses to marry a young cashier instead of her, Filumena is furious, and resorts to a series of wild ruses to win back his hand. Mediterraneo Call Number: PQ4873.O4938 M4 2010 In 1941, a small group of misfit Italian soldiers is sent to a tiny Greek island in the Agean for four months of lookout duty. Their relief ship is torpedoed and their radio destroyed. As they lose all touch with the world outside, they are absorbed into the life of the idyllic island. Mia madre Call Number: PN1997 .M52 2015 Margherita is a film director who quickly finds out that her lead Hollywood actor is rather difficult to work with. If his demands weren't enough, her mother's health has recently declined and Margherita struggles to find the balance and harmony between work and family life. Mine vaganti Call Number: PQ4863.O8873 M5 2010 Region 2 Tommaso is about to reveal to his large, frenetic Italian family that he's gay. But he's beaten to the punch by his older brother, who is promptly disinherited by their furious father. Mio Fratello è Figlio Unico Call Number: PQ4876.E485 M5 2008 Set during Italy's violent political period of the 1960s. Two brothers, Accio and Manrico, attempt to distance themselves from each other by joining opposing political parties, but our ultimately tied to each other by their working-class family. Miracolo a Milano Call Number: PQ4851.A9 M5 2006 Region 4 An Italian orphan, with the aid of a miraculous dove, combats power and wealth and succeeds in bringing happiness to the inhabitants of a Milanese hobo camp. Comedy, satire, and realism are combined in this fantasy about the social conceits of man. My Big Gay Italian Wedding Call Number: PS3623.I5525 P8 2018 Antonio and Paolo live happily together in Berlin and are finally getting married. They decide to celebrate in the small village in Italy where Antonio grew up. While his mother immediately supports his intentions, her husband Roberto, the town mayor, is much more reluctant. Paulo, who has not spoken to his conservative mother in a long time, must get her to the wedding as a condition of the marriage. My Brilliant Friend Call Number: PQ4866.E6345 M9 2019 The series begins with an elderly woman discovering that her 'brilliant friend' seems to have disappeared without a trace. Beginning an epic tale that spans over 60 years, she writes about their tempestuous relationship that started in 1950, and tries to describe the mystery of her friend, who is--in a way--her worst enemy. Set in a dangerous and fascinating post-WWII Naples, Italy Nebbie e delitti, Season 2 Call Number: PQ4922.A7 N43 2012 The River Po dominates the region of Ferrara with its seasons, its power and its mystery. It nourishes the close-knit fishing communities who live on its banks, and it also hides their secrets. Secrets that are sometimes uncovered by people like police inspector Franco Soneri. Non ti Muovere Call Number: PQ4873.A9532 N6 2006 Timoteo is a successful surgeon and permissive father whose teenage daughter, Angela, has just had a life-threatening motorbike accident. Sitting in the hospital, wondering if his daughter will survive, Timoteo remembers back to a day 15 years earlier when his car broke down on a remote country road in the rain and a young woman, Italia, invited him into her home only to have him force himself upon her. Timoteo then returned home to his wife, Elsa. But unable to get Italia out of his mind, Timoteo returned again and again to her. They began to develop genuine feelings for each other. Elsa is reluctant to have children, despite Timoteo's wishes, so when he learns that Italia is pregnant, he has to decide to between his family and Italia. Nostri ragazzi Call Number: PT5881.21.O25 N6 2015 A story about two brothers and their wives, and the relationships between them and their two high-school age children. When the kids get into serious trouble, tensions between the brothers and their families escalate. Will the parents protect their children, or will they force them to face the consequences of their crime? Notte Prima Degli Esami Call Number: PQ4902.R55 N6 2006 Region 2 Explore the classic problems teenagers face when passing from adolescence to adult age. Set in the summer of 1989, on the brink of his exams, Luca Molinari, a graduating student, insults his literature teacher, Antonio Martinelli, in a final act of rebellion. This act backfires when Martinelli states that he will be part of the judging panel in their grueling oral exam. At a party the same evening, Luca falls in love with Martinelli's daughter, Claudia. Notte prima degli esami oggi Call Number: PQ4902.R55 N6 2007 Region 2 A sequel to Notte prima degli esami, this movie is about the same high school teenagers from the original film, but transplants them from the 1980s to the Italy of 2006. Novecento Call Number: PQ4862.E778 N6 2012 A portrait of two friends, both born on January 1, 1900--the son of a socialist farmer and the son of a fascist landowner. The two men pass through the upheavals of the modern world, as their personal conflicts become an allegory of the political turmoil of 20th century Italy. Oedipus Rex Call Number: PA4413.O7 O4 2003 A dark and riveting retelling of the classic Greek tragedy, 'Oedipus Rex'. Unknown to himself, Oedipus kills his father and marries his mother. When the truth is discovered, he puts out his eyes and Oedipus wanders the streets until he is found by his daughter, Antigone, a common blind beggar. The Orange Thief Call Number: PN1997 .O73 2008 Living on the outskirts of society, an orange thief and some other country-wise ruffians steal fruit for sustenance and the sheer excitement of courting danger. After the thief ends up in jail, his life takes a turn when his bunkmate promises him a deal. Ossessione Call Number: PS3505.A3113 O8 2003 The story of the ill-fated love between Gino, a virile drifter, who arrives by chance at a roadside restaurant and filling station, and Giovanna, the wife of the man who owns the place. Gino leaves, only to return because he can't get her out of his blood. They kill her husband but his death haunts the guilt-ridden Gino. Padre Padrone Call Number: PQ4872.E39 P3 1998 The story of a son's development under an oppressive father. Gavino lives in solitude as an illiterate Sardinian shepherd. Finally he revolts against his father and his own illiteracy, studies and earns a degree and finds his identity through his newly-found ability to communicate. Pane e Tulipani Call Number: PN1997 .P343 2002 When a harried housewife is accidentally left behind while on vacation with her family, she decides to take a holiday of her own in Venice. She becomes charmed by the city and her newfound freedom. She decides to extend her stay, finding a job in a flower shop, renting a room from a wistful waiter, and rediscovers her love for playing the accordion. But her solo journey does not sit well with her tyrannical husband, who hires an amateur detective to bring her back home. Paolo VI Call Number: BX1378.3.P36 2010 "...blends drama and archival footage to paint an insightful portrait of Pope Paul VI (Fabrizio Gifuni), who confronted great challenges -- from student protests to terrorist attacks -- during his 15-year reign as pontiff. Ascending to the papacy in 1963, Paul VI initiated a dialogue among religions but also stirred up a continuing controversy with his strong positions on contraception and abortion." Pasqualino settebellezze Call Number: PN1997 .S4684 2017 The defense of honor, a strong value in Neapolitan society, and his effects on the life of everyman Pasquale Frafuso. Perfetti sconosciuti Call Number: PN1997 .P478 2017 During a dinner party, seven friends decide to play a dangerous game. The attendees place their cellphones on the table and agree to make all texts and calls public in an attempt to prove that they have nothing to hide. Rapid fire and wildly entertaining, this film poses the question: how well do we really know those close to us? Pinocchio Call Number: PQ4712.L4 P5 2003 The journey begins when the wooden puppet named Pinocchio comes to life! Then the curious Pinocchio opens the door to one adventure after another despite guidance from the Blue Fairy and his father, Gepetto. Pranzo di Ferragosto Call Number: PN1997.P73 2010 A middle-aged man living with his elderly mother finds the best way to pay for their debts is to take care of the building manager's mother during the biggest festival of the year. Soon he finds himself with not two but four mothers to keep fed and happy. Preferisco il paradiso Call Number: BX4700.F33 P7 2011 One of the most popular saints of all time, St. Philip Neri was widely known for his great charity, deep prayer life, and tremendous humor. Hoping to join St. Ignatius of Loyola's new order of Jeuits and be a missionary to India, Philip was instead guided by Providence to seek out the poor and abandoned youth of Rome to catechize them in the faith and help them find a better life. He bacame the founder of the religious congregation, the Oratory, that worked with the youth and also labored to re-evangelize a decadent Rome. Primo amore Call Number: PN1997 .P7495 2005 Vittorio is looking for a woman who matches his ideal. Through a classified ad he meets Sonia, a sweet, pleasant, intelligent girl. However, she weighs 125 pounds -- which according to Vittorio is way too much. A goldsmith by trade, Vittorio is obsessed with the desire to shape Sonia's body and mind as he does gold with fire. Almost imperceptibly Sonia becomes a passive participant and the relationship grows into a reciprocal masochistic game. When the two lovers isolate themselves in a country house in the Veneto hills, they dangerously lose touch with reality and the rest of the world. Quando sei nato non puoi più nasconderti Call Number: PQ4875.T697 Q3 2005 Region 2 One night during a sailing trip through the Mediterranean, the only son of a wealthy Italian entrepreneur falls overboard. Although given up for dead, Sandro has been rescued by a fishing boat carrying illegal immigrants to Italian shores. Reality Call Number: PQ4863.H578 R4 2013 Luciano is a charming and affable fishmonger whose unexpected and sudden obsession with being a contestant on the reality show "Big brother" leads him down a rabbit hole of skewed perceptions and paranoia. So overcome by his dream of being on reality TV, Luciano's own reality begins to spiral out of control. Respiro Call Number: PN1997 .R478 2002 Grazia is a carefree mother of three, who soon becomes the focus of her neighbors' gossip. While her fellow Lampedusians work and live hard - oblivious to their native paradise - Grazia alone is courageous enough to blissfully embrace life's treasures. Her wild, sensual and free-spirited behavior reflects the unrivaled beauty of her heavenly seaside village. She is not understood or accepted by the social conventions of the town, nor its strict tribal rules. Brings to light the network of true affection inside the family. Ricordati di Me Call Number: PN1997 .R528 2007 Rita de Cascia Call Number: BX4700.R5 R5 2007 Filmed on location in Italy, it tells the beautiful story of young Rita who fell in love and married a handsome knight from a violent family, whom she eventually succeeded in reforming, but then lost him to murder, and also lost their two sons to illness before she lived as an Augustinian nun for forty years. She is renowned for her prayer life, her role as a peacemaker, her service to the sick, and her stigmata. Countless miracles are attributed to her intercession and she is known as the patron of hopeless situations. Rocco e i suoi fratelli Call Number: PQ4880.E84 R6 2004 Region 4 The story of four Italian brothers and their mother who leave their country home and move to Milan with hopes of improving their bitter fortune. The family is thrown into chaos when two of the brothers are torn apart by their love for the same woman and their struggles to succeed in a viciously competitive world. Roma Call Number: PN1997 .R655 2001 Set in Rome, Federico Fellini reminisces about his childhood, living in the Italian countryside. In school Fellini studies the history of ancient Rome and is eventually exposed to the real thing, arriving in Rome during the beginning of World War II. Once there, through a series of chance encounters, Fellini reinterprets Rome's modern city life with that of Italy's history as a whole. Roma, città aperta Call Number: PN1997 .O64 1997 The loyalties of an impoverished mother-to-be and a parish priest are tested by the German forces which occupy their homeland during World War II. Romanzo di una strage Call Number: PN1997 .R658 2012 Region 2 On December 12, 1969, a huge bomb planted in a bank in Milan killed 17 people, a shocking crime that the Italian police first blamed on anarchists. This drama taken from real-life events chronicles the successive twists in the Piazza Fontana story. Salvatore Giuliano Call Number: PQ4879.O397 S2 2004 A documentary-style drama chronicling the rise and fall of Salvatore Giuliano, a real-life Mob chieftain who rose to prominence in post-WWII Sicily. Filming in the exact locations and enlisting a cast of Sicilians once impacted by the real Giuliano, director Francesco Rosi harnessed the facts and myths surrounding the true story of the bandit's death to create an exposé of Sicily and the tangled relations between its citizens, the Mafia, and government officials. Saturno contro Call Number: PN1997 .S342 2008 This film focuses on contemporary 30- and 40-somethings trying to make sense of their lives in an age in which the old certainties have disappeared. Lorenzo and Davide make their lives together within a circle that includes married couple, Antonio and Angelica; Nerval and her policeman husband, Roberto; Davide's ex, Sergio; and a new arrival to the group, Paolo. When tragedy strikes, the boundaries and divisions among friends, acquaintances and even lovers become brutally apparent. The Scarlet and the Black Call Number: PN1997 .S353 2003 In English The true story of Monsignor Hugh O'Flaherty, a courageous Irish priest working in the Vatican during the German iccupation. O'Flaherty devotes all his time and energy to hiding refugees and Allied POWs from the Nazis, building a network of hundreds of people to help him with his efforts. Colonel Kappler, the local gestapo chief, learns of O'Flaherty's activities. The priest has diplomatic immunity because of his Vatican post, but Kappler orders that he be captured or killed if seen outside the Vatican walls. Pope Pius XII remains aloof insisting on the church's neutrality. Working closely with a brave widow of an aristocrat, O'Flaherty uses disguises to slip in and out of the Vatican, continuing his dangerous mission until Rome is liberated, and saving thousands of innocent people from death. Sciuscià Call Number: PN1997 .S366 2011 In post-World War II Rome, Italy, Giuseppe and Pasquale, hoping to escape the harsh reality of poverty and violence, work on the street shining the shoes of American troops. But when the boys are falsely accused of a crime, they are sent to a brutal state juvenile detention center. Senso Call Number: PQ4684.B25 .S4 2010 In Venice, during the spring of 1866, it is the last month of the Austrian occupation of the Veneto. The Italian government has forged a pact with Prussia, and another war of liberation in the ongoing Risorgimento is imminent. Countess Livia Serpieri, unloved by her collaborator-husband but sympathetic to the cause of freedom espoused by her patriotic cousin Roberto, meets Austrian officer Franz Mahler as she begs him to call off a duel with Roberto. She falls in love with the officer, the country marches to revolution, and her dedication to the cause wilts under her desire and obsession. Mesmerized by him, she betrays not only her husband and cousin, but the revolution, too, with tragic results. Sicilian Ghost Story Call Number: PQ4873.A4633 S5 2019 The tale of a mysterious disappearance set in a little Sicilian village on the edge of a forest. Thirteen-year-old Luna, always dreaming, has a crush on her handsome classmate Giuseppe; they begin a tentative romance. But one day Giuseppe fails to show up at school. As the days pass with no sign of him, Luna tries to raise concern with family and friends. Siena Call Number: DG975.S5 S5 2007 In English The city of Siena, located in Tuscany, is referred to by some as the "Italian metropolis of the Gothic period." Its palaces, historic squares (like the Piazza il Campo), and churches such as the Duomo di Siena date back to the Middle Ages and create Siena's unique character. Si può fare Call Number: PQ4902.O655 S5 2009 Region 2 Nello is an out-of-work former trade unionist who has been sent to run a cooperative of mental patients who were released from Italy's psychiatric hospitals when the government closed the hospitals down under the 1980's Basaglia Law. Nello doesn't like the over-medicated clients' way of life at the cooperative and he seeks to find a more beneficial life for them and possibly learn a profession to suit their capabilities. Terraferma Call Number: PN1997 .T477 2012 Region 2 On Linosa, an island near Sicily, fishermen are punished for saving illegal immigrants from the sea and, back on shore, letting them go, because this amounts to facilitating illegal immigration. Therefore a local, Filippo, does not allow them on his boat. Several die, and Filippo changes his mind about the matter: he helps a family consisting of a mother, a boy and a newborn baby, to get to the Italian mainland. They Call Me Jeeg Call Number: PN 1997 .L61 2017 Enzo, a lonely and misanthropic small time crook, uses the superpowers gained after falling in the Tiber River to chase down a crazy gangster called "The Gypsy." Tickets Call Number: PN1997 .T53 2006 In this anthology film, an elderly businessman finds solace and a new insight into life when he meets a younger woman who arranges his train ticket after his flight is canceled. A young man is torn between an older woman who controls him and a younger one that attracts him. And three Scottish youths on their way to the football match of their dreams are forced to open their eyes and see the bigger picture when they meet an Albanian family. In each case, the train journey changes the course of all their lives. Tre Fratelli Call Number: PG3476.P543 T7416 2001 A story about the lives and dreams of three brothers reunited in their small home town on the occasion of the funeral of their mother. In the sunlight of the Italian countryside, they face their connection to each other and to themselves. Tu Ridi Call Number: PQ4835.I7 T9 2003 Two segments: In the first one Felice, a baritone who has had to give up his career because of a heart condition and now works as an accountant at the Opera, inexplicably spends his nights laughing in his sleep. When his best friend, a cripple, takes his life and his wife abandons him Felice decides to die himself. In the second segment two kidnappings in Sicily, the second of which took place a century before the present one, are compared. Twin Flower Call Number: PN1997 .F564 2019 Sixteen-year-old Anna ... is on the run, escaping from a violent event so traumatic that she will no longer speak to anyone. Pursuing her is Manfredi ... an obsessed human trafficker who employed her father. On the road she is rescued by Basim ... a teenage orphan and illegal immigrant from the Ivory Coast, who also has been abused by life. Together the two adolescents embark on a perilous journey towards a new beginning, traveling through the ... landscapes of Sardinia The Two Suitcases Call Number: BX2330 .T86 2005 In English Josephine was born in 1869 in Sudan. As a child of 7 or 8, she was taken away by Arab slave traders and given the name "Bakhita," meaning fortunate, and then sold no less than five times between 1877 and 1883. She was subjected to beatings which left deep scars on her body. Finally in 1883 she was purchased by an Italian Consulate agent, Calisto Legnani, who was much kinder to her. Legnani returned to Italy in 1885, taking Josephine with him. There she was entrusted to the care of the Michieli family in Venice. When the Michielis went to the Sudan on business, Josephine stayed at the Catechumen Institute in Venice, run by the Canossian Sisters. It is here that she discovered the faith and learned that God, not man, is the true Master of every human being. When the Michielis came to take her back to Sudan, she chose to remain there, and her new life began. Uccellacci e uccellini Call Number: PQ4835.A48 U3 2003 An Italian man, Innocenti Totò, and his son, Innocenti Ninetto, are walking along the road of life when they suddenly meet a speaking crow who philosophizes with Marxist commentary on the passing scene. The two men are soon moved back 750 years in time, changed into monks, and sent by St. Francis to convert the hawks and the sparrows to Christianity. Umberto D. Call Number: PQ4851.A9 U4 2003 Follow Umberto D., an elderly pensioner, as he struggles to make ends meet during Italy's postwar economic boom. Alone, except for his dog, Flike, Umberto strives to maintain his dignity while trying to survive in a city where traditional human kindness seems to have lost out to the forces of modernization. Un giorno perfetto Call Number: PQ4873.A98 G5 2009 Region 2 A high-profile Italian politician is desperately seeking re-election, whilst attempting to fend off corruption charges and hold his crumbling family life together. Meanwhile, the politician's bodyguard, separated from his wife and family, begins to reach a psychological breaking point and embarks on a course of action fueled by depression and jealous anger. Un giorno speciale Call Number: PQ4902.I393 G5 2013 Region 2 Gina and Marco are living in the suburbs of Rome. The two meet on a very special day: their first day at work. Gina is about to realize her dream of becoming an actress, while Marco for the first time has found an opportunity that allows him to start dreaming: a job in a car rental company as a driver. They get to know each other since his first duty is to drive Gina to an appointment, and given a delay, they have to share the whole day. This journey will take them from the periphery to the center of the city.
5438	dbpedia	3	10	https://www.rottentomatoes.com/celebrity/leo_benvenuti	en	Leo Benvenuti	https://images.fandango.…--newsletter.png		[ "https://images.fandango.com/cms/assets/97c33f00-313f-11ee-9aaf-6762c75465cf--newsletter.png", "https://images.fandango.com/cms/assets/97c33f00-313f-11ee-9aaf-6762c75465cf--newsletter.png", "https://www.rottentomatoes.com/assets/pizza-pie/images/rtlogo.9b892cff3fd.png", "https://images.fandango.com/cms/assets/5d84d010-59b1-11ea-b175-791e911be53d--rt-poster-defaultgif.gif", "https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg", "https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg" ]	[]	[]	[ "" ]	null	[]	null	Explore the filmography of Leo Benvenuti on Rotten Tomatoes! Discover ratings, reviews, and more. Click for details!	en	https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico	Rotten Tomatoes	https://www.rottentomatoes.com/celebrity/leo_benvenuti	Let's keep in touch! > Sign up for the Rotten Tomatoes newsletter to get weekly updates on: Upcoming Movies and TV shows Rotten Tomatoes Podcast Media News + More Sign me up No thanks
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"https://www.facebook.com/tr?id=214888273667964&ev=PageView&noscript=1&cd%5Bpage_title%5D=%3Cspan%3EDocenti%3C%2Fspan%3E&cd%5Bpost_type%5D=archive&cd%5Bplugin%5D=PixelYourSite&cd%5Buser_role%5D=guest&cd%5Bevent_url%5D=www.unirufa.it%2Fen%2Fdocenti%2F" ]	[ "//cdn.iubenda.com/cookie_solution/empty.html", "//cdn.iubenda.com/cookie_solution/empty.html", "//cdn.iubenda.com/cookie_solution/empty.html", "//cdn.iubenda.com/cookie_solution/empty.html", "//cdn.iubenda.com/cookie_solution/empty.html", "https://www.youtube-nocookie.com/embed/aI4awj2lmUE", "//cdn.iubenda.com/cookie_solution/empty.html", "//cdn.iubenda.com/cookie_solution/empty.html" ]	[]	[ "" ]	null	[]	null		en	https://www.unirufa.it/w…e-touch-icon.png	RUFA - Rome University of Fine Arts	https://www.unirufa.it/docenti/	A Bianca Alessandra Ara Tecniche performative per le arti visive Biancaara.alessandra@unirufa.it Discover more Italian and English actress/singer, former student of Gigi Proietti, specialised in physical, emotional, improvisational and clowning. As a Performer, she ranges through various artistic genres: opera, prose, musical comedy, light theatre, clowning and cinema. She made her debut in Cyrano de Bergerac with Gigi Proietti, was then one of the three witches in Macbeth directed by Franca Valeri, then Ismene in Phèdre with Mariangela Melato, Charlotte in Anni Felici directed by Daniele Luchetti and Frà Bernardo in De Serpentis Munere directed by Roberto Leoni. She has performed in International productions in London and New York. She is a renowned Acting coach of Acting in English in prestigious Art Academies throughout Italy. She also runs professional and non-professional intensive acting work-shops. She is a voice talent, dubber and speaker in commercials and documentaries of major National and foreign networks/radios and has created her own bilingual podcast in 2021 “on air” on all digital platforms, “Acting & Co”. Alterazioni Video I docufilm fotografici Discover more Lecturers of the module Photographic docufilms in the RUFA x Leica Akademie advanced training course: Immagine fotografica per il cinema e i nuovi media. Alterazioni Video is an art collective founded in 2004, consisting of artists of different nationalities. The group is known for its projects spanning various media, including video, installations, performances and interventions in public space. Their work is characterised by a critical and often ironic approach to social, political and cultural issues. The work of Alterazioni Video has been exhibited in numerous international exhibitions, art biennials and festivals, testifying to their relevance in the contemporary art scene. Alterazioni Video Website Christian Angeli Audiovisual and show documentation techniques christian.angeli@unirufa.it Discover more He graduated in Humanities (with a focus on Italian Literature) and has directed several art documentaries for the Italian State broadcaster RAI, including: “Mendini: il Teatro degli Oggetti” (winner of the Best Film On Art Award at the Iffest Document.Art.XXI in Bucharest), “Suite per Palma”, “Nunzio, senza titolo”, “Gilberto Zorio, il viaggio di una canoa”, “Ettore Spalletti: lo spazio che accoglie lo sguardo”, “Le città invisibili di Grazia Toderi”, all of which were written with the art critic Raffaele Simongini. He has also directed documentaries on social issues aired by Rai Tre channel: “Diritto ai diritti” (Spotlight Gold Award), “Lavoratori in corso”, “Ragazzi in gamba” (Special Jury Award at the Libero Bizzarri Documentary Film Festival), “Donne al centro di una periferia”, the latter in collaboration with Stefano Mignucci. He has made over seventy episodes of “Prima della Prima”, a programme on opera that aired first on Rai Tre and then Rai 5. For the theatre he has directed “Il Gioco” by Franca De Angelis, “Doppelganger. Chi cammina al tuo fianco”, a tribute to American noir films, “Gli amici degli amici” by Franca De Angelis, based on the short story by Henry James “The Friends of the Friends”, “Millennium Bug” by Sergio Gallozzi on the political battle by Luca Coscioni, “Il sole di chi è?”, a musical by Silvia Colasanti, “Il club delle piccole morti”, co-directed with Tommaso Capolicchio, who is also the author of the piece. For cinema he has directed the feature film “In Carne e Ossa” (Award for Best Actress to Alba Rohrwacher at the Lecce European Film Festival) and the short film “Fare bene Mikles” (winner of the Italian Golden Globe Award by the Italian Foreign Press Association). Agnese Angelini Graphic design 1 - Visual Design 1 agnese.angelini@unirufa.it Discover more Agnese Angelini is a brand designer and consultant for branding and communication strategy services. Her professional experience as a Brand Designer has included collaborations with some of Europe’s leading Brand Agencies, such as FutureBrand of Milan and Paris, Landor of Milan and Paris, Carrè Noir of Turin, Cb’a of Paris Saatchi & Saatchi of Rome, Strategic Design of Rome and JWT. Agnese has designed graphic identities for many Brand Agencies for a wide range of clients including: Original Marines – Fashion Brand, Yas Island at Abu Dhabi, Juventus Team, Artesia – French railways, Angelini Pharmaceutical, Zucchi Bassetti, Coop Supermarché, ABI – Italian Banking Association, Inda, Palatium, Laura Tonatto Parfum, Mazda, Toyota, Agrifood of Verona, Rome Film Festival – first edition, Poste italiane, Enav – National Flight Assistance Agency , IP – Gruppo Api, Ansaldo – Finmeccanica Group. Some of her projects are featured in international awards such as American Graphic Design Awards 2018 and International Design Awards 2016. Agnese has worked in Brand Identity or more than 3 decade. Since 2005 she has been living and working between Paris and Rome. Today she works as a freelancer and collaborates with important Brand Agencies in Paris, Geneva, Milan and Rome. Since 2012, she teaches at the MA Visual and Innovation Design Course and also in the Graphic Design BA at RUFA. www.agneseangelini.com LinkedIn Simona Antonacci Analisi di una mostra: il percorso, il colophon e le dida. Scrivere per immagini Discover more Lecturer of the module Analysing an exhibition: the route, the colophon and captions. Writing in images in the RUFA x Leica Akademie advanced training course: Immagine fotografica per il cinema e i nuovi media. After graduating in Contemporary Art History at ‘La Sapienza’ University, he attended the Specialisation School at the University of Siena with Prof. Enrico Crispolti. He is an expert in the subject at the University of Tuscia, where he obtained his PhD in Conservation of Cultural Heritage with a thesis on the activity of exhibition spaces and magazines in Rome in the 1980s and 1990s. She collaborated with the Wunderkammern gallery in Rome from 2008 to 2013, curated events and projects dedicated to contemporary art and photography and published articles in specialised magazines. Trained in museology and didactics, she worked in the Education Department of MAXXI, Museum of XXI Century Arts, from 2005 to 2012. From 2012 she began her collaboration with the MAXXI Architettura Photography Collection, of which she is currently Head. In the context of the museum’s activities, he has collaborated as coordinator or co-curator on exhibitions dedicated to Luigi Ghirri, Gabriele Basilico, Letizia Battaglia, Olivo Barbieri, Paolo Di Paolo, Paolo Pellegrin, Gianni Berengo Gardin and Premio Graziadei for Photography. B Mariangela Barbanente AUDIOVISUAL DOCUMENTATION TECHNIQUES mariangela.barbanente@unirufa.it Discover more Filmmaker and screenwriter. She started working in Documentary as production assistant and assistant director with the company Les Films d’Ici (France). Assistant director and second camera in Di Costanzo’s documentaries Prove di Stato (1998) and A scuola (2003), in 2000 she completed her first documentary, “Sole”, which received several awards such as a special mention at the Turin Film Festival the same year and it has been shown on TV in 15 countries. In 2005 she shot the docu-series “Il trasloco del bar di Vezio” broadcasted on the cable channel Planet. In 2006 she collaborated on the screenplay of “The Orchestra Of Piazza Vittorio” by Agostino Ferrente. In 2011, her documentary “Ferrhotel” received the prize UCCA–100 Città at the Turin Film Festival 2011 and the Amnesty International Award at Pesaro Film Festival. In 2013 she co-authored “In Viaggio Con Cecilia” with the Italian famed documentary director dean Cecilia Mangini and in 2015 “Varichina” co-directed with Antonio Palumbo which has been nominated for the Nastri d’Argento 2016. She was the first woman to be president of Doc/it – Documentaristi Italiani (2011-13). Livia Barbieri VIDEO PRODUCTION livia.barbieri@unirufa.it Discover more Livia Barbieri was born in Rome, in 1983, and graduated in Economics from La Sapienza University, Rome (2006), going on to gain a diploma from the Experimental Centre of Cinematography (Centro Sperimentale di Cinematografia) in Rome, after attending the Film Production course (2006-2008). Her first job as an organiser, in 2009, was in “Brothers of Italy”, a documentary directed by Claudio Giovannesi, with whom she has since worked in other projects, “Ali Blue Eyes” (2012) and “Flower” (2016) (as production supervisor and production coordinator, respectively). Throughout 2010 and part of 2011 she worked at a number of different low-budget projects: fashion commercials (“She wolf” and “Passe-partout” by Debora Vrizzi), shorts (“Al servizio del cliente” by Beppe Tufarulo and “Sottocasa” by Alessio Lauria, both of which won the respective editions of the best shorts section of the Solinas Award, “Cargo” by Carlo Sironi, screened in competition at the ’69th Venice Film Festival), music videos (“Under the sun” by Lorenzo Vignolo). In 2012, she returned to making documentaries with “La Carrera” by Francesco Costabile and Assunta Nugnes, and with “It’s Gonna Take a Miracle” by Davide Minnella, winner at the 2014 RIFF. That same year she collaborated in the preparation, shooting and post-production with Jean Denis Le Dinahet, the producer of the debut film by Fabio Mollo “South is Nothing”, which won the Taodue Golden Camera Award for Best First and Second Film, which recognises the best emerging director and producer, at the 8th edition of the Rome Film Festival. In 2013 and 2014, she participated in various films as supervisor or coordinator, including the debut film by Claudio Amendola “The Move of the Penguin” and “Me, Myself and Her” by Maria Sole Tognazzi. As organiser, the documentary by Lorenzo D’amico de Carvalho “Terra de Fraternidade” and Gianclaudio Cappai’s debut film “Leaving No Trace”. In 2015 and 2016, as an organiser: the 5-part web series “AUS – Adopt a Student” by Antonio Marzotto, winner of the Solinas Award in the Bottega del Web contest, screened on the Rai website; the short “Le futur” by J.P.Baumerder, featuring Jacques Perrin; the feature film “L’indomptee” by Caroline Deruas, in competition in the Filmmakers of the Present section at the 2016 Locarno Film Festival. Meanwhile, she continued to work in the coordination of the film “Banat” by Adriano Valerio, Claudio Amendola’s second film “Il permesso”, and “Looking for Oum Kulthum” by Shirin Neshat (previously winner of the Silver Lion at the 66th Venice International Film Festival for “Women Without Men”). Currently she is working with Giovanni Pompili of Kino Productions on two projects for documentaries (co-productions with Switzerland, namely “Devil’s Gold”, directed by Michele Pennetta, and France “Women Photographie” directed by Esther Sparatore) and a feature film (a Belgian co-production “Coureur”, directed by Kenneth Mercken). Chiara Bardelli Nonino Foto Editing: le immagini e la sequenza Discover more Lecturer of the module Photo Editing: the images and the sequence in the RUFA x Leica Akademie advanced training course: Immagine fotografica per il cinema e i nuovi media. Chiara Bardelli Nonino graduated with a master’s degree in Philosophy with a thesis on post-mortem photography. È Visual Senior Editor of Vogue Italia e L’Uomo Vogue, editor of the Vogue.it photography section and curator of the Photo Vogue Festival, where fashion is explored from a socio-political point of view in exhibitions such as Reframing History, All That Man Is – Fashion and Masculinity Now, Italian Panorama, Fashion & Politics in Vogue Italia, The Female Gaze. With a focus on contemporary photography, she also works on independent editorial and curatorial projects and juries. Recent projects include the exhibition The Edge Effect at Marselleria, the project My Queer Blackness My Black Queerness and the co-curation of Aperture Summer Open: Delirious Cities. She served on the jury of the 2020 edition of the Hyères Festival and curated the largest monographic exhibition on Paolo Roversi’s work entitled “Paolo Roversi – Studio Luce” and the art book of the same name designed by M/M Paris.She has collaborated with, among others, wtih Foam Magazine, Aperture, The British Journal of Photography, PHmuseum, The Photocaptionist, Flash Art Italia, Looking on, Canon Student Development Programme, Metronom Gallery, Red Hook Labs, Marsell Paradise, Creative Review. Chiara Bardelli Nonino for Vogue Sergio Basso Film-making 1; Cinematografia 1; sergio.basso@unirufa.it Discover more Sergio Basso is a movie and theatre director, a screenwriter and game design consultant. He was Gianni Amelio’s assistant director on his last production in China, “The missing star”. His films – e.g., Elementary love (2014), Sarita (2020) – got selected and won awarded in many major international festivals (e.g. Locarno, Nyon, Annecy, Beijing, Turin). He is the author of several TV series (“Marta&Eva” and “POV2”). He co-worked with UN, OSCE, NOKIA, SONY, RAI & RAICinema, TELECOM Italy, Save the Children, Oxford University, the MAAXI Museum in Rome. More recently he devoted himself to developing crossmedia platforms for the Italian newspaper Il Corriere della Sera and to experimenting the contribution of animation in documentary film-making, winning Annecy International Film Festival. In 2014 and 2016 he shot documentaries for the prime time of the Chinese state TV, CCTV 6, and won the China Award 2016. He is script-doctoring the next videogame by 101 Percento company, Aftermath, for PS4. Mario Bellina HISTORY OF ANIMATED FILM mario.bellina@unirufa.it Discover more Mario Bellina is a specialized television writer and screenwriter for cartoons (Super SpikeBall, Arctic Friends, Nefertina sul Nilo), sit-coms (Meg & Bianca Fashion Friends, Sara & Marti), Children TV shows (Rob-O-Cod, Albero Azzurro, Selfie Show) and family movies (Christmas Thieves). He has worked on various TV shows (Sconosciuti, Ci vediamo in tribunale, Fratelli d’Italia) as an author, screenwriter and director. He is a consultant for the major Italian animation and cross-media festivals including Cartoons on the bay (of which he is part of the scientific committee) and Romics. For some time he has been involved as a game writer in the conception and design of apps and interactive products for children. He has written various books including humorous, for children, and essays on cinema and animation, the latest of which: Scrivere per l’animazione published by Dino Audino. Linkedin, Facebook Alessandro Bencivenni SCRIPT WRITING, CINEMA alessandro.bencivenni@unirufa.it Discover more He begins his career in writing in the field of comics with Topolino, he then goes on to write for the movie industry with the director Neri Parenti alongside Domenico Saverni (with which he establishes a long professional collaboration) and the couple Benvenuti-De Bernardi: it is the group with which he created various films starring Paolo Villaggio. In 1991 he contributes to Lina Wertmuller’s Io speriamo che me la cavo. With Saverni and Oldoini he conceives the successfull TV series Don Matteo. Since 2006 he dedicates himself to the so called saga of cinepanettoni and participated in Mario Monicelli’s Le rose del deserto, nominated as best screenplay at the Nastri D’Argento. Since 2000 he also began to teach as a professor at Accedemia dell’Aquila, Università di Terni-Perugia, LUISS’s Writing School and Scuola Volontè. He is the author of several monographies on Luchino Visconti, Peter Greenaway and Hayao Miyazaki and the book Ricordare, sognare, sceneggiare. He won for ten times the Chiavi d’Oro: prize awarded to the best successes of the year. He has also published the story in rhymes L’amore non è incluso. Maria Pina Bentivenga PRINT MAKING; ENGRAVING TECHNIQUES 1; ENGRAVING TECHNIQUES 2; SPECIAL GRAPHIC TECHNIQUES maria.bentivenga@unirufa.it Discover more She moved to Rome in 1991 , graduated from the Fine Arts Academy of Rome in 1995 when she also started researching engraving techniques and participating in several important exhibitions in Italy and abroad. In 2000 she started teaching Special Graphic Techniques and Print Making at RUFA – Rome University of Fine Arts. In 2002, she received an honourable mention at the 7th International Engraving Biennial of Ourense, Spain. In 2003, she joined the Association of Veneto Engravers. In 2008, she edited Cammini Inquieti, with a text by Rainer Maria Rilke, for the Trieste publisher Trart Edizioni. In 2008, she edited Specchi, with a poem by Rainer Maria Rilke, for the publisher Pulcinoelefante based in Osnago. Since 2010 she teaches Engraving Techniques at the S. Giacomo School of Ornamental Arts (Scuola d’Arti Ornamentali) run by the local authority of Rome. In 2011, she was awarded the Graphic Designers Prize at the 15th Massenzio Arte Awards in Rome; she worked on Sovenir, an artists’ book with a text by Fabrizio Napoli, for the Rome publisher InSigna. In 2012, she held a workshop for engraving and book arts at the EASD in Zamora (Spain); that same year she developed a project as a resident artist in Romagna, at Montefiore Conca (Rimini) – Un Castello per le Arti (A Castle for the Arts). In 2013, she joined the Association of Contemporary Engravers, sitting on the board, and is a founding member of Associazione InSigna of Rome, an organisation engaged in the creation and dissemination of Artists’ Books and Print Making; she participated in the Divertissement project/residence, organised by Maison 22 of Bologna, in collaboration with Opificio della Rosa and Atelier della Luna at Montefiore Conca (Rimini); she made the artists’ book Fragili Orizzonti (Fragile Horizons), published by InSigna – Rome. In 2014, she held numerous workshops on letterpress and artists’ books, in collaboration with other artists and illustrators, edited the artists’ book Buchi, with a text by Fabio Palombo, published by InSigna – Rome. In 2014, the Albertina in Vienna purchased her graphic work Deux, while the Istituto Nazionale per la Grafica of Rome purchased 7 prints, 4 drawings and an artists’ book. Her works can be found in numerous public collections in Italy and abroad: the Istituto Nazionale per la Grafica of Rome; the Collections of the Albertina Gallery in Vienna; the Cabinet of Ancient and Modern Prints of the Commune of Bagnacavallo (Ravenna); the Alberto Sartori Print Collection – Mantova; the Contemporary Art Museum of Villa Croce – Genoa; the Museum of the Pellicano Trasanni CXultural Foundation – Urbino; the Bertarelli Civic Collection of Milan; the Municipal Collection of Modern Prints of the Commune of Cavaion Veronese; the Caixanova Collection of Prints in Ourense – Spain; the Collection of Prints of Acqui Terme (AL). www.mariapinabentivenga.com Gianna Bentivenga EXPERIMENTAL PLATE ENGRAVING TECHNIQUES gianna.bentivenga@unirufa.it Discover more In 1995 she moved to Rome and enrolled in the Fine Arts Academy there, graduating in Painting in 1999. In the 1998/99 academic year she won an Erasmus scholarship to study at the Academie voor Schone Kunsten of Antwerp, in Belgium, where she had the opportunity to further her studies in engraving techniques. During the same period, she was admitted as a guest student at the Frans Masereel Centrum for the graphic arts in Kasterlee (Belgium). In 2006, she won a residency at the Kunsthaus Tacheles in Berlin. Since 2000, she has participated in numerous exhibitions in Italy and abroad. In 2000, she won the second prize and, in 2004, an honourable mention at the 6th International Engraving Biennial of Ourense, Spain. In 2007, she published an engraving in the Icons folder of the series “AMICI”, as a tribute to Alexsander Solzhenitsyn, which was later purchased by the Albertina in Vienna; in 2013, she received the Alvaro Becattini Award at the 18th edition of the “VACA libri mai mai visti” competition in Ravenna. Since 2012, she has has regularly carried out projects as artist-in-residence: 2012, Un Castello per le Arti, Montefiore Conca (Rimini); 2013, Divertissement, Montefiore Conca (Rimini); 2015, Atelier Empriente, Luxembourg; 2016, Zagorie ob Savi, Slovenia. Since 2013, she is a founding member and President of Associazione InSigna of Rome, an organisation engaged in the creation and dissemination of Artists’ Books and Print Making. Since 2016, she coordinates international projects for the Renate Herold Czaschka Foundation. Her works can be found in numerous public collections in Italy and abroad. www.giannabentivenga.com Massimo Berruti Documentazione fotografica massimo.berruti@unirufa.it Discover more Professional since 2005 he was invited to become a member of AgenceVU in 2008. He works as a photojournalist for the most prestigious international media, such as National Geographic Magazine, TIME and the New York Times. Many of his recognitions are the result of his long work from Pakistan, during its involvement in the War on Terrorism. It was here that, thanks to the support of the Carmignac Foundation, he worked on the subject of his first monographic book, The Lashkars. Berruti has won numerous awards including 2 WORLD PRESS PHOTO and 3 POYi, a Visa d’Or Award, the Magnum Foundation EF, the Carmignac Photojournalism Award and the Fellowship de W. Eugene Smith Award, among many others. His images are part of the Carmignac collection, the MAXXI museum in Rome and the Farnesina Collection. In 2017, he left AgenceVU to participate in the foundation of MAPS, a collective that brings together a leading internationally renowned photographers and creatives. Maurizio Beucci RUFA x Leica Akademie - Immagine fotografica per il cinema e i nuovi media Discover more Lecturer of the RUFA x Leica Akademie advanced training course: Immagine fotografica per il cinema e i nuovi media. Maurizio Beucci is a photographer, curator, photography teacher. He is Head of Leica Akademie Italy, the training school dedicated to Leica Camera photography. For Leica Galerie Milano he curated, among others, the exhibitions of Araki (2019), Joel Meyerowitz (2021), Bryan Adams (2022) and Piero Percoco (2023). In March 2023, he curated ANFM’s first national exhibition ‘Nuovi Matrimoni, 2023’ at Palazzo Malvinni Malvezzi in Matera. He was a portfolio reader for VoiesOFF at the Arles Festival “Les Rencontres de la Photographie” in 2018 and 2019 and has been a juror and portfolio reader for Phest in Monopoli since 2020. He is the author of all the photographs in the book “Impossible Langhe” written by Pietro Giovannini and published by the Radical Design Foundation in 2021. Stefano Bianchi Il libro fotografico: creare il libro Discover more Lecturer of the module The photo book: creating the book in the RUFA x Leica Akademie advanced training course: Immagine fotografica per il cinema e i nuovi media. Founder and CEO of Crowdbooks.com with over 20 years of experience as an editorial graphic designer and Art Director, Stefano specialises in the publication and production of photo books. Lorenzo Bolzoni Graphic Design - COMIC BOOK ART lorenzo.bolzoni@unirufa.it Discover more Lorenzo Bolzoni (1981) graduated in Industrial Design at Politecnico University of Milan and attended training courses of comics, typography and type design. Since 2009 he is Senior Designer for the comic book publisher BAO Publishing. He teaches graphic design at the RUFA University of Rome and at the International School of Comics in Milan. In 2020 he was part of the project team for the reprint of the book Alfa-Beta, by Aldo Novarese, entirely financed with a successful crowdfunding campaign. He signs all his works with the pseudonym Officine Bolzoni. Daniele Bonomo COMIC BOOK ART daniele.bonomo@unirufa.it Discover more An author of humorous stories, cartoons, strips, short stories and graphic novels. He works at SkeletonMonster and is one of the five creators of ARF! a Comics Festival in Rome . To date, he has published the following books: Tutti possono fare fumetti, La notte dei giocattoli (based on texts by Dacia Maraini) and the children’s comic series Timothy Top, all published by Tunué. Since 2001, he teaches comic book art in schools. Beatrice Bulla Art Printmaking beatrice.bulla@unirufa.it Discover more She was born in Rome in 1994 from a long generation of art printers, whose roots go back to Paris in 1818. From a young age she assisted her father Romolo and aunt Rosalba in the family print shop, helping them in the production of lithographic and woodcut limited editions of contemporary artists. In 2013 she moved to London where she graduated from Middlesex University in the Media and Performing Arts department. In 2017 she returned to Rome to manage the family archive and co-curate the exhibition ‘Litografia Bulla. A two-hundred-year journey between art and technique presented in the rooms of Palazzo Poli of the Central Institute for Graphics in Rome in 2018. In the same year, together with her sister Flaminia and Alessandro Cucchi, she opened ‘O’, a residency project within Litografia Bulla aimed at emerging artists called upon to produce a limited edition artist’s book. In 2020 he takes the reins of the printworks together with her sister Flaminia with whom, in addition to producing commissioned editions for artists, galleries, foundations and museums, she opens the second residency project ‘Passaggi’ where she co-curates exhibitions in the first rooms of Litografia Bulla of national and international artists, invited to produce graphics and multiples within the printworks. In the same year Litografia Bulla works together with the main artist-run spaces in Rome for sponsorships and commissions. In 2021 Beatrice became co-president of Club Taverna, an initiative of Spazio Taverna by Ludovico Pratesi and Marco Bassan. Paolo Buonaiuto Graphic Design 2 paolo.buonaiuto@unirufa.it Discover more Paolo B. has been working as an art director and visual designer for over 25 years. His projects are signed art-bit.design&c., a visual design and communications studio dealing with the visual communication production process, from the brand design to the coordinated image, throughout the promotion of identity values within institutional, museum, cultural and product communications, in particular signage & wayfinding. Coordinator of the Bachelor of Arts in “Design for Humans” and Professor of Graphic Design and Color at RUFA (Rome University of Fine Arts). Professor of Design and Tourism at Roma Tre University in the Master in Tourism Languages and Intercultural Communication. He collaborated with Villa Médicis – Académie de France à Rome for the exhibition “Thursdays at Villa Medici” within the program “Graphic Lessons”. He held colour lectures at LUISS – Free International University of Social Studies “Guido Carli”, Rome. As a trainer, Paolo taught in the Perception, Light and Matter course and the Colour Design course for Cosmob S.p.a., Pesaro, Italy. He has been a lecturer in the “Visual Communication for Companies” course organized by the Rome Institute for Entrepreneurial Training in collaboration with the CNA – the Italian Confederation of Crafts and Small-medium enterprises based in Rome. Regarding institutional positions, he has been Director of the Lazio Delegation of AIAP – the Italian Association of Visual Communication Design, from 2010 to 2012, then Secretary from 2013 to 2015. In 2016 he started his career at AIAP in Lazio, and eventually became Advisor of the AIAP board for 2019- 2021 biennium. Responsible as designer of the visual communication between Aiap and Confcommercio – Businesses for Italy – Professions. Sito web, Linkedin, Facebook, Instagram C Emanuela Camacci Visual Art Techniques and Technologies; Sculpture Techniques emanuela.camacci@unirufa.it Discover more Emanuela Camacci was born in Rome, she graduated in sculpture at the Academy of Fine Arts in Rome. Once she graduated she attended a specialization in mosaic art at the studio of Costantino Buccolieri. She has participated in numerous temporary exhibitions and land art interventions in Italy and around the world, including GNAP Italy – Global Nomedic Art Project, 2019. She has undertaken many international residencies, such as the Sculpture Symposium in Santiago de Chile in 2017 and the Yatoo International Artist in Residence in South Korea in 2018. In Italy she has won several awards and competitions for works of art in public spaces, such as the Montesacro East Fire Station in Rome, with the work “Mani” in Roman travertine, or such as the sculpture “Bubbles of air” at the permanent collection of the Cantina Producers Cormòns of Gorizia. A determining factor in her research has been the collaboration with artists and professionals from various backgrounds, experiences that offered her the opportunity to live life with a different perspective from an artistic-intellectual and human point of view. Her evocative language is rooted in representations of emotional life, in the link between sculpture, architecture and the environment, in the exploration of the limits and possibilities of various materials. Ideas are only fully realized in an appropriate context. “the work changes meaning in relation to place and space.” Sito web, Instagram, Facebook Simone Cametti PERFORMATIVE TECHNIQUES simone.cametti@unirufa.it Discover more Sculpture and installations are a key part of his poetics, alongside other media, such as photography, audio and video art. Simone Cametti begins by observing materials and their physical characteristics: marble, iron, organic elements. He investigates their colour, mechanical properties, brightness, form, with the precise will to disguise the original material and change it completely. A subtle game used by the artist to silently, and almost invisibly, tell unheard of stories, little fragments of daily life preserving the memory of the functional past of the objects they once were. Recently, he has turned his interest to the study of landscapes and performance, keeping the material transformation of space at the core of his investigation. Literally shifting the focus on the change of perception resulting from the physical transformation of the context by the artist himself. Cinzia Capparelli Fotografia cinzia.capparelli@unirufa.it Discover more Cinzia Capparelli is a photographer specialising in fashion, portraiture and advertising. She works with a continuous tension for experimentation, attention to light and vision, in search of a meditative empathy with the subject. She has published her photo shoots in magazines such as Vogue, L’Officiel, Elle, Vanity Fair, Skira and Manfredi Editore. She produces advertising campaigns and portraits for celebrities. She shot the pride 2021 campaign for H&M and collaborated with brands such as Fendi, Bulgari, Emporio Armani, Laura Biagiotti, 20th Century Fox, Mercedes-Benz, De Agostini Editore, Sky, Enel, Dolce & Gabbana, Veja, Pftizer, Intersport, Kiko, Crodino, Campari, Foreo. In 2022 she founded Moonel, a production and representation agency for artists, models and talent. In her professional experience she has also focused on the photography of luxury events, perfecting her propensity for reportage and listening to the relationship between space and body. She is an academic teacher of design photography and advertising photography. Emanuele Cappelli Brand Design; Graphic Design 3 emanuele.cappelli@unirufa.it Discover more Emanuele Cappelli is the creative director and founder of Cappelli Identity Design. He has been teaching Visual Communication since 2004, at Sapienza University in Rome, and since 2011 at RUFA, Rome University of Fine Arts. After graduating with honours in Industrial Design and serving as creative director in a number of companies, he founded Cappelli Identity Design, a design firm that provides branding and communication strategy services to important Italian and international companies. Acknowledged as one of the best pioneers of the concept of dynamic branding, his experimental approach has earned him 35 international publications and prestigious positions, such as artistic director of international cultural events. Marianna Cappi TELEVISION SCRIPT-WRITING; CREATIVE WRITING marianna.cappi@unirufa.it Discover more Afters studying Communication Sciences in Bologna and journalism in Brussels, she graduated in History of Cinema in Bologna (Alma Mater Studiorum) and in screenwriting at the National Film School (Centro Sperimentale di Cinematografia) in Rome (2001-2003). She has written short films with and for Susanna Nicchiarelli (“La Madonna nel frigorifero”), Francesco Lagi (“Passatempo”, Selection Corto Cortissimo Venice International Film Festival, 2004), Stefano Accorsi (“Io non ti conosco”, David di Donatello 2014). In 2007 she wrote and shot the documentary “Tomaso Monicelli. Un intellettuale in Penombra”. She has worked as a screenwriter for RAI, Mediaset and Discovery Channel (“Il Commissario De Luca”, “Gente di Mare”, “Vivere”, “Love Dilemma”). She has held scriptwriting courses and workshops in Gorizia, Mantua, Bologna, Ramallah, Bellinzona, Pistoia, Rome (CSC). She has written the feature film “Amori Elementari” directed by Sergio Basso (CSC Production, Rai Cinema, Zori Film, 2014). For theater she has made the Italian adaptation of the Broadway musical “Priscilla – Queen of the desert” and Alil Vardal’s “Clan des Divorcées”. She’s a film critic for the newspaper Voce di Mantova, the web portal MyMovies.it and the weekly magazine Film TV. In 2020 she was selected and appointed by MiBact as Expert Trainer of the National Cinema and Images Plan for School. Aureliano Capri Information Design aureliano.capri@unirufa.it Discover more Roman by birth and cosmopolitan by adoption, Aureliano Capri is a multidisciplinary designer and reality observer. Graduated in Systemic and Communication Design at ISIA Rome. he actively collaborates with Studio Azzurro to design interactive narrative multimedia environments and with Iperdesign to design and product digital systems. He carries out didactic activities at the ISIA in Rome, and educational and creative workshops for high school students in the PCTO of the MAXXI Museum. In his developing design philosophy, he queries the roles of design and communication as methods for promoting culture and participation. Constantly looking for the right tone of voice to spread content, his main inspiration comes from J.M. Basquiat’s “Boom For Real” to catch insights from reality and rub off on it with original syntheses and mixed languages. Alessandro Carpentieri Digital Video and Video Editing; Photography (for Visual Arts); Photography 1 alessandro.carpentieri@unirufa.it Discover more Alessandro Carpentieri was born in Rome in 1965. After graduating from secondary school in Aeronautical Engineering, in 1983, he dedicated himself to photography and cinematography working as a cameraman for a small Rome-based agency. In 1989, he followed a course of advertising photography, but it was street photography that kept him away from the film studios. Between 1990 and 1999 he travelled in Europe and the United States, collaborating as a freelance photographer with important Italian daily newspapers (La Repubblica, L’Unità, Il Manifesto, Il Messaggero) and making several documentaries. In the same period, he worked as assistant photographer in 3 feature films and 2 RAI programmes by Silvano Agosti (“The Bullet Man” 1993, “The Second Shadow” 1998, “Pure Reason” 2000 – “Thirty Years of Forgetfulness” 1995, and “Nobel sarà lei” 1999 featuring Dario Fò). Since 1999, he has collaborated with several music magazines and publishers (Musica Jazz, The WIre, Rai Trade, Rudi Rec), which published his photographs. Since 2004, he teaches at RUFA in the academic courses of Photography, Digital Video and Video Editing and Cinematography. In 2009, he curated the photo-story in the book “Quelle voci dal vuoto “by Guido Tassinari, published by Iacobelli. He has founded the photography group “Benaco12”. Vincenzo Caruso COSTUMES FOR PERFORMING ARTS; HISTORY OF COSTUME vincenzo.caruso@unirufa.it Discover more Costume and fashion designer, he now lives and works and in Rome. He has been cultivating his passion for costumes and fashion for twenty-five years. He is a pupil of the master Gaetano Castelli and graduated in Set Design from the Fine Arts Academy in Rome, and in Fashion and Costume Design from the Koefia Academy of High Fashion and Costume Design in Rome. He started to work in the world of entertainment aged sixteen, at the Biondo Repertory Theatre in Palermo. After this debut in the theatre, he moved on to the worlds of cinema and fashion, working in Italy and abroad, where he created set designs, costumes and garment and accessory collections. He also worked on the set designs and costumes for various theatrical productions, working with directors such as Maurizio Scaparro, Franco Zeffirelli, Ilaria Drago, Pino Ferrara, Roberto Gandini, Sharoo Kharadmand, and many more moving from drama to opera, from ballet and dancing to the cinema. He has created fashion and accessory collections for his own line called Atelier Baalbek, but also collaborates with many fashion houses, such as Valentino, D&G, Christofer Chronis, etc.. He has also worked for companies, such as “Mazzini Eventi”, organising fashion shows for the designers Brioni, Corneliani, Furstenberg, Gai Mattiolo etc.. He has also been invited to sit on juries for fashion competitions in Italy and abroad. Today he works primarily in producing art creations and installations for costumes and high fashion garments. He currently teaches “Costumes for Performing Arts” at RUFA Rome University of Fine Arts, at the Fine Arts Academy, where he has published a study on costumes for performing arts called “La Magia del Costume” (Magical Costumes). He organises art and cultural events on fashion and costumes, has held a number of meetings and conferences on costumes for performing arts, also working with Gabriella Pescucci, Lina Nerli Taviani, Giancarlo Nanni, Ilaria Drago etc.. He is an eclectic professional and artist who has always found himself at ease in the magical world of fashion and costumes. Silvia Cassetta Storia del Design 1 silvia.cassetta@unirufa.it Discover more Architect, after having worked in Milan and London, is based in Rome, where she opens her office as a designer and performer. She is focused on the relationship between dance and architecture, and she attends the 2nd Biennium in Composition at the National Academy of Dance in Rome. In 2022 she was a guest performer at the “KM278 Demanio Marittimo” Festival, curated by P.Ciorra / C. Colli. In 2020 she collaborated with Prof. L. Prestinenza Puglisi at RUFA, for the History of design course. Among her most important projects: a show room in Abu Dhabi for the Brand Bespoke Italia, interiors for private clients and in 2014 she patented an innovative tool for food design: “Pipoliva”. This project was selected for the “ROMA DESIGN LAB 2014”. In 2013 she was selected for the “FUORISALONE” with the “Dancing Shape” project. In 2008 she obtained a Master in Interior Design at the Polytechnic School of Design in Milan. From 2008-2009 she worked in Design International in London, a company that carries out large retail design projects. In 2005 she graduated with 110 cum laude at the Faculty of Architecture of Ascoli Piceno. Since 2007 she has been enrolled in the Order of Architects of the Province of Bari and she also has designed various projects in Puglia, her homeland. Maria Chiara Castelli SET DESIGN chiara.castelli@unirufa.it Discover more Since 1997 Maria Chiara Castelli, graduated with honours in set design from the Academy of Fine Arts in Rome, began her career by passing a selection of Rai as an assistant set designers. After a series of collaborations with some set designers she joined the Castelli studio, where she still works today. Since 2010 she went from being an assistant to a set designer. Among the customers: Rai uno, Mediaset, Sky, Tv2000, Arcobaleno tre, Stand by me. From 2000 she started her teaching career; she collaborated with other institutes such as the Academy of Costume and Fashion and IL CSC (experimental centre of cinematography). In addition to her interest in TV set design, she is always strongly involved in painting and drawing, especially in the creation of her portraits. In recent years she has been working in teams for the realization of projects both for TV and private companies, such as restyling the restaurant “Il Lanificio” with her colleague Alessia Petrangeli. The team with which she collaborates is made up of set designers and designers. The coordinator of the group is: Manuel Bellucci. Andrea Cavallari Web Design 1; Web Design 2 andrea.cavallari@unirufa.it Discover more Andrea Cavallari, a partner of Iperdesign since 2008, works in the fields of development, analysis and programming. Over the years he has developed websites using WordPress CMS, for clients such as the Evangelical Lutheran Churc, Enel Rete Gas, LifeShield, and applications for iOS and Android smartphones, for clientssuch as DaleCarnegie, Hausmann&Co, Rezza Immobiliare, WWF, Abbott, Bracco, Cangene and PaesiOnLine. He is an expert programmer in various languages, including iOS, Android, C#, Pascal, Java, PL/SQL, Oracle, TomCat, XML, HTML, Javascript, VB.NET 2.0, Visual Basic 6.0, ASP 3.0, and ASP.NET. His achievements include a workflow system for Johnson&Johnson, the development of a CRM for Sistemia, of a Project Management System, and a software for managing shares, bonds and securities for Cedacri, as well as a participation in the Pegasus Project (a software for managing auction, seizure, mortgage and certification services). Alice Cellupica APP DESIGN alice.cellupica@unirufa.it Discover more I graduated right here at Rufa in Visual and Innovation Design. Shortly before obtaining my Master’s degree, I joined PwC’s Experience Centre in Rome. Now I’m a designer with 7 years of experience working on Visual Design, User Experience, User Interface, Motion Graphic, Motion UI and Illustration across different industries such as Retail, Energy & e-Mobility, Transportation and Financial Services. I collaborate with clients designing new digital user experiences, co-creating customer journeys with different stakeholders, facilitating workshop sessions, creating digital video material, creating Design Systems and visual guidelines and finally managing the art direction of websites and mobile apps used by millions of users every day. Guenda Cermel SUSTAINABLE FASHION DESIGN guenda.cermel@unirufa.it Discover more Head of Fashion with significant experience in the retail sector at an omnichannel level. Guenda Cermel is a 360-degree professional who blends creativity and strategy, from design (collection design) to operations (buying and merchandising), negotiation (worldwide sourcing), and numbers (budget, purchase, and sales). She has eventually grown a wide and solid managerial experience in leading fashion companies. Guenda graduated in Art history, then she began working in the fashion industry as an Assistant Designer at Stefanel, and later as an Assistant Buyer and Brand Manager in the Coin Group, becoming responsible for the design, development, buying, and sales of three Coin-owned brands. Afterward, she became Category Manager for 3 Fashion categories, assuming a key managerial and strategic role supervising the Group’s 50 department stores. In 2018, she joined as Head of Fashion HSE24 TV, the Italian branch of a German ‘shoppertainment’ company among the leaders in the sector with branches in five countries. She has recently earned a Master’s in Philosophy, and she is now undertaking her MA degree in Integral Ecology. Guenda has been appointed as the Academic Coordinator of the BA in Sustainable Fashion Design at RUFA – Rome University of Fine Arts. Irene Cerrati MODELLISTICA PER LA MODA irene.cerrati@unirufa.it Discover more Irene Cerrati was born in 1965 and, after graduating from high school, she trained as a model maker at the Ida Ferri school, graduating in ’89 with top marks. She began her professional training at the Gattinoni atelier and then continued working as an external workshop for several years. At the same time, she began teaching in the technical sector of Fashion, i.e. modelling and tailoring, at various Design and Fine Arts Academies based in Rome. She collaborates as a model maker for several fashion houses and as a teacher with the Italian Institute of Fashion in Rome from 2000 to 2019 and with the Academy of Fine Arts in Rome from 2012 to the present. She has modelling skills both in the industrial sector using cad systems and in tailoring using moulage and TR method techniques, skills that she tries to pass on to her students in the courses she teaches. Anna Cianca PERFORMATIVE TECHNIQUES anna.cianca@unirufa.it Discover more Trained at the Laboratory of Performative techniques in Rome, directed by Gigi Proietti (academic year 1983/85) and under the direction of Proietti himself, she made her debut in the theater with the show “Cirano” by E. Rostand. Later she worked in the companies of Paolo Ferrari, Lando Buzzanca, Giuseppe Pambieri and Lia Tanzi, Flavio Bucci, Anna Mazzamauro and with directors such as Coltorti, Lucchesi, Carafoli, Frattaroli and Scaccia, dealing with texts from both the classical and contemporary repertoire. She alternates the theatrical activity with radio: “Il Consiglio Teatrale” (Rai3) “A doctor in the family”, “Maria Montessori” (awarded as best TV film in the first edition del RomaFictionFest). From 2003 to 2005 she was an acting lecturer at the “Cinema Profession” school in Rome, founded by Giulio Scarpati. In 2013 she participates as a teacher of text analysis at the “Stage al Castello”, an event promoted by the Piedmont region and which offered seminars and workshops held by nationally and internationally renowned teachers such as Bruce Myers, Michael Margotta, Danny Lemmo. Since 2018 she has been collaborating with RUFA, Rome University of Fine Arts, holding acting and text analysis workshops for the Cinema courses. Alessandro Ciancio EXHIBIT DESIGN alessandro.ciancio@unirufa.it Discover more Graduated in design at ISIA in Rome and with a diploma in graphic design at the “Scuola DI Arti Ornamentali di Roma”, he worked for eight years in the studio of architect Michele De Lucchi where he completed his training in exhibit design. He supervised various exhibition projects at the Scuderie del Quirinale in Rome (Burri e i maestri della materia, Dürer e l’Italia, Filippino Lippi e Sandro Botticelli nella Firenze del ‘400, Tintoretto) and the layout of museum structures such as the Palazzo delle Esposizioni (Rome), Palazzo Barberini (Rome), the Roberto Capucci’s Foundation (Florence) and the Gallerie d’Italia (Milan). He collaborated on the design of the Italian pavilion at the International Expo in Zaragoza and supervised the new layout of the Central Archaeological Area in Rome (Colosseum, Palatine and Roman Forum). Since 2013 he’s a freelance professional and he designs booths and scenography, continuing to design exhibitions and museums, such as the series of contemporary art exhibitions “The Making Of” or the setting up of the museum structure “Interpretation Center of Erbil Citadel” (Iraq) on behalf of UNESCO. He collaborates with the most important Italian communication companies designing layouts for events of international companies such as BNL, Assicurazioni Generali, ENEL, Poste Italiane, FCA, Audi, Renault, TIM, and many others. Since 2015, he has been teaching at the Rufa Academy holding an Exhibit Design course in the second and third year of design courses, a subject where he combines students’ experiences in both interior and product design. Anne-Riitta Ciccone FILM DIRECTOR AND AUTHOR anneriitta.ciccone@unirufa.it Discover more Anne-Riitta Ciccone, Film Director and Writer. Born in Helsinki (Finnish mother and Sicilian father) she lives now in Rome. Graduated in Philosophy, during the University years she also carried out a long and patient apprenticeship in Theater and Cinema, then attended the Course RAI / Script training and specialization for screenwriters. At the same time she continued to deepen her preparation in writing and shooting techniques (two MEDIA program screenwriting development workshops held in collaboration with Columbia University in New York, an intensive Mentoring as Script Doctor held by Sources2; in the meantime she attended workshops on the use of new technologies, digital and stereoscopic 3D). She debuted as Director in 2000 with her first feature film “Le Sciamane” (“The Witch Doctors); “L’amore di Màrja”(“Marja) released in 2004 was the first independent-movie box office of the year and won numerous awards including the Golden Globe of the Foreign Press as “Outstandig Director”; “Il Prossimo tuo” (“Thy Neighbour”) released in 2009 was selected at “Rome Film Festival – Extra l’Altro Cinema”. Since 2010 she has specialized in 3D, making the first Italian 3D short film, “Victims”, selected for the European Prize “Mèlies d’or” for the best fantasy short film. She made the first feature-length film in 3D live action directed by a woman, “I’M endless like the space”, selected as Special Event during the “Venice Days” of the 2017 Venice Film Festival, later released in Italy with the title “I’M infinita come lo spazio” acclaimed by the Press, she won the “Best Director” Award at “Festival dei due mondi” in Spoleto in 2018. “I’M infinita come lo spazio” is also a novel, published in Italy by the Publishing House Il Foglio Letterario, book which Anne-Riitta wrote as a spin-off during the multiple drafts of the film’s script. The novel was selected for “Premio Strega” Award. In 2020 the Publishing House “Resh Stories”published her Handbook “The Director’s Journey”. Over the years, she has worked as Script Doctor for screenplays and as Tutor for young directors, the last experience in September ’19, at the Cinecampus Terre di Cinema, international cinematographers days. Currently the film “Gli Anni belli” by Lorenzo d’Amico de Carvalho (written by Anne-Riitta Ciccone and Lorenzo d’Amico de Carvalho) is in post production. Sito web, IMDb, Linkedin, Instagram, Facebook Pietro Ciccotti ANIMATION 1 pietro.ciccotti@unirufa.it Discover more Pietro Ciccotti was born in Rome in 1976. After some rather erratic educational career choices, which took him from the faculty of communication sciences to a school of comic drawing, from the study of graphics to film-making, in 2005 he ended up in Turin, at the Experimental Centre of Cinematography (Centro Sperimentale di Cinematografia). There he learnt new skills and especially the focal point of it all: animation. He graduated in 2006 and returned to Rome, where he founded mBanga Studio, with Harald Pizzinini. The studio’s mission is to create and design animations and animated graphics from a blank sheet of paper to the final rendering, ranging from intros and title sequences to animated logos, video clips, series, shorts or feature-length films. Clients include: Cartoon network, Boing, Rai, la7, Venice Biennale, Colorado film, Fao. Sito web, Instagram Alessio Cimato Light design 2 alessio.cimato@unirufa.it Discover more “Light connects us with the outside world more directly than any other vehicle of information. It is our richest and most complete research and knowledge tool“. Cit. by Andrea Frova Design is the perfect union of various consequential themes, form – light – perception. In 2020 he obtained the 1st Level Master in Lighting Design at the “La Sapienza” University of Rome. In 2018 he was the tutor of the Master in Lighting Design at the “La Sapienza” University of Rome; activity that allowed him to interact with prominent professionals in the field of Lighting Design. In 2017 he obtained a 1st Level Diploma in Design at RUFA – Rome University of Fine Arts. Since 2017 he has been collaborating with several Roman studios. This allows him to deal with different design realities and to grow professionally by fully living the profession of Interior and Lighting Designer, contributing to architectural and lighting design. Since 2019 he has been responsible for the communication activities of the Master in Lighting Design MLD, starting and curating the cultural column “High Light In”. In 2017 he participated in the design workshop with the international light artist Yann Kersalé. In 2010 he collaborated in the realization of the sets for the opera “Terzo Tempo” at the Sala Uno Theater in Rome and in the realization of the “Group Therapy” sets at the Trastevere theater in Rome. Stefano Cipolla Visual Design 2; Visual and Innovation Design 2 B stefano.cipolla@unirufa.it Discover more Stefano Cipolla is an Italian art director, graphic designer and journalist. He always worked in the editorial field: in the 90’s he started collaborating with magazines as a freelance and in 2001 he lands at the daily “Il Manifesto”, a newspaper with an important graphic design tradition. There, in the year of the terrorist attacks at New York’s twin towers and of the Genova G8, he realises that news and their visualization will become his professional future. In 2004 he arrives at the daily newspaper “La Repubblica”, being in charge of designing sections and special projects of the paper (La Domenica di Repubblica, R2, libri di Repubblica) and two graphic restylings (2007 and 2014). From February 2018 he’s the Art Director of the weekly “L’Espresso”. He teaches Editorial Graphic Desgin, Infographic and History of Communication Design. He taught for 15 years at the roman Istituto Europeo di Design. Now he is at the Scuola di Giornalismo di Urbino, MiMaster in Milano and he holds conferences and workshops. He is also a Domestika teacher and his course “Foundamentals of Editorial Graphic Desgin for Magazines” is online since May 2022. His job is his passion: he believes working with images is the greatest luck you can have, and that is what he tries to convey to his students. Emiliano Coletta TECHNIQUES FOR SCULPTURE/MOLDING; DECORATING; CONTEMPORARY SCULPTURE TECHNIQUES emiliano.coletta@unirufa.it Discover more Emiliano Coletta is a sculptor, specialised in modelling and casting, as well as the use of rubber and plastic resins, and a skilled ceramist. He was one of the founding members, in 1999, of Mazzone Srl, associated painters and sculptors, an artistic firm specialising in the production and implementation of works and projects using visual arts techniques and technologies. Since 2000 he is a member of the group of independent artists com.plot S.YS.tem. He teaches Plastic Decorating at the School of Ornamental Arts of Rome, where he also teaches Plastic Techniques and Modelling. Since 2010, he teaches various sculpting techniques – modelling, technology and typology of materials – at RUFA – Rome University of Fine Arts. Stefano Compagnucci PHOTOGRAPHY (FOR CINEMA); PHOTOGRAPHY 2 (Fine ArtS); PHOTOGRAPHY 3 stefano.compagnucci@unirufa.it Discover more He was born in Rome in 1975. In 1999 he graduated in photography from the Higher Institute of Photography and Integrated Communication, and embarked on a professional career, initially conducting research work in the field of portraiture and specialising in the field of advertising photography. He has collaborated in various national and international campaigns, working with a number of advertising agencies, including McCann Erickson, Young&Rubicam, J.W.Thompson, Ogilvy&Mather, Saatchi&Saatchi, Leo Burnett, Armando Testa. He has exhibited his works in Italian and foreign galleries, as follows: 2007 Galleria Social Gallery (Florence), 2008 Galleria Minima (Rome), 2009 Wine Museum (Monte Porzio Catone), 2010 Fototeca de Veracruz (Mexico), 2010 Scuderie Aldobrandini (Frascati), 2011 Scuderie Aldobrandini (Frascati), 2012 Ethnographic Museum (Belgrade). In 2008, he published the photographic book “75 cl” dedicated to the world of wine and wine-making in the area of the Castelli Romani. In 2008, he was designated as a member of the jury for reading portfolios, at the Festival of Travel Literature open to photographers and held at the Palazzo delle Esposizioni in Rome. In the 2008-2009 academic year, he served as Deputy Director of the Rome School of Photography. www.stefanocompagnucci.com Stefania Conti SET DESIGN 3; SET CONSTRUCTION 1-2 stefania.conti@unirufa.it Discover more After secondary school, in 1980 Stefania Conti graduated in Set Design, from the Rome Fine Arts Academy (Accademia di Belle Arti) and from the Hotech Academy. She has also participated in the activities and attended the courses in Engraving and Graphics at the National Graphics Institute (Istituto Nazionale della Grafica) in Rome. During the same period, she started collaborating as an assistant set designer, with the studio of the Art Director Misha Scandella, developing fundamental knowledge and experience in the opera theatre sector. She then built up a long experience in television set design and, in 1989, designed the sets for a number of TV programmes in Italy and abroad. She has also designed trade fair and convention spaces and collaborated with the Italian Institute for Foreign Trade (Istituto Italiano del Commercio Estero), as well as sets for theatrical productions and concerts, and designs for the refurbishment of public and private venues and spaces. www.stefaniaconti.it Riccardo Corbò HISTORY OF PRINTING AND PUBLISHING riccardo.corbo@unirufa.it Discover more Journalist, expert in youth culture and curator of exhibitions on pop icons from the world of comics. After a few years as an editor and translator for comic publisher and as a press office for Comics festivals, in 1997 he began collaborating with the Radio Rai programs as an expert in comics, video games and cartoons. In 2001 he started his work with Rai Net, where he is responsible for the Portal and the Community until 2007. For Rai Net he curated the Italian edition of “Food Force”, a video game created by the United Nations WFP. He is the editor of Vincenzo Mollica’s book of interviews “DoReCiakGulp” (2006) for the Eri Rai editions. Since 2011 he has been working on Tg3, his TV reports are for the “Tg3 Agenda del Mondo”, “Tg3 Mondo” and “Tg3 People” programs. For Rai Isoradio, from 2014 to 2017 he conceived and conducted the programs “Comics with wheels” and “The night, a video game? “. He is the curator, together with Vincenzo Mollica, of the exhibition “Spider-Man, the most human of super-heroes” at the Museo del Vittoriano in Rome; of the exhibition at Palazzo Bufalini, in Città di Castello, “Batman, Darkness and Light”; of the exhibition “Batman, 80 years of Technology” at the National Museum of Science and Technology in Milan and of the tifernate exhibition “Simone Bianchi: Amazing Talent” at Palazzo Vitelli. Since 2007 he is a professor in the “Master in Journalistic Criticism for Theater, Cinema, Television and Music” of the National Academy of Dramatic Art “Silvio d’Amico”, for “Morphology and criticism of paraliterature (comics, videogames and cartoons). Andrea Costantini DIRECTION - BA cinema andrea.costantini@unirufa.it Discover more He started his production career at a very young age, working on the production of feature films and TV series, collaborating with many Italian and foreign directors. He later founded his production company with which he produced and co-produced several films in Italy. (nominated for the David di Donatello as Best Producer 2008). Since 2009 he has been primarily focused on his direction work for tv series and feature films for cinema. He published his first novel with Edizioni Robin . He regulary holds acting classes for professional actors. Daniela Cotimbo Teoria e metodo dei mass media daniela.cotimbo@unirufa.it Discover more Daniela Cotimbo is an art historian and independent curator based in Rome. Her research is focused on problematic issues of the present, investigated through different expressive means, in particular new technologies. She recently founded and curated the Re: Humanism Art Prize dedicated to the relationship between Art and Artificial Intelligence, later becoming a cultural association of which she is president. Daniela has curated exhibitions in various galleries, museums and festivals, including MAXXI – National Museum of 21st Century Arts, AlbumArte, Colli Independent, Operativa Arte Contemporanea and Romaeuropa Festival. She writes for numerous contemporary art magazines such as Inside Art, Flash Art, NERO and has curated or taken part in a series of panels for institutions such as Palazzo Te (Mantua), Cubo Unipol (Bologna), Manifattura Tabacchi (Florence), Maker art (Rome), Brera Academy of Fine Arts (Milan), Ca ‘Foscari University (Venice), John Cabot University (Rome). Since 2021 she is co-founder of Erinni, a curatorial collective that combines transfemism and media languages. Alessio Cremisini VIRTUAL ARCHITECTURE; DIGITAL 3D MODELLING 1; DIGITAL 3D MODELLING 2 alessio.cremisini@unirufa.it Discover more He graduated in 2004 in Product Design from I.S.I.A., in Rome, with an experimental thesis on Photovoltaic Bus Shelters, in collaboration with the Design Office of A.T.A.C. S.p.a., the public transport operator of Rome. He then went on to collaborate with various design, architecture, multimedia and set design firms, furthering his knowledge of and experience in 2D/3D modelling software and graphics and compositing techniques for the realistic rendering of projects. In 2011, he curated the development of the Great Theatre at the “Magicland” theme park in Valmontone. He has a passion for Fantasy, Sci-Fi, Horror, Comics, Design, Modelling and Videogames, and, since November 2011, teaches “Virtual Architecture” and “3D Digital Modelling Techniques” at RUFA in Rome. Rosella Cuppone BASICS OF COMPUTER DESIGN rosella.cuppone@unirufa.it Discover more She was born in 1963, in Neviano (Lecce), but moved to live in Rome after secondary school, where she graduated in architecture from Sapienza University, specialising in the protection and recovery of heritage-classified buildings. After graduating from university she worked for several architecture and engineering firms, while studying to become a practising architect, eventually qualifying from the Faculty of Architecture of Sapienza University in Rome. At present, she works as a professional architect, in the private building sector, and teaches at Rufa Rome University of Fine Arts. Dario Curatolo VISUAL DESIGN 2 dario.curatolo@unirufa.it Discover more Dario Curatolo, architect, graduated at the Sapienza University of Rome, where he specialized in Theory of Architecture. He works with architecture, design and visual communication. He was a member of the Scientific Committee of the Triennale Design Museum, member of the ADI national steering committee as the Aiap Lazio Delegate. He was Art Director of the Italian Pavilion at the 13th Venice Architecture Biennale and is currently Creative Director of Four in the Morning and art director for a number of companies and institutions. From 2018 to 2022 he’s appointed as “Italian Design Ambassador” for the Italian Design Day organized by the Italian Ministry of Foreign Affairs. D Bruno D’Annunzio FILM SHOOTING TECHNIQUES; EDITING TECHNIQUES; Sound Design bruno.dannunzio@unirufa.it Discover more In the first years of his activity he collaborated in theoretical-practical seminars related to the History and Criticism of the film of the University of Rome “La Sapienza”. Subsequently he made short films of various types: industrial, scientific, educational, etc. The anthropological and ethnographic documentaries, which he shot in different parts of the world, have ensured that his name was mentioned in the “History of Italian Cinema” (Mario Verdone, Tascabili Economici Newton, Rome 1995). From 1999 to 2018 he taught Editing with Digital Techniques and Direct Sound at the “Nuova University of Cinema and Television ”of Rome. Since 2000 he has collaborated with the Rossellini family and the Maiori Film Festival Association in the creation of the Roberto Rossellini Film Festival @ Maiori. In 2008 he taught “Image and Sound Analysis” to a select group of police officers State, Postal and Communications Police Service of the Department of Public Security, collaborating with the C.N.C.P.O. (National Center for the Fight against On-line Child Pornography). In 2008 he was commissioned by CANON Italia, with which he has been collaborating for years on the occasion of the Roberto Rossellini Film Festival @ Maiori, as head of the Video Portfolio within the event PHOTOGRAPHY ’08 in Milan. Since 2008 he has been a lecturer at the “Rome University of Fine Arts” in Rome and, as part of the Diploma course in Cinematography, teaches the following disciplines: Editing Techniques, Shooting Techniques, Sound Design, Audiovisual Documentation Techniques, Digital Video and Video Editing. In 2011 he was commissioned by the Ministry of Foreign Affairs to receive and optimize the art videos of the 89 Institutes Italians of Culture (IIC) in the world, to be included in an installation of the Italian Pavilion at the Biennale of Venice. With his students of the Audiovisual Documentation Techniques course of the RUFA School of Cinema makes a film, addressed to all IICs in the world, on the inauguration of the Italian Pavilion and the Venice Biennale. In 2012, with his students of the RUFA he created a commercial for the State Police-Police Railway. In the following years, in addition to the normal teaching and always for the RUFA, he leads Shooting and Editing workshops in the context of PCTO training projects. Veronica D’Auria Cultura visiva e media Discover more Veronica D’Auria graduated with honors in Historical and Artistic Sciences, address Curator of artistic and cultural events, at the University of Rome Sapienza. In 2009 she co-founded C.A.R.M.A. – Center for Applied Multimedia Arts and Research – in which she is the coordinator of the curatorial group. In this context she organizes exhibitions and events of contemporary arts, dedicating particular attention to video art, computer art, multimedia installations, experimental music and intermediate theater in prestigious spaces in Italy and abroad (M.A.C.RO., MAXXI, mu .B.A., White Box Museum of Art, M.L.A.C., Centrale Montemartini-Musei Capitolini, G.A.M.C.). In 2018 she co-founded the record label Handmade Supernova and from 2020 she is Communication Manager for Strangis Realities, a software house of games and applications in virtual reality. She collaborated with institutions, festivals, associations, non-profit organizations, foundations. Sergio D’Innocenzo ANIMATION 1; Character Animation sergio.dinnocenzo@unirufa.it Discover more Afterart high school his first work experiences began, especially in the field of comics and illustration. He created, among other things, a 25-page color story of “Radar”, a superhero of the “Phoenix” universe written by Giorgio Lavagna, and a complete cycle of illustrations for the role-playing game “Lex Arcana” published by Dal Negro. Immediately after he began working in the field of graphics and advertising communication, an experience that he developed between the late 80s and 2006 when he became the art director of the studio he co-founded “Plan B Communication”, working for clients such as CAPITALIA, POSTE ITALIANE, ANSA, CONFITARMA. In the early 2000s he discovered 3D graphics and attended courses both in Italy and in the UK, that allowed him to integrate more and more CGI in his work. In 2008 he attended a character animation course at Escape Studios in London. From here his passion for animation exploded. Soon he began his collaboration with the animation studio TeamTO (France), which lasted 4 years. He initially worked on television productions, some of which were very successful, such as PJMasks (Superpigiamini), Angelo Rules, The new adventures of Babar, and then also feature films (Yellowbird). Other studios and other productions have followed since then including: Gladiators of Rome (Rainbow CGI); Jungle book (MPC); Zombillenium (Pipangai); Trash (AL/1); Ricky Zoom (Maga Animation). D Lorenzo d’Amico de Carvalho DIRECTOR lorenzo.damico@unirufa.it Discover more Born in Rome in 1981, his work ranges between screenwriting (I’M endless like the space 74° Mostra d’arte Cinematografica di Venezia – Venice Days) documentaries (Terra da Fraternidade; Sulle tracce del mito; L’Aquila: la cultura rinascente), and short film (Pausa Pranzo, 2005 Centenario CGIL Cinema e Lavoro award, 4FilmFestival oficial selection; Nouvelle Vague, 2004 DAMS film festival Roma award, Milano Film Festival oficial selection) . He also works as a theatre director (A bright room called day 53° Festival dei Due Mondi, Spoleto; Partita spagnola, Quartieri dell’Arte, Viterbo). D Franca De Angelis CREATIVE WRITING franca.deangelis@unirufa.it Discover more Since 1995 Franca has written for both cinema and television. She has collaborated with directors such as Carlo Lizzani and Giuliano Montaldo. Her short film Senza Parole (Without Words) was nominated for an Oscar in 1997 and won the David prize at the Donatello Awards, Italy’s BAFTA’s. She also wrote the film La Vespa E La Regina (The Wasp And The Queen) with Claudia Gerini. For television she has written numerous miniseries including Nobody Excluded (Italy Award); Maria José – The Last Queen (Grolla D’Oro); The Five Days of Milan; Of War Friendship; Handsome Antonio; Exodus – The Dream Of Ada (nominated for Best Screenplay at the Magnolia Festival Shanghai); Don Zeno – The Man From Nomadelfia (Signis award) and Sissi. She was co-creator and head writer for four seasons of the popular series A Doctor In The Family. For theatre she has written about ten plays that have been successfully represented in Italy and abroad. Massimiliano De Blasi Elementi di produzione video:Cinema massimiliano.deblasi@unirufa.it Discover more For 20 years in Sales & Marketing for several multinational companies, since 2021 I have been following and implementing marketing strategies and tactics for many different industries as a consultant at Publicis Sapient. My passion and study of marketing, combined with my daily, hands-on experience in campaigns for prospects and clients, has led me, for many years now, on a path as a trainer in the automotive, pharmaceutical, retail, electronics and film industries. I firmly believe that what can make the difference today in customer relationship management is continuous innovation; being able to combine data and heart, technology and creativity, so as to transform traditional funnels into individual, seamless journeys; all based on a data-driven approach aimed at designing authentic CRM experiences… guided by heart and emotions, because the brand remains as the memory of the emotion and experience we bring to our customer. Francesco Del Grosso Direction of Photography francesco.delgrosso@unirufa.it Discover more Francesco Del Grosso was born in Rome in 1982. After graduating from DAMS he began his career as a director directing commercials, short films, TV series and documentaries, the latter selected in numerous international festivals and winners of various awards, including “Stretti al vento ”,“ In the Eyes”, “The Penalty”,“ Friendly Fire”, “Never Look Back” and “On the Front Line”. Parallel to the work behind the camera he works as a film critic, collaborating with magazines and sites in the sector. Fabrizio Dell’Arno PAINTING 1; PAINTING 2-3; TECHNIQUES AND TECHNOLOGIES FOR PAINTING; PAINTING TECHNIQUES fabrizio.dellarno@unirufa.it Discover more Fabrizio Dell’Arno was born in Sào Gaetano do Sul (Sào Paulo, Brazil) in 1977. He graduated in “Advertising and Communication” at IMES University (SCSul) in 1999, he attended the postgraduate course in art history at the FAAP (SP) faculty. He began his teaching career in the teaching staff of the “Pueri Domus Un.Jardim” Lyceum in Santo Andre (SP) as a professor of history of art and painting. He worked as a professor of artistic drawing at the IMES-SP University, Brazil. He obtained the specialization in scenography in the “cenographic espago, J.C.Serroni”, working in the scenographic sector in theater, cinema and TV projects. In 2003 he moved to New York, where he studied painting and drawing at the SVA (School Visual Arts), returning to Brazil he attended the painting studio of Master Rubens Matuck, in Sao Paulo. In 2005 he obtained his master’s degree in Sculpture from RUFA, where he currently works as a professor of painting technology in the academic course and professor of the free course of painting and drawing. Personal website Fabrizio Des Dorides ARTISTIC ANATOMY fabrizio.desdorides@unirufa.it Discover more Fabrizio des Dorides was born in Rome in 1987. He began working as a cartoonist in 2012, drawing the number 17 of the last season of John Doe (‘Questa lunga storia d’amore’). Afterwards he collaborated with: Aurea Editoriale (Lanciostory and Skorpio); Villain Comics (Brutti Sporchi e Cattivi); Cosmo Editoriale (Battaglia-La Figlia del Capo, John Hays-Brutti Sporchi e Cattivi); Edizioni Starcomics (I Maestri dell’Orrore-Dracula); Sergio Bonelli Editore (Dylan Dog, Orfani- Nuovo Mondo; Orfani-Sam). He currently works for Sergio Bonelli Editore and Editions Soleil. Facebook, Instagram Genny Di Bert HISTORY OF ART AND OF COSTUMES; PHENOMENOLOGY OF CONTEMPORARY ART ; CONTEMPORARY ART HISTORY genny.dibert@unirufa.it Discover more Art historian and critic. Her activities include journalism, criticism, curating and research, which focuses on the interdisciplinary nature of different art forms as well as their relationship to society and new philosophical and scientific developments. She is on the roll of the National Order of Journalists and Court Art Experts. She publishes catalogues and monographs of artists, articles and essays; she edits art video-documentaries, and collaborates with art foundations, organisations and institutions. She is a lecturer at RUFA, having taught at NABA, Università Cattolica, Università di Bologna, Accademia di Brera and Accademia Palermo. Luca Di Cecca Tecniche di modellazione digitale - computer 3D 1 luca.dicecca@unirufa.it Discover more Luca Di Cecca is a director, screenwriter, 3D artist, animator. He studied in Rome where he graduated in Industrial Design and in Historical-Artistic Studies at the Sapienza University with top marks. He studied animation, drawing and anatomical studies for artists. Since 2010 he has been working at Light & Color in Rome as a director and CG supervisor, where he participated in the realisation of several projects including Buonanotte, a short animated film that won the MigrArti MiBACT competition and was selected in several festivals such as Giffoni Film Festival, Corti d’Argento, Biennale di Venezia; Youtopi (Berardo Carboni’s film), supervising the realisation of 12 minutes of CGI animation; Giù dal Nido (2 Rai Kids TV series, CGI supervisor and editing), Come foglie al vento (Rai Gulp Special, co-director). Winner of the MiBACT ‘Direzione Generale Cinema’ 2018 call for tenders for the subject and screenplay of the animated short film ‘Argo and Odi’, currently in production and for which he also signed the direction. Arturo e il Gabbiano, distributed in festivals by Premiere Film, is his first project as a director. He has lectured at RUFA, the Quaroni Faculty of Architecture, Sapienza, and at Cine-Tv Rossellini. Nicola Di Cosmo App Design nicola.dicosmo@unirufa.it Discover more Nicola Di Cosmo, co-founder of Iperdesign, is a Project Manager of the Web and Mobile area of Iperdesign and coordinator of activities at the Rome office. User Experience and User Interface Designer for Mobile Applications on behalf of clients such as Abbott Nutrition, WWF Italia, Dale Carnegie USA, Hausmann & Co, Cangene Bio Pharma, Croma Pharma User Experience and User Interface Designer for Web Applications on behalf of clients such as Enel Rete Gas, Smarter Agent, Lifeshiel Security, the Evangelical Lutheran Church in Italy, Cangene Bio Pharma. He graduated from the Istituto Superiore per le Industrie Artistiche (Higher Institute for Art Industries) in Rome (1999) with a thesis on “Matter – in – formation, maps for a new hyperdesign of digital products”, in which he looks into the techniques and opportunities offered by digital technology for creating, using and sharing contents. He has worked as Multimedia Designer in New York, at Material ConneXion, where he coordinated presentations for Nike, Puma, Steelcase, Hermann Miller, Mattel. www.iperdesign.com Valerio Di Nitto Special Effects valerio.dinitto@unirufa.it Discover more Nuke Compositor and 3D Generalist, Valerio Di Nitto was born in Rome in 1992. His studies led him to leave the hometown and move abroad in UK, there he graduated in BA Hons Computer Animation (2016) at the University of South Wales (UK). Back home he specialized in the field of VFX earning a University Master in Visual Effects at the Quasar Institute (2017), marking the beginning of his career. He has worked at Metaphyx, Digimax, Direct2Brain, Frame by Frame. Currently he is covering the role of digital compositor at Lightcut Film VFX, working on Italian and foreign productions. Giorgio Di Noto PHOTOGRAPHY 1 giorgio.dinoto@unirufa.it Discover more Born in 1990 in Rome (Italy). He studied photography at Centro Sperimentale di Fotografia A.Adams and learned Darkroom and Printing techniques working with some master printers in Italy. He started in 2011 a research about the materials and languages of photography, studying the relationship between technical processes and the contents of images. In 2012 he self-published a limited edition artist book “The Arab Revolt”, which is mentioned in “The Photobook, A History Vol.III” by Gerry Badger and Martin Parr. In 2013 he has been selected by British Journal of Photography as one of the “Ones to watch”. The education experiences continued after being selected for the Reflexion Masterclass and the Joop Swart Masterclass (World Press Photo), where he focused and developed interactive projects through the experimentation of different printing processes. In 2017 he published “The Iceberg” (Edition Patrick Frey) and received a special mention at the Author Book Award at Les Rencontres d’Arles 2018. His projects have been exhibited in several festivals and events in Europe. D Caterina Di Rienzo Psicologia dell'arte Discover more Caterina (Katia) Di Rienzo is a PhD in Philosophy and Theories of Human Sciences (Roma Tre). She deals with aesthetics and phenomenology of the arts, and with theories of dance, body and performance. She has carried out didactic and teaching activities at the Roma Tre University, and at the School of Higher Education in Art and Theology of the Pontifical Theological Faculty of Southern Italy in Naples. Among her publications, the volumes “L’esito della pittura nell’ultimo Merleau-Ponty” (Mimesis) and “Per una filosofia della danza. Danza, corpo, chair” (Mimesis); the essays “Danzare fuori dal corpo. Estetica contemporanea e ‘nuova’ danza italiana”, (Ephemeria) and “Potresti cadere nell’aria. Nijinsky, i diari di una salvezza impossibile” (Ágalma, n.44); the translations from the French by Michel Bernard, “Della corporeità come “anticorpo” o del sovvertimento estetico della categoria tradizionale di corpo” (Ágalma, n.35) and by Guy Debord, Note sulla “questione degli immigrati” (Ágalma, n.34). She is editor-in-chief of the journal of cultural studies and aesthetics Ágalma, founded and directed by the philosopher Mario Perniola. She has worked with various publishing houses including Castelvecchi and Elliot. In parallel with her academic and teaching activities, she carries out the professional artistic activity of a dancer, performer and choreographer, training in Caserta, Rome, Montecarlo. A double field that marks the direction of her research and her poetics, currently working on the relationship between dance and visual arts. She is Alto Esperto in ANVUR evaluation for the AFAM sector. D Antonin Joseph Di Santantonio TECHNOLOGY AND MATERIALS FOR SET DESIGN antonin.disantantonio@unirufa.it Discover more He graduated in Architecture from Sapienza University of Rome (Supervisor: Prof. Arch. Paolo Portoghesi). A member of the National Professional Association of Architects of Rome, he has qualified to practice the profession. He has gained a Master in designing interactive spaces for communication from the Faculty of Architecture of Sapienza University, Rome, and attended specialisation courses in set designs for performances. After several experiences in the construction industry, he furthered his professional career at RAI Radiotelevisione Italiana, the Italian state broadcaster, which he joined in1983, and where he held various production positions, from Supervisor to Organiser, participating in no less than 65 TV fiction programmes and events. From 1994 to date, he works in the Set Design sector, where he has held a number of positions: from Manager of the RAI set design sites and laboratories, coordinating the teams of Builders, Decorators, Construction Workers, Graphic Designers, Model Builders, Modelling Operatives, and Special Effects designers, supervising about 200 set designs; to manager and coordinator of the set planning and design sector and now of the Project evaluation office of the Set design sector of RAI. Stefano Dominici Web Design and User Experience stefano.dominici@unirufa.it Discover more He started his career as a graphics designer in 1988. His career initially revolved around graphic design and publishing projects development and, starting from 1998, web related activities. In 2004 he establishes UtLab aka Usertestlab, now called UtLab, the company that helps other organizations understand the choices, behavior and ways the clients get in contact with them and assists these companies in implementing human-centered design processes. Stefano is a university professor at RUFA – Rome University of Fine Arts and IULM (University Institute of Modern Languages) and a conference speaker at the Italian Summit on Architecture and Information, World Usability Day and other conferences in Italy. Furthermore, he is a founder of UXUniversity, specializing in professional training, and of a publishing firm UXU Edizioni. He is also member of the Italian Association for Design and Visual Communication (AIAP). Linkedin, Instagram, Facebook, Blog, UtLab Davide Dormino DRAWING; SCULPTURE; ICONOGRAPHY AND ANATOMICAL DRAWING davide.dormino@unirufa.it Discover more My work is expressed in scuplture and design. I seek new forms by favouring old-fashioned systems for working on materials such as marble, bronze and iron. The entirety of my artistic research is entrusted to the grandeur of a creative process rooted in fundamental human issues. I dialogue with size, working in every physical scale, in order to represent an idea and insert it in the most suitable vessel. Every artistic expression becomes a fertile terrain with which to estabish exclusive and incisive relations with an external environment. Flux, vectors, bridges, and works both great and small: materials transformed without artifice but shaped by a will to become the timeless interpretor of the Spirit of Art. Born in Udine in 1973, Davide Dormino lives and works in Rome. His art pieces are divided between public and private works, whose size can vary from tiny to gigantic. Primarily a sculptor, works sometimes with marble but mostly with iron. His research focuses on the formal relationship with the material, folded up to the distorting nature to meet their needs of expression. E Meltem Eti Proto Product Design \| Design meltem.etiproto@unirufa.it Discover more She graduated from Marmara University Faculty of Fine Arts Interior Architecture Department. She has a first Level Master from the University of Mimar Sinan Institute of Science and the Proficiency in Art from Marmara University Institute of Social Sciences. She is a professor at Marmara University Faculty of Fine Arts Interior Design Department, Istanbul. She was the director of the Department between 2006-2019. She has played several roles within the University; as the Erasmus Coordinator of the Department, President of the 6th International Student Triennial Organization Board, Member of the Administrative Council, Member of the Research Council for the foundation of the Italian University in Turkey. She works on the relationship between art and design. She has carried out many projects for hotels, offices, homes, cafes, furniture design, curatorial exhibitions, jewellery design. F Andrea Fabiani Sound design andrea.fabiani@unirufa.it Discover more Andrea Fabiani, born on 31 December 1974, is a renowned Italian Sound Designer and Music Production Manager. After earning a Higher National Diploma in Audio Engineering at S.A.E. London his professional career started in 1999, when he worked as part of the In-House Audio Team at the Royal Albert Hall in London, taking care of the sound set-up for live events. He took his first steps as a Sound Engineer at Forward Studios where he contributed to the production of recordings for Fabrizio De Andrè, Pino Daniele, Andrea Bocelli, Michele Zarrillo, Ivano Fossati, Giorgia, Valeria Rossi and Claudio Baglioni. Over the years, he has accumulated important awards and credits for his work, including the soundtrack for Roberta Torre’s film ‘I Baci Mai Dati’ in competition at the 67th Venice Film Festival in the Controcampo section and at the Sundance Film Festival. This recognition led him to be interviewed on Cinematografo by Gigi Marzullo. In addition to being a music consultant for the You Tube channel of the Vatican Museums, he has held the position of Music Supervisor and Sound Designer at Clonwerk S.r.l., contributing to audio post-production for museums, multimedia projects and live events, collaborating with many realities including Filmaster. Since 2010 he has also been a composer and music producer for Rai S.p.a. Daniele Falchi Regia Multimediale daniele.falchi@unirufa.it Discover more Daniele Falchi is a young artist, critic and curator who focuses his research in the field of cinema and new media art. He completed his studies at RUFA – Rome University of Fine Arts, where he continues to teach as a Teacher Assistant for the chair of “Contemporary art and new media”. He currently teaches “Video Production Elements” and “Digital Video” at DAM Academy in Rome. Since 2019 he has collaborated with Dancity Festival, organizing talks, exhibitions and meetings on contemporary culture. In 2020 he participated at Romaeuropa Festival with the installation “THE POST-FUTURIST CAVE”, as part of the Digitalive exhibition. His latest publication, “Techno-maenads. From the classical world to the contemporary West” is contained in “Electronics is Woman. Media, bodies, transfeminist and queer practices”, published by Castelvecchi in 2022. Giulio Fermetti Graphic Design - Comics giulio.fermetti@unirufa.it Discover more My name is Giulio Fermetti and I was born in Rome, on 16 March 1965. I have been working as a professional graphic designer since 1989. Over the last 30 years, I have built up so profound a knowledge of the Adobe software suite [Illustrator, InDesign and Photoshop first and foremost] as to hold training courses, specialising in editorial graphics, branding and coordinated image, illustration and infographcis. You may find a portfolio of my more recent work at issuu.com/essegistudio/docs/essegistudio_roma. Regarding by editorial graphics projects, I began by joining the studio of the great Piergiorgio Maoloni, creating layouts for the daily newspaper “il manifesto” [including the supplements], “Sfera”, “Eupalino” and more besides. From 2002 to 2009, I worked at studenti.it [which has now merged with Banzai Media], as“ CMYK guru”, i.e. chief project, making and printing officer of all the group’s paper magazines [“Yet-Studenti.it”, “Tribu” and “Studenti Magazine”], developing the diaries, calendars and various advertising pages, for self-promotion and other purposes. In 2014, with Essegistudio [a small but very active graphic design studio, which I founded in 2006], we won a nationwide competition organised by Telecom Italia Media, for creating the logo (and related brand book) of the newly-established holding company “Persidera”. Since 2007, I also work for the “Formiche” Foundation, creating the layouts for and illustrating their two monthly magazines “Formiche” and “Airpress”, involving 170 printed pages per month. I have worked for a number of daily newspapers [“Europa”, “Il Romanista”, “Il Clandestino”], building up an in-depth familiarity with the work of editorial offices and their stringent deadlines. I work with Quark XPress since release 3 [1990] and Adobe InDesign since release 1.0. For illustration work, I prefer vectors [Adobe Illustrator], although I am fully skilled in airbrushing, photomontages, corrections, etc. with Adobe Photoshop. I have also been working in the field of infographics on an almost daily basis, for a number of years now, at the editorial offices of the daily newspaper “Europa”, and for a studio providing infographics for the Italian news agency Agi – Agenzia Giornalistica Italiana. Francesco Fidani ILLUSTRATION francesco.fidani@unirufa.it Discover more Illustrator and graphic designer based in Rome. He studied industrial design at ISIA in Rome and the Hochschule in Mainz (DE), complete his studies at ISIA in Urbino in illustration. He works in different fields of communication: publishing, branding, institutional and performance, creating still or moving illustrations by several media: digital, collage, painting and handmade printing or sculptures made of paper. He’s a founder of the project Tothem Tour, a travelling workshop format that aims to communicate the identity of the territory through cutting and printing technique as public performances. Among his clients: Donna Moderna, Il Foglio, Quotidiano Nazionale, Confcooperative, Mondadori, Zanichelli. He won the 15th edition of the Tapirulan Award, Termini d’Identità in 2018 and has been selected several times in the Annual of Autori D’immagini. He is an AIAP member and tutor of the image laboratory at ISIA in Rome. Aleksandra Filipovic Tecniche di modellazione digitale - computer 3D per la moda 1 aleksandra.filipovic@unirufa.it Discover more 3D pattern maker, Architect, PhD at Sapienza University of Rome. Active for years in teaching and research between Rome and Belgrade dedicated to the formation of space, in particular on how a construction system creates it, producing several scientific articles and monographs (such as “Tradition and experimentation in Serbian architecture of the second half of XII century”, Florence University Press 2020). Since 2016, the digital presentations of the monuments have been accompanied by a new field of study and profession, still emerging at the time, that of digital fashion design. The targeted union of many years of experience has offered the possibility of creating new work systems and being able to transmit them in the teaching of 3D fashion modeling (with the patented system of the same MAM school, Maiani Accademia Moda in Rome). As an integral part of GLEA, since 2020, it focuses on the transitions from virtual to reality by creating tailor-made products that do not need testing. For ALTORICAMO, becoming co-founder in 2022, she continues to create the prototypes of eco-innovative wedding dresses, and takes care of the entire 3D design system. Francesco Filosa SET CONSTRUCTION 2 francesco.filosa@unirufa.it Discover more Graduated with honors in Set Design from RUFA and teacher of Set construction 2, he immediately collaborated, as an assistant, in a prestigious studios such as Stefania Conti and Studio Castelli’s, for RAI, Mediaset and Sky events and television programs. In 2018 he founded, with other former university students, the production company “Threeab “, signing the scenography of many short films presented at international Festivals such as Cannes and Venice. At the same time he curates events, short films, theatrical performances and television programs as a set designer. In 2019 he signed the XIII Ambassadors’ conference for the Ministry of Foreign Affairs at Auditorium Parco della Musica, collaborated for the broadcast Tu si que Vales and curated the external sets of Alessandro Siani’s Sky Christmas show. In 2020 he worked on various projects including the Italian FIFA and Pes championship, the construction of a conference room for the public, media & legal affairs company “Utopia” and the Sanremo Junior 2020 at the Ariston Theatre. Filippo Foglietti ANIMATION DRAWING Discover more He graduated from the then 5th Art School (currently Giorgio De Chirico) in 2003. He attended the painting course at the Academy of Fine Arts in 2005. He then attended the C.S.C. – Department of Animation in Piedmont in the three-year period 2006-2008. After graduating from the experimental centre, he began his professional experience between 2009 and 2010; initially as a 3D animator for a mixed technique short film, and then moved on to storyboarding, which will characterise most of his professional experience to date. From the first RAI TV series “Spike Team”, moving on to other RAI productions such as “The Qpiz” – “Spike Team 2” – “Adrian”- initially with Mondo TV and later with Clan Celentano and Movimenti. He worked for a period on the TV series “Bat Pat” again with Movimenti until “Dixiland 2” currently in production. In addition to the animated TV series, he works as story artist on other projects: video clips and video promos in animation, live action and mixed media. He also works as a visualiser with Clonwerk, for competitions and events related to various brands and trademarks, including Enel, Siemens, Fiat, Maserati. Lara Forgione Culture digitali lara.forgione@unirufa.it Discover more She graduated in Saperi e Tecniche dello spettacolo at the “La Sapienza” University in Rome and continued her studies by obtaining two Master’s degrees, “3D animation, compositing, animation techniques in performance” and “Virtual Reality”. She started working in 2015 as a lecturer collaborating with different Italian institutions and universities. Constantly balancing between two worlds that are only apparently distant, the humanities and computer science, and interested in every contemporary artistic expression, she gives students a better understanding of the combination of both technical and theoretical skills. She is convinced that the present imagery will take shape the future reality. Lucia Forte Disegno tecnico e progettuale per la moda lucia.forte@unirufa.it Discover more Fashion designer, during her career she has gained significant freelance experience in the field of design and creative direction of women’s pret-a-porter and luxury accessories collections, as well as the entrepreneurial activity of her brands ‘Lucia Forte haute coutur’ and ‘aquaforte pret-a-porter’. A complete professionalism that has been able to creatively set new collections and inspire new fashion trends thanks to her knowledge of exclusive tailoring techniques and constructions. After her academic studies of fashion and costume in Rome, she began her work experience at the Maison Valentino as assistant and head designer in charge of the creative studio and relations with suppliers; she took part in the planning of the fashion shows in Rome, Paris, New York and Tokyo. Her career path continued in Milan as artistic director for “Trussardi”, where she designed the women’s, men’s and accessories pret-a-porter collections and supervised the presentation of the fashion shows for “Loewe” (Vuitton Spain Group); she curated the women’s luxury pret-a-porter night collection with accessories and Bijou; for the brand “Krizia” she curated the “poi by Krizia” collection of knitwear and fabrics, and collaborated in the organisation of the Milan défilé; for the brand “genny” of Ancona she designed and supervised the creation of women’s pret-a-porter knitwear for the Milan défilé. For “ethic” she was responsible for the style and foreign production (India) of women’s, kids and accessories collections. She designs exclusive fabric prints and embroideries for some of the most prestigious Italian textile companies, such as “Sisan”, “la gattolla” and “Scotland house”. She is the entrepreneur of her own women’s pret-a-porter brand ‘aquaforte’, presented at the Milan collections fair, for which she has completely taken care of the image, style, packaging and distribution. She feels it is her duty to pass on her solid professional knowledge to young students and to direct them to face the competitive ‘fashion planet’ of Made in Italy with the right awareness. Emanuele Frascà Web design 1 emanuele.frasca@unirufa.it Discover more Emanuele Frascà worked in the Web, UX/UI, Graphics and Communication fields for over a decade, including great attention to the evolution of techniques and technologies during his design process. For every project he is facing, a simple but well-structured vision is applied: functionality first, not in contrast but rather in collaboration with the visual. This rule of thumb leads him to design different typologies of websites: landing pages for marketing or feeds collection, multilingual eCommerce, eCommerce for nonprofit, News website, and much more – projects all developed with great care of layouts, interfaces, using all the UI/UX best practices to design an all-around (comprehensive is better?) product. Influenced by his many side interests, like photography, music and art, Emanuele Frascà actively uses his cultural background to create projects that can create an impact on people’s lives, thoughts and emotions. Donatello Fumarola History of Cinema and video donatello.fumarola@unirufa.it Discover more He studied music in Milan and philosophy in Bologna. Since 1999 he is one of the authors of the Rai 3 TV program “Fuori Orario”. For years he has written about cinema for the monthly “filmcritica”, for the newspaper “il manifesto”, for the weekly magazine “nòva / il sole 24 ore”, holding a monthly column in the rock magazine “Blow Up”. In 2013 he wrote “Sentimental Atlas of Cinema for the 21st Century”, with Alberto Momo (with whom he founded, in 2015, Zomia, an independent film society that released in Europe films by Lav Diaz, Pedro Costa, Tariq Teguia, Julio Bressane), winning the Limina / FilmTV award for the best movie book of the year. He has collaborated – as producer, actor, musician or director of photography – with Amir Naderi, Jean-Marie Straub, Enrico Ghezzi, Tonino De Bernardi, Ado Arietta, Luis Fulvio. He directed two episodes (the first and the last) of the tv-series “Zaum” (broadcasted on Rai3 in 2011). He is co-author of the script for the film Monte (2016) directed by iranian master Amir Naderi, winner of “Contenders 2016” at the MoMA in
5438	dbpedia	1	33	https://en.andarasfilmfestival.com/giuria2023	en	AndarasFilmFestival	https://static.wixstatic…18c99cad~mv2.jpg	https://static.wixstatic…18c99cad~mv2.jpg	[ "https://static.wixstatic.com/media/c929e4_26585193befa451e896e7d606b5427ed~mv2.png/v1/fill/w_236,h_50,al_c,q_85,usm_0.66_1.00_0.01,enc_auto/Andaras_logo_orizz_rgb_sito.png", "https://static.wixstatic.com/media/c929e4_4464e1d515b6428e9466f620fe9b8295~mv2.jpg/v1/fill/w_1578,h_367,al_c,q_85,usm_0.66_1.00_0.01,enc_auto/jury.jpg", "https://static.wixstatic.com/media/c929e4_f9364ed231064f9199b5d8ed1eac2c84~mv2.jpg/v1/crop/x_0,y_9,w_2250,h_2206/fill/w_64,h_63,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/Pesapane.jpg", "https://static.wixstatic.com/media/c929e4_c1d403a1b9b74f07b5286ebbf876edcb~mv2.jpg/v1/crop/x_0,y_22,w_2250,h_2206/fill/w_64,h_63,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/Lodovini.jpg", "https://static.wixstatic.com/media/c929e4_cce34ff532f648dca91f80864d2cd801~mv2.jpg/v1/crop/x_0,y_22,w_2250,h_2206/fill/w_64,h_63,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/Nappo.jpg", "https://static.wixstatic.com/media/c929e4_ae2b785d421e45448372f1162f8cb15c~mv2.png/v1/fill/w_49,h_6,al_c,q_85,usm_0.66_1.00_0.01,blur_2,enc_auto/c929e4_ae2b785d421e45448372f1162f8cb15c~mv2.png", "https://static.wixstatic.com/media/c929e4_06f49c2977a840dabace60ce9568d5a7~mv2.png/v1/crop/x_5,y_30,w_2501,h_1593/fill/w_169,h_107,al_c,q_85,usm_0.66_1.00_0.01,enc_auto/AssociazioneANDARS_chiaro.png" ]	[]	[]	[ "" ]	null	[]	null		en	https://static.wixstatic…b083db%7Emv2.png	AndarasFilmFestival	https://en.andarasfilmfestival.com/giuria2023	Saverio Pesapane graduated in Architecture in 2006. His degree thesis “Lost Highway” is a documentary on the highway system built between Naples and Caserta with the funds allocated by the reconstruction law after the 1981 earthquake. In 2008 he wrote A Water Tale, a short film included in "Stories on Human Rights", a film made of 22 short films commissioned by the United Nations for the 60th anniversary of the Universal Declaration of Human Rights. In the same year he wrote Aral Citytellers, produced by Art for the World, a documentary on the Aral Sea, shot in Kazakhstan. In 2009 he wrote Dubai Citytellers, produced by Unicredit & Art, a documentary on neo-slavism, shot in Dubai. Between 2011 and 2012 he wrote and directed It's countryside, a documentary shot in the Nile Valley and Cairo, Egypt, produced by the Rotterdam Architecture Biennale. In 2013 he won the Solinas Award - Stories for cinema, with Una Buona Ragione. In 2018 he wrote and produced Yousef, a short film selected at the 2018 Venice Film Festival and winner of the best editing award in the Migrarti category, in competition at the Clermont-Ferrand 2019 International Short Film Festival and selected among the five finalists for the David di Donatello 2019 award. Since 2017 he has been a partner of Premiere Film, a film production and distribution company, which in 2019 was in charge of the executive production of The Nest, a feature film produced by Colorado Film in collaboration with Vision Distribution. He teaches at NABA, New Academy of Fine Arts in Milan. Valentina Lodovini is an actress who escapes from labels. Since the beginning she has tried to combine cinema, theater and television. In 2005 she graduated from the Experimental Center of Cinematography in Rome and in 2006 she made her debut in the film "L’amico di famiglia" (in competition at the Cannes Film Festival 2006) by Paolo Sorrentino. In the same year she participated in Francesca Comencini's film "A casa nostra" (in competition at the Rome Film Fest 2006). Among her most relevant films there are “La giusta distanza” by Carlo Mazzacurati, “Pornorama” by Marc Routhemund, “Fortapàsc”, by Marco Risi and “Generazione 1000 euro” by Massimo Venier. Thanks to these two interpretations, she was awarded the Ciak d'oro as "Revelation of the year". In 2010 she was the protagonist in "La donna della mia vita" by Luca Lucini and in the Italian blockbuster comedy "Benvenuti al Sud" by Luca Miniero. For the latter interpretation she won the David di Donatello 2011 as Best Supporting Actress. Moreover, she won the Nastro d’argento for Best Actress for the film "10 giorni con Babbo Natale" by Alessandro Genovesi. Despite the popularity of these successful comedies, she never distanced herself from the artistic commitment of debut films. In fact, she participated in Mario Vitale’s debut film “L’afide e la formica” in 2021, in “La terra delle Donne” by Marisa Vallone and “Conversazione con altre donne” by Filippo Conz in 2022. In 2022 she took part in the main casts of the comedies "Vicini di casa" by Paolo Costella and "I Migliori giorni" by Edoardo Leo and Massimiliano Bruno. She was born in Naples on February 20, 1971. At 18 years old she opened a theater in Naples with some young colleagues and at 21 she won a national competition for comedians, la Zanzara d'oro. She started working in theater at an early age: first with Mario Martone, then with Cesare Lievi and then permanently with Toni Servillo’s company, for more than 10 years. She was the first actress in Italy to play Sarah Kane's 4:48 Psychosis. Besides her acting career, she is also a stage director. She was the first in Italy to stage works by Tony Kushner and her husband, Dennis Kelly. In cinema she has worked with directors such as Antonio Capuano, Silvio Soldini and Paolo Sorrentino; she also co-starred in Matteo Garrone's third film. She played the role of Sofia Pisanello, the wife of the character played by Roberto Benigni, in Woody Allen's “To Rome with Love”. In 2022, she participated in the Venice Film Festival with the film 'Amanda', directed by Carolina Cavalli, and toured national theatres with the play 'L’esperimento', which she wrote and she also performed in it.
5438	dbpedia	0	90	http://hudoc.echr.coe.int/eng%3Fi%3D001-185130	en	European Court of Human Rights	http://hudoc.echr.coe.int/images/Icons/ECHRfavicon.ico	http://hudoc.echr.coe.int/images/Icons/ECHRfavicon.ico	[]	[]	[]	[ "" ]	null	[]	null	The HUDOC database provides access to the case-law of the Court (Grand Chamber, Chamber and Committee judgments and decisions, communicated cases, advisory opinions and legal summaries from the Case-Law Information Note), the European Commission of Human Rights (decisions and reports) and the Committee of Ministers (resolutions)		/images/Icons/ECHRfavicon.ico		null
5438	dbpedia	0	3	https://kinoteka.mk/en/film-program-may-2021-in-the-summer-cinema-a-quiet-summer/	en	FILM PROGRAM MAY 2021 IN THE SUMMER CINEMA “A QUIET SUMMER”	https://kinoteka.mk/wp-c…-Cinema-web1.jpg	https://kinoteka.mk/wp-c…-Cinema-web1.jpg	[ "https://kinoteka.mk/wp-content/uploads/2018/05/kinologowhite.png", "https://kinoteka.mk/wp-content/uploads/2018/05/kinologoblack.png", "https://kinoteka.mk/wp-content/plugins/sitepress-multilingual-cms/res/flags/en.png", "https://kinoteka.mk/wp-content/plugins/sitepress-multilingual-cms/res/flags/mk.png", "https://secure.gravatar.com/avatar/d7ce66890b54ced2f66ca6e92717a7fa?s=50&d=mm&r=g", "https://kinoteka.mk/wp-content/uploads/2021/05/Pane-e-cioccolata.jpg", "https://kinoteka.mk/wp-content/uploads/2021/05/roko.jpg", "https://kinoteka.mk/wp-content/uploads/2021/05/MV5BYjUyZTE3NWQtMTg4MC00OWMyLTljZDItMDkzM2U2MDkwNzQ0XkEyXkFqcGdeQXVyMTAxMDQ0ODk@._V1_.jpg", "https://kinoteka.mk/wp-content/uploads/2021/05/MV5BMTdlNWNmYTktZjY0NS00MDM5LThlM2MtNTdhMWE1ZDk3MWI3XkEyXkFqcGdeQXVyMzIwNDY4NDI@._V1_.jpg", "https://kinoteka.mk/wp-content/uploads/2021/05/MV5BNjdlNmExMzUtMzM3OC00OGI4LWJmYWQtNDE5MzNmZjAwNzE1XkEyXkFqcGdeQXVyMzU0NzkwMDg@._V1_.jpg", "https://kinoteka.mk/wp-content/uploads/2021/05/MV5BMGY3ZjI4MzYtYTg2Ni00YTNkLWFmYjctYzIwNWY4MmFjMTc0XkEyXkFqcGdeQXVyMzIzNDU1NTY@._V1_.jpg", "https://kinoteka.mk/wp-content/uploads/2021/05/MV5BZDFhMmJlMjItZTk4Yi00YjRhLTgxMDgtM2QzNjA5MDQ1OWVkXkEyXkFqcGdeQXVyNTA0OTU0OTQ@._V1_.jpg", "https://kinoteka.mk/wp-content/uploads/2021/05/ECmedia-en-white-Converti.jpg", "https://kinoteka.mk/wp-content/plugins/sitepress-multilingual-cms/res/flags/mk.png" ]	[]	[]	[ "" ]	null	[ "Damjana Ivanovska" ]	2021-05-21T17:52:08+02:00	ITALIAN FILM WEEK MAY 17 (MONDAY), 20:00h. BREAD AND CHOCOLATE (Pane e cioccolata) Feature film, Italy 1973, 115 min., Color, DCP Directed by Franco Brusati Screenplay: Franco Brusati, Jaja Fiastri, Nino Manfredi Cast: Nino Manfredi, Anna Carina, Johnny Dorelli, Hugo A bitter comedy about the maladaptation of the Italian economic emigrant in Switzerland Nino Garofalo	en	https://kinoteka.mk/wp-c…oblack-32x32.png	Кинотека на Македонија - Официјалниот веб портал на Кинотека на Македонија	https://kinoteka.mk/en/film-program-may-2021-in-the-summer-cinema-a-quiet-summer/	ITALIAN FILM WEEK MAY 17 (MONDAY), 20:00h. BREAD AND CHOCOLATE (Pane e cioccolata) Feature film, Italy 1973, 115 min., Color, DCP Directed by Franco Brusati Screenplay: Franco Brusati, Jaja Fiastri, Nino Manfredi Cast: Nino Manfredi, Anna Carina, Johnny Dorelli, Hugo A bitter comedy about the maladaptation of the Italian economic emigrant in Switzerland Nino Garofalo (played by Nino Manfredi). Nino is a worker who tries, but can not fit into the Swiss mentality: he is constantly in conflict with the police, because with his unbridled southern temperament he disturbs the “cold” Swiss. Nino soon meets new people, finds new work engagements, but he has to hide his Italian origin from everyone. Despite everything, he does not give up to “conquer” Switzerland … Director Franco Brusati (1920-1993) was a lawyer by education, and began his career as a journalist. He began working as a screenwriter with directors Latuada, Rossellini and other representatives of Italian neorealism, and made his directorial debut in 1956 with the film I AM THE BOSS (Il padrone sono me). The most important titles in his filmography, apart from BREAD AND CHOCOLATE, are TO FORGET VENICE (Dimenticare Venezia, 1979), who was the Italian representative for “Oscar”, DISORDER (Disordine 1967), GOOD SOLDIER(Il buon soldato 1982), etc. … BREAD AND CHOCOLATE won the Silver Bear at the 1974 Berlinale, the David Di Donatello National Awards in several categories, the New York and Kansas Film Critics Awards, and dozens of other nominations. Age category: 14 years Ticket: free entrance ITALIAN FILM WEEK MAY 18 (TUESDAY), 20:00 h. MY NAME IS ROCCO PAPALEO (Permette? Rocco Papaleo) Feature film, Italy 1971, 106 min., Color, DCP Directed by: Ettore Scola Screenplay: Ettore Scola, Ruggero Maccari Cast: Marcello Mastroianni, Lauren Hutton, Tom Reed, Margot Novak Rocco Papaleo (Mastroianni) is a simple-hearted and kind Italian immigrant who arrived in the United States 20 years ago with the intention of making a successful career as a professional boxer. Instead, he works in a mine in Alaska. During a trip to Chicago with friends, with the intention of having fun in the big city, Rocco gets lost in the city crowds. He meets various picturesque characters, he also meets a beautiful girl-model (Hutton), but he does not find the desired hospitality … Ettore Scola (1931-2016) is one of the most striking representatives of Italian cinema from the second half of the last century. His film ONE UNUSUAL DAY (Una giornata particolare, 1977): winner of the Golden Globe, also nominated for an Oscar; Nomination for Best Actor (Mastroianni) – is among the most famous of the 40 titles in his career, including the films UGLY, DIRTY, EVIL (Brutti, sporchi e cattivi, 1976), WE LOVED EACHOTHER VERY MUCH (C’eravamo Tanto Amati , 1974), BAL (Le bal, 1983), etc. Scola has won numerous awards at many of the most prestigious European film festivals in Venice, Cannes, Moscow…. Age category: 14 years Ticket: free entrance ITALIAN FILM WEEK MAY 19 (WEDNESDAY), 20:00h. SAKO AND VANCETI (Sacco and Vanzetti) Feature film, Italy / France 1971, 125 min., Color / black and white, DCP Directed by Giuliano Montaldo Screenplay: Fabrizio Onofri, Giuliano Montaldo Cast: Gian Maria Volontè, Riccardo Cucciolla, Cyril Cusack Another representative of Italian neorealism. The story of SAKO AND VANCETI – which also flirts with the spaghetti western style – is based on one of the most controversial legal cases in the United States in the early 20th century. Sako and Vancetti are Italian immigrants to the United States. They are anarchists, accused of first-degree murder, and unjustly sentenced to death by executing an electric chair, but not because of a crime (armed robbery), but because of their political convictions. Their case was widely publicized in the United States as a political process filled with anti-immigrant and anti-Italian motives … SACO AND VANCETI of Montaldo was the winner of the Avellino Non-Realistic Film Festival (Best Picture and Best Actor: Cucciola); Cucciola also won the Palme d’Or (GOLDEN PALM), and Montaldo was nominated for the prestigious Cannes Award in 1971. The music in the film is by legendary composer Ennio Morricone, and several songs are performed by singer Joan Baez. Age category: 14 years Ticket: free entrance ITALIAN FILM WEEK MAY 20 (THURSDAY), 20:00 THE NEW WORLD (Nuomomondo / Golden Door) Feature film, Italy / France 2006, 118 min., Color, DCP Directed by Emanuele Crialese Screenplay: Emanuele Crialese Cast: Charlotte Gainsbourg, Vincenzo Amato, Vincent Schiavelli THE NEW WORLD (or GOLDEN GATE) is the third feature film by Chrialesse, a Roman of Sicilian descent. As in many other titles in Italian cinema – in fact, as well as this selection of titles in “Italian Film Week” – Chrialeze deals with the phenomenon of Italian emigration to the world in the early 20th century. Chrialeze’s story deals with the famous theme of the emigration of the family of Salvatore Mancuso (Amato) from poor Sicily, full of superstition, to a new world full of promises:USA. Traveling by boat is difficult and arduous, especially in the claustrophobic shipwreck, intended for travelers with the cheapest tickets. When such crushed travelers reach the promised land, they await the insensitive officials on Ellis Island, that “golden gate” of the United States, where they have to go through quarantine and bureaucratic procedures. THE NEW WORLD is a film made up of three visual parts: the first highlights the poetic landscapes of hilly and stony Sicily and its inhabitants with pagan customs and beliefs. In the second part, Salvatore, who constantly dreams of America, despite the fierce opposition of his mother (that patriarchal icon in Mediterranean cinema) sells out all his property. In the third, on the other hand, one step closer to the American soil, the mysterious beauty Lucy (Ginsbourg) appears, an elegant woman of mysterious origin, who will partially direct the fate of the male members of the Mancuso family … Chrialeze’s NEW WORLD has got around 50 awards and nominations. In addition to the Silver Lion in Venice and several independent jury awards at the festival, Chrialezé’s film also triumphed at the David Di Donatello National Film Awards in Italy, then at the Capri Film Festival in Hollywood, and the Golden Apricot in Yerevan, Armenia, and a dozen other festivals around the world. Age category: 14 years Ticket: free entrance ITALIAN FILM WEEK MAY 21 (FRIDAY), 20:00h. A GIRL IN AUSTRALIA (Bello, onesto, emigrato in Australia sposerebbe compaesana illibata) Feature film, Italy / Australia 1971, 113 min., Color, DCP Directed by Luigi Zampa Screenplay: Luigi Zampa, Rodolfo Sonego Cast: Alberto Sordi, Claudia Cardinale, Ricardo The young peasant Carmela (Cardinale) wants to escape poverty and prostitution as the only means of subsistence, so she accepts the offer of the local priest – to be the bride in a contract marriage with the Italian emigrant Amedeo (Sordi) in Australia and move to the distant continent. Amedeo is a telephone technician working in hard-to-reach areas of Australia. Shy as he is, girls are hard to reach . He wants to get married, so he “orders” a bride from his native Italy “by mail”. He chooses the prostitute Carmela who no longer wants to work in the oldest profession, but in order to lure her to Australia, he sends a photo in the letter of his friend Giuseppe (Garone), who is more beautiful than him. When Carmela receives the letter with the marriage proposal and the photo of the groom, she agrees to travel to Australia. But when she meets Amedeo, she refuses to marry him: her choice is Giuseppe. Amedeo must devise a way to conquer Carmela and marry her … The main actors in this Italian comedy with a long title won the audience and the critics: Claudia Cardinale won the national award of Italian cinematography “David Di Dinatello” for best female role in 1972, and Alberto Sordi was nominated for best actor by the Italian Film Critics Syndicate. . Age category: 14 years Ticket: free entrance ITALIAN FILM WEEK MAY 22 (SATURDAY), 20:00 THE TRIO GOES TO VOTE (Bianco, rosso and Verdone) Feature film, Italy 1981, 110 min., Color, DCP Directed by Carlo Verdone Screenplay: Leonardo Benvenuti, Piero De Bernardi, Carlo Verdone Cast: Carlo Verdone, Elena Fabrizi, Irina Sanpiter Carlo Verdone is the director, screenwriter and actor in this Italian comedy. The story is about three Italians who go to the their hometown on the day of the parliamentary elections. Pasquale is an Italian immigrant living in Munich, Germany, and is heading to the town of Matera in southern Italy, happy to spend at least a few days in his homeland, even though the country of his nostalgic memories is completely different from reality. Furio travels from Turin to Rome, so when he goes to vote, his wife Magda thinks he wants to run away from her. Mimo, on the other hand, is a young man traveling from Verona to Rome with his grandmother: He is constantly worried about her health, while his grandmother is completely cold-blooded … The roles of Pasquale, Furio and Mimo – are played by Verdone himself. The film is produced by Sergio Leone and music by Ennio Morricone and his collaborator Mario Brega; This team previously became known for the compositions from the “spaghetti westerns”, more precisely, after the so-called “Dollar” trilogy. Verdone’s film received several nominations for the David Di Donatello Award, and Elena Fabrici won the Italian Film Critics Syndicate Award for Best Young Actress. Age category: 14 years Ticket: free entrance ITALIAN FILM WEEK MAY 23 (SUNDAY), 20:00 WELCOME TO THE SOUTH (Benvenuti al sud ) Feature film, Italy 2010, 102 min., Color, DCP Directed by Luca Miniero Screenplay: Massimo Gaudioso, Dany Boon Cast: Claudio Bizio, Alessandro Ciani, Angela Finocchiaro Alberto (Bizio) is a postman in the small town of Brianzi in northern Italy. At the urging of his wife Sylvia (Finociaro) he tries at all costs to get a transfer to Milan. Alberto will try to present himself as disabled, but will be caught in the scam, and after punishment will be transferred to duty in a small place in the south of Italy. Alberto is forewarned that all the inhabitants of the Italian South are lazy and connected with the mafia, because they do not work honestly and hard. But, to his own surprise, Alberto realizes that he has adapted very well to the new environment, he even enjoys it there, making friends with his new colleague, the postman Mattio … After studying literature, Mineiro (1967) worked on numerous marketing campaigns, radio and TV productions with his collaborator Paolo Genovese. After the success of several short films in 2001, they co-produced a feature version of one of them, NAPLES MAGIC (Incantesimo napoletano), and Mineiro later continued his directing career on his own. WELCOME TO THE SOUTH is the most watched film in Italy in 2010, and won ten awards and thirty nominations in the country and the world: the Capri Film Festival in Hollywood, the “David Di Donatello” Awards, European Film Awards, Italian “Golden Globe”… Age category: 14 years Ticket: free entrance SKOPJE FILM FESTIVAL 2021 MAY 25 (TUESDAY), 20:00h. CHAIR Feature film, Macedonia 2021, 16 min., Color, DCP Directed by: Dafina Shekutkovska Screenplay: Dafina Shekutovska MARCH FOR DIGNITY Documentary film, Great Britain 2020, 80 min., Color, DCP Directed by John Eames Screenplay: John Eames, Cassandra Roberts This feature-length documentary follows a small group of LGBT + activists in Tbilisi, Georgia, as they try to organize the country’s first “Pride March”. They face strong opposition from far-right groups, the government and the Georgian Orthodox Church, which are inciting violent attacks on the LGBT + community. With the coveted membership of the European Union and anti-Russian sentiment on the political agenda, Georgians are at a turning point in history, where they must choose to fight for progress and human rights, or to succumb to greater Russian influence. In the midst of these geopolitical turmoils, the dedicated organizers of the “Pride March” in Tbilisi are bravely striving to be visible in their country … Age category: 16 years Ticket: free entrance MAY 26 (WEDNESDAY), 12:00h. AWARDING THE RECOGNITION OF THE CINEMATHEQUE “GOLDEN LENS” SKOPJE FILM FESTIVAL 2021 MAY 26 (WEDNESDAY), 20:00h. LILY (Lili) Documentary film, Macedonia 2021, 21 min., Color, DCP Directed by Ana Andonova Screenplay: Ana Andonova A story about a young civil activist Lily Nazarov from Azerbaijan, who is persecuted by the authorities in his country. Lily tries to make a living from the art he creates in the countries where he resides. He was in Turkey, he stayed in Macedonia, and he plans to continue his journey in Albania … In every country where he stays, Lily creates a mural. In Macedonia, in Tetovo, his mural depicts three women killed in Azerbaijan. A 20-year-old girl committed suicide due to pressure from the family, then there is a transgender person, and a woman who was killed by her father-in-law. SILENT VOICE (Silent Voice) Documentary, France / Belgium 2020, 51 min., Color, DCP Directed by: Reka Valerik Screenplay: Anaïs Lloret, Reka Valerik Hawaii is a young fighter (style: mixed martial arts) from Chechnya who emigrated to Belgium. He had to hide from his compatriots after his brother discovered that Hawaii was gay. The events he survived left him in a state of shock and he lost his voice. With the help of a Belgian organization that protects young men like Hawaii, he learns to speak again and tries to find his place in the new country. Communication with his family is impossible – his only contact with the home is the voice messages on the phone from his mother. Meanwhile, Kadyrov’s tyrannical regime is behind his heels. It is possible that members of the Chechen diaspora in Belgium will inform for him, so he has to create a new identity. The film follows his moves and testifies to his struggle to “recreate” himself. The results are disturbing, but also shocking … Age category: 16 years Ticket: free entrance <… In case of rain, the projectionss will be held in the cinema hall of the Cinematheque…>
5438	dbpedia	3	8	https://anopinionortwo.wordpress.com/tag/leonardo-benvenuti/	en	Leonardo Benvenuti – An Opinion or Two	https://s0.wp.com/i/blank.jpg	https://s0.wp.com/i/blank.jpg	[ "https://defaultcustomheadersdata.files.wordpress.com/2016/07/blur.jpg?resize=1248,240", "https://anopinionortwo.wordpress.com/wp-content/uploads/2021/06/once-upon-a-time.jpg?w=202", "https://anopinionortwo.wordpress.com/wp-content/uploads/2021/05/image.png?w=202", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[ "Keith Lawrence" ]	2021-06-14T01:39:01+00:00	Posts about Leonardo Benvenuti written by Keith Lawrence	en	https://s1.wp.com/i/favicon.ico	An Opinion or Two	https://anopinionortwo.wordpress.com/tag/leonardo-benvenuti/	At more than three and a half hours, Once Upon a Time in America is no small investment. A mob film full of mystery, violence and drama, there are inevitable comparisons between this and such films as The Godfather, Goodfellas, Scarface and the like. But, directed by Sergio Leone, this 1984 Cannes Film Festival sensation is firmly stamped with its own European aesthetic of the American dream gone wrong. Returning to Manhattan’s Jewish Lower East Side 35 years after a self-imposed exile, former Prohibition-era gangster, Noodles (Robert De Niro) finds himself confronting memories of the past and the responsiblity for the death of his best friend, Max (James Woods). It’s an epic story of heists, double-crosses, drugs and violence (the misogyny of the time can be hard to take, including two rape scenes). But an older Noodles looks for atonement – and in his search he makes unexpected discoveries. Butchered on its release (more than 90 minutes of the film seen in Cannes edited out), this longer version, now dated, can be hard going. Whilst not quite the classic many maintain it to be, Once Upon a Time in America sees De Niro in a role that fits like a second skin and features a fascinating soundtrack from Ennio Morricone, part haunting pan pipes, part cloyingly sentimental schmaltz. It’s also the film debut by pre-teenage Jennifer Connelly. Rating: 65% Director: Sergio Leone (A Fistful of Dollars, The Good The Bad & The Ugly) Writer: Leonardo Benvenuti (Amici miei, Between Miracles), Enrico Medioli (Rocco & His Brothers, The Leopard), Franco Arcalli (Last Tango in Paris, 1900), Franco Ferrini (Phenomena, The Pool Hustlers), Sergio Leone (A Fistful of Dollars, The Good The Bad & The Ugly) – based on the novel by Harry Grey Main cast: Robert De Niro (The Godfather Pt II, The Irishman), James Woods (Salvador, Be Cool), Elizabeth McGovern (Downton Abbey, Ordinary People) In order to survive in a destroyed post-World War II Naples, the pennliess Filumena takes to prostitution, with wealthy Domenico Soriano (Marcello Mastroianni) a regular customer. The young beauty soon becomes his mistress – and over many decades, their lives are intertwined. But as Filumena, Sophia Loren is slow in telling him that she has borne three sons – and not necessarily to Domenico. A tragicomedy melodrama, passions run high in Vittorio De Sica’s adaptation of Neapolitan author Edoardo De Filippo’s novel. Unfortunately, whilst Marriage Italian Style sees Loren at her glorious best as she refuses to conform to her expected subversive role, caricature and farce are too often the order of the day. What could and should have been a social commentary becomes a narrative played for laughs. Nominated for 1965 best actress Oscar and 1966 best foreign language film Rating: 44% Director: Vittorio De Sica (Bicycle Thieves, Umberto D.) Writer: Renato Castellani (Two Cents Worth of Hope, Romeo & Juliet), Tonino Guerra (Blow-Up, Kaos), Leonardo Benvenuti (Speriamo che sia femmina, Amici miei), Piero De Bernardi (Speriamo che sia femmina, Amici miei) – adapted fromt he novel by Edoardo De Filippo Main cast: Sophia Loren (Two Women, The Life Ahead), Marcello Mastroianni (La dolce vita, 8½), Aldo Puglisi (Seduced and Abandoned, The Birds, the Bees and the Italians)
5438	dbpedia	1	64	https://festiwal2016.dwabrzegi.pl/www.dwabrzegi.pl/en/events/marriage-italian-style/index.html	en	Marriage Italian Style			[ "https://festiwal2016.dwabrzegi.pl/www.dwabrzegi.pl/wp-content/uploads/2016/02/strona-en-300x53.png", "https://festiwal2016.dwabrzegi.pl/www.dwabrzegi.pl/wp-content/plugins/polylang/flags/pl_PL.png", "https://festiwal2016.dwabrzegi.pl/www.dwabrzegi.pl/wp-content/plugins/polylang/flags/en_US.png", "https://festiwal2016.dwabrzegi.pl/www.dwabrzegi.pl/wp-content/themes/wp_club88/timthumb4927.jpg?w=600&h=400&src=http://www.dwabrzegi.pl/wp-content/uploads/2016/07/01-%c2%a9-Ma%c5%82%c5%bce%c5%84stwo-po-w%c5%82osku-Matrimonio-allitaliana-dir.-Vittorio-De-Sica.jpg", "https://festiwal2016.dwabrzegi.pl/www.dwabrzegi.pl/wp-content/themes/wp_club88/timthumb7015.jpg?w=600&h=400&src=http://www.dwabrzegi.pl/wp-content/uploads/2016/07/02-%c2%a9-Ma%c5%82%c5%bce%c5%84stwo-po-w%c5%82osku-Matrimonio-allitaliana-dir.-Vittorio-De-Sica.jpg", "https://festiwal2016.dwabrzegi.pl/www.dwabrzegi.pl/wp-content/themes/wp_club88/timthumbc1b3.jpg?w=600&h=400&src=http://www.dwabrzegi.pl/wp-content/uploads/2016/07/03-%c2%a9-Ma%c5%82%c5%bce%c5%84stwo-po-w%c5%82osku-Matrimonio-allitaliana-dir.-Vittorio-De-Sica.jpg", "https://festiwal2016.dwabrzegi.pl/www.dwabrzegi.pl/wp-content/themes/wp_club88/timthumb628d.jpg?w=600&h=400&src=http://www.dwabrzegi.pl/wp-content/uploads/2016/07/04-%c2%a9-Ma%c5%82%c5%bce%c5%84stwo-po-w%c5%82osku-Matrimonio-allitaliana-dir.-Vittorio-De-Sica.jpg", "https://festiwal2016.dwabrzegi.pl/www.dwabrzegi.pl/wp-content/uploads/2016/07/DwaBrzegi_banerki_2.jpg", "https://festiwal2016.dwabrzegi.pl/www.dwabrzegi.pl/wp-content/uploads/2016/07/DwaBrzegi_banerki_4.jpg", "https://festiwal2016.dwabrzegi.pl/www.dwabrzegi.pl/wp-content/uploads/2016/07/DwaBrzegi_banerki_5-PL-EN-.jpg", "https://festiwal2016.dwabrzegi.pl/img.youtube.com/vi/SqJBj2KHHj4/0.jpg", "https://festiwal2016.dwabrzegi.pl/www.dwabrzegi.pl/wp-content/uploads/2016/07/DwaBrzegi_banerki_7.png", "https://festiwal2016.dwabrzegi.pl/www.dwabrzegi.pl/wp-content/plugins/social-media-widget/images/default/32/facebook.png", "https://festiwal2016.dwabrzegi.pl/www.dwabrzegi.pl/wp-content/plugins/social-media-widget/images/default/32/twitter.png", "https://festiwal2016.dwabrzegi.pl/www.dwabrzegi.pl/wp-content/plugins/social-media-widget/images/default/32/instagram.png", "https://festiwal2016.dwabrzegi.pl/www.dwabrzegi.pl/wp-content/plugins/social-media-widget/images/default/32/youtube.png", "https://festiwal2016.dwabrzegi.pl/www.dwabrzegi.pl/wp-content/plugins/social-media-widget/images/default/32/facebook.png", "https://festiwal2016.dwabrzegi.pl/www.dwabrzegi.pl/wp-content/plugins/social-media-widget/images/default/32/twitter.png", "https://festiwal2016.dwabrzegi.pl/www.dwabrzegi.pl/wp-content/plugins/social-media-widget/images/default/32/instagram.png", "https://festiwal2016.dwabrzegi.pl/www.dwabrzegi.pl/wp-content/plugins/social-media-widget/images/default/32/youtube.png", "https://festiwal2016.dwabrzegi.pl/www.dwabrzegi.pl/wp-content/themes/wp_club88/images/DwaBrzegi_logo_32_32.png", "https://festiwal2016.dwabrzegi.pl/www.dwabrzegi.pl/wp-content/plugins/backtotop/img/6.png" ]	[]	[]	[ "" ]	null	[]	null		en			https://festiwal2016.dwabrzegi.pl/index.html	A mischievous love story of Domenici and Filumena, full of humor and true Neapolitan passion. They met long ago: she was seventeen and worked on the street, and he was a wealthy businessman. The man took care of Filumena and found her a place to live and a job. A passionate feeling develops between the two of them. Although their relationship dates back over twenty years, Domenico did not opt to rie the knot with a former prostitute. Now, to make matters worse, he intends to end the affair and marry a girl from a good family. Filumena, who doesn't consider this as an option, devises a shrewd plan.
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Part 1 of these three related posts looked around the exterior of Florence’s Palazzo Vecchio. Part 2a gave some historical development outlining how the magnificent Salone dei Cinquecento (Hall of the Five Hundred) came into being. Here, Part 2b looks at some of the High Renaissance contents of the Hall. This post is a continuation from Palazzo Vecchio (Part 2a, The Hall of the Five Hundred) So, finally, let’s make our way to see the Salone dei Cinquecento! Entrance to the ground floor of the palazzo is open access (i.e. free to enter), as mentioned in our associated post, Palazzo Vecchio (Part 1, The Building), and consists of three courtyards. The first (redesigned by Michelozzo in 1453 and Ammannati in the 16th century) and the third (much more functional and prosaic) are open to the skies but the central courtyard is closed since, with massive late-15th century columns, its vaulted ceiling supports the floor of the Salone dei Cinquecento (Hall of the Five Hundred) above … Between the first and second courtyards is the imposing and monumental staircase … … that leads to the sublime Salone dei Cinquecento … … the largest room in the palazzo at 54m (177ft) long, 23m (75ft) wide and 18m (59ft) high. And yes, if you think you recognise this hall, it might be just because you have seen the Dan Brown/Ron Howard film Inferno in which a secret agent comes crashing through the ceiling (not possible since the panels of the ceiling are solid wood!) onto the floor 59 ft below. On making then-named Palazzo della Signoria into his family home, Cosimo I de’ Medici was determined to add something a little more ‘homely’ to the austere government building – and something that reflected the power and the majesty of the Medici, especially in terms of maintaining the link between the House of Medici and the patronage of the Arts and Humanities in the High Renaissance. For this task Cosimo employed the services of renowned artist and architect, Giorgio Vasari. Among his many changes, Vasari increased the grandeur of Savonarola’s Hall of the Five Hundred by increasing its height by having it take up two floors-worth of the building … At the raised business end of the hall, from where proclamations were made and the main members of the Council sat – an end that naturally had the attention of the 500 in attendance – what better place to install statues of some of the luminaries of the Medici family … .. taking centre stage here is Bandinelli‘s statue of Pope Leo X … … pope from 1513 to 1531, son of Lorenzo de’ Medici (Lorenzo the Magnificent) and related to Cosimo I through the broader Medici family tree. Roman statues as well of those of other prominent Medici adorn niches around the Hall including further works by Bandinelli, including Alessandro il Moro, Giovanni delle Bande Nere and, of course, Cosimo I himself dressed in classical Roman attire … Bandinelli’s Medici statues are here in auspicious company with six of Vincenzo de’ Rossi‘s statues of the “Labours of Hecules” … … Giambologna’s gesso statue of “Florence Triumphant over Pisa” (1565) commissioned by Francesco de’ Medici (the corresponding marble sculpture is in the Bargello Museum) … … and Michelangelo’s “Genius of Victory” (c. 1530-1534), standing halfway along the east wall … Michelangelo’s statue, originally destined to adorn the tomb of Pope Julius II (several other unfinished statues for the tomb can be seen in the Accademia in the same hall as Michelangelo’s David), is also an unfinished work (especially the left side) that was still in Michelangelo’s workshop when he died. This passed into the hands of his nephew, Leonardo Buonarotti and it was Giorgio Vasari who convinced the nephew to donate the work to Duke Cosimo I for it to stand exactly where it stands today – in celebration of Duke Cosimo’s victory over Siena, as depicted in Vasari’s painting on the wall above. Ah yes, the east and west walls! By August 1512, Savonarola’s precious Republican furnishings had already been removed and the hall sectioned off into separate rooms. The major changes had to wait until after 1563 when the Republican coffered ceiling was removed and destroyed by Vasari. At the same time, the whole roof was removed, extending the walls skyward, now over two floors, by another seven metres (23ft) – so allowing a vast expanse of wall space on which to emblazon in paint the greatness of the Medici war machine. At the request of Cosimo, who wanted to celebrate Florence’s (ie the Medici’s) victories over Siena and Pisa, Vasari (and assistants) was commissioned to fresco the walls with panels displaying notable episodes from these wars. The west wall shows scenes from the 13-year war with Pisa, stretching over 33m in length and 7.6m high. These are (from left to right), The defeat of the Pisans at the Tower of San Vincenzo, The Lifting of the Siege of Livorno from Maximilian of Austria and Pisa attacked by Florentine troops … The similarly-dimensioned east wall’s frescoes illustrates the wars with Siena showing Taking of Fort Porta Camollia, Conquest of Port Ercole and The Battle of Marciano … Now it’s the Battle of Marciano, here on the right, that contains a mystery. High up within the painting there is a pennant (circled) … … upon which is written “Cerca trova” – He who seeks, finds. Now Vasari could have just put this here as an allusion to a passage in Dante’s Divine Comedy … He goes in search of freedom, which is so dear, As he who gives his life for it would know. (Purgatorio, Canto I, 70–72) … or it might have related to these paintings reflecting the glory of Cosimo’s success in battles and, as such, is just a piece of political propaganda (but if so, why up so high that it could not be read from floor level?). Or perhaps … Giorgio Vasari was a great admirer of Leonardo da Vinci and his work. In 1504, during the first Medici interregnum and fifty years before Vasari’s work, Leonardo and Michelangelo were commissioned to paint opposite walls within the Hall depicting successful Florentine battle scenes. Leonardo was to paint the East Wall and chose to depict a scene from the Battle of Anghiari (see our post, Anghiari and the Lost Leonardo) … Unfortunately, Leonardo, ever the innovator, tried a process that failed him (the encaustic process), soon after which he gave up. Leonardo’s work remained on the wall for some fifty years, until Vasari was commissioned to fresco the walls of the enlarged hall. During some restoration work on the Battle of Marciano it was discovered that Vasari’s work was painted on a wall a centimetre or two in front of a wall behind. Through cracks in Vasari’s painting it was possible to place probes that could detect that on the wall behind there were traces of artists’ paint, including a black pigment that was particularly associated with Leonardo da Vinci. So could it be that Vasari, a known fan of Leonardo, was not able to bring himself to fresco over work (no matter in how poor a state) of his High Renaissance ‘superstar’ – and just left a tantalising “Cerca Trova” to beguile us all? Whatever the reality, it was decided that Vasari’s work would not be destroyed just in the hopes that lurking behind his fresco, there was an-albeit-failed ‘Lost Leonardo’. And then there is the ceiling! Much of the ceiling is composed of three coffered bands each containing seven wooden panels. The band adjoining and parallel with the East Wall reflects scenes below of the War with Pisa (1494-1509). That adjoining and parallel with the West Wall relates to the scenes below from the War with Siena (1554-1555). The central band reflects the history of Florence from 70BC to 1434. Here from the central band is Vasari’s tondo showing the allegories of two of the four historical districts of Florence: Santa Croce and Santo Spirito. On the two shields are visible the Cross, the symbol of Santa Croce, and the Dove with golden rays, the symbol of Santo Spirito … But … … pride of place in the centre of the ceiling has to go to he who commissioned most of this work … … here portrayed being crowned by Florence, surrounded by the Coats of Arms of the City and Coats of Arms of the Guilds … … Cosimo I de’ Medici Duke of Florence, Grand Duke of Tuscany. The Salone dei Cinquecento certainly draws from the viewer standing beneath and within, wonderment and awe at the magnitude and complexity of Vasari’s work and that of his High Renaissance peers. It HAS to be on your ‘bucket’ list! Should you wish to visit the upper floors of the Palazzo, including the Salone, then tickets can be bought within the central, covered courtyard. However, do note that this is a functional, working building, the seat of the city council, so may at odd times be closed for special civic occasions. As well as the ticket office, the central courtyard also contains an Information Point, a Bookshop, a cloakroom and a Lift. Times of entry and prices can be found here. Ciao Tutti! COVER PHOTO: Palazzo Veccio photographed from Via del Monte alle Croci Part 1 of these three related posts looked around the exterior of Florence’s Palazzo Vecchio. Here, Part 2a moves inside the building, with some historical development outlining how the magnificent Salone dei Cinquecento (Hall of the Five Hundred) came into being. Moving on, Part 2b looks at some of the High Renaissance contents of the Hall. With its tall tower seemingly standing guard over Florence’s Historic Centre and its crenelated battlements, Palazzo Vecchio seems to be the very essence of a defensive fortress … However, once inside, it is nothing less than a sumptuous palazzo with grand halls, apartments and chapels beautifully decorated by some of the most famous Renaissance artists of the 15th and 16th centuries, including Michelangelo, Donatello, Ghirlandaio, Bronzino, Botticelli and Vasari – there might also be a hidden Leonardo lurking in there somewhere! (More in Part 2b) Sorry, but here comes a smidgen of historical context … The completed palazzo can be seen from the Buonsignori Map of 1594 … … or from the wooden model of Florence … Commissioned in 1299, it took some fifteen years to complete the first phase of construction, consisting of the main body of the palazzo and the iconic Arnolfo Tower … … providing Florence with both a functional and defensive government building which included large meeting rooms and smaller administrative offices. Adorned with battlements, this austere fortified building reflected the political turmoil at the time – a time when Florence’s politics was dominated by two opposing factions: the Guelphs (supporting the Pope) and the Ghibellines (supporters of the Holy Roman Emperor). The year 1300 was the time when Dante Alighieri was elected as one of Florence’s six priors – those who ruled as supreme magistrates – and some years before the rise to prominence of the then embryonic Medici dynasty. Through the late 1300s and 1400s during the rise to power of the Medici, various additions and modifications were made to the original structure as the palazzo increased its footprint beyond the original fortified building. In 1494, the by-then-powerful Medici were expelled from Florence. This began an 18 year interregnum from Medici rule and the introduction of a new theocratic republic under the control of religious firebrand, Dominican friar Girolamo Savonarola, who had partly orchestrated the Medici downfall. During his short rule, peppered with heavily political sermons, items of earthly pleasure such as musical instruments, cosmetics, books, statues, poetry, paintings were burned in what was named the Bonfire of the Vanities. Unfortunately, Savonarola himself fell foul to the same fate when he was charged with heresy and sedition by the pope and held in a small cell (the Alberghetto) in the Arnolfo Tower, only to be hanged and burned on a pyre just outside, in front of the Palazzo Vecchio on the 23 May 1498 … So then, why the History Lesson? Well, the Salone dei Cinquecento (Hall of the Five Hundred) was constructed during the Republic of Savonarola and completed in just seven months from July 1495 to February 1496 … It was commissioned by Savonarola himself, who wanted it as the seat of a decentralised Consiglio Maggiore (Great Council) – made up of more than 1500 citizens, who met in succession of 500 members at a time. In this way, Savonarola was successful in spreading power across the populace, rather than having ultimate power in the hands of a single person, as had been the case when the Medici were in control. In line with Savonarola’s deeply religious beliefs, the Hall was frugal with little or no decoration. In terms of size, the floor area was the same as that seen today, but the ceiling was much lower. Now move forward to 1512 when the Medici were reinstated as rulers of Florence and then on to 1527 when an anti-Medici faction took back control, providing Florence with a second Medici interregnum – this time for just three years, meaning by 1530 they were back! By 1537 a 17-year-old Cosimo I de’Medici gained power and by 1540 Cosimo, now firmly in control, moved his family home into the the very heart of government, the Palazzo Vecchio (or Palazzo della Signoria, as it was then known) … … and it was Cosimo I de’ Medici who was instrumental in changing the Salone dei Cinquecento and the remainder of the palazzo into what we see today. DEVELOPMENT OF PALAZZO VECCHIO Orange/Yellow — Original building and Arnolfo Tower (1299 – 1314) Green — First extension (1343 – 1346) Blue/Grey — The Salone dei Cinquecento of 1496 with changes and embellishments by Giorgio Vasari and Bartolomeo Ammannati (1540 – 1565) Red — The East Wing was built around the same time as the Salone dei Cinquecento but enhanced, including apartments for the Medici, by Bartolomeo Ammannati and Giorgio Vasari after 1540. Continued enhancements and modifications were made in the late 1500s and 1600s by Grand Duke Francesco I de’ Medici and his successors. These changes included the creation of more private apartments and artistic decorations. Certainly, the whole structure was more or less complete by the time of the Buonsignori (what-you-see-is-what-you-get) Map of 1594 (as shown above). End of History Lesson! So, finally, let’s make our way to see inside the Salone dei Cinquecento with its associated art treasures! This post continues in Palazzo Vecchio (Part 2b, The Hall of the Five Hundred) … Should you wish to visit the upper floors of the Palazzo, including the Salone, then tickets can be bought within the central, covered courtyard. However, do note that this is a functional, working building, the seat of the city council, so may at odd times be closed for special civic occasions. As well as the ticket office, the central courtyard also contains an Information Point, a Bookshop, a cloakroom and a Lift. Times of entry and prices can be found here. Ciao Tutti! COVER PHOTO: View from the Piazzale Michelangelo of the Historic Centre of Florence The Torre Arnolfo, the tower of Florence’s iconic Palazzo Vecchio (left), stands proud above the rooftops of the Centro Storico, along with the equally iconic Cathedral with its famous Brunelleschi Dome and beyond and slightly to the left, the smaller dome of the Chapel of the Princes. NOTE Palazzo Vecchio consists of three posts: Part 1 (here, looking at the exterior) and Part 2a & Part 2b, which investigate both the historical development and the contents of the Salone dei Cinquecento (Hall of the Five Hundred). At 95m (312ft) high, Palazzo Vecchio‘s tower stands as the highest civic building in Florence and for over 700 years has been the symbol of civil power within the city … Palazzo Vecchio is located near the Arno River … … on the east side of the Piazza della Signoria … … with surroundings that form an open-air sculpture gallery … The palazzo has taken several names during its existence. Built at the turn of the 14th century as Florence’s Town Hall, it was known originally as the Palazzo della Signoria (basically Palace of the Lord Protector). However, over time and with different uses it was also known as the Palazzo del Popolo, Palazzo dei Priori and Palazzo Ducale. It was only after Cosimo I de’ Medici moved his residence from here across to Palazzo Pitti did he rename the building as Palazzo Vecchio (the Old Palace). A palazzo had already existed here before 1299 when it was decided to build the current fortified residence/government offices under the auspices of architect, Arnolfo di Cambio, over previously destroyed towers. One such watchtower built on the site, the Guardingo tower, dated from the Lombard period (8th/9th centuries) in Florence. These towers themselves were built upon the remains of a large 1st century BCE Roman Theatre (capacity of up to 15,000) in what was the Roman colony of Florentia. These archaeological remains, first excavated in 1876, can be visited down the stairs beneath Palazzo Vecchio (there is a charge) … Its exact size and location can be seen from the following model, with a wire-frame outline of the current position of the Palazzo Vecchio superimposed … Cambio’s Palazzo Vecchio is a mix of Romanesque, Gothic and later Renaissance styles, with the latter style having contributions from artist and architect, Giorgio Vasari in the 16th century. The rustic building, comprised of unevenly-cut stone, has two rows of Gothic double windows surmounted by trefoil arches in between which Michelozzi added bas reliefs of a cross and the Florentine Lily in the 15th century … The main part of the building is topped by crenelated battlements that project beyond the lines of the building below, supported by corbels with small Romanesque arches between … Under these arches there is a repeated series of nine painted coats of arms of the Florentine Republic … The top of the tower has a similar arched and corbelled arrangement, but here the crenelations are of the ‘swallow-tail’ type and the arches between the corbels are in a pointed Gothic style … It is possible that the difference in the crenelations here is because the current tower rests on a pre-existing tower-house that was once part of the ancient Palazzo Foraboschi – and has maintained that style. The position of the earlier tower-house certainly accounts for the asymmetrical positioning of the tower above the Palazzo Vecchio itself. The climb to the top of the tower (246 stone steps, of which 233 are ‘steep’ steps – not for the fainthearted!) certainly affords many different fabulous views of Florence. Here the view is down to the roof of the Loggia dei Lanzi, which serves as an open-air restaurant/café for the Uffizi Galleries, and the Piazza della Signoria … Climbing the steps to the top takes you past a small cell, the Alberghetto (the ‘small hotel’!) and past a significant part of Florentine history. Amongst other prisoners incarcerated here within the Alberghetto, two notables were Cosimo the Elder (before being exiled in 1433) and Girolamo Savanorola (before being hanged and burned in the Piazza below in 1498). The (single) clock on the Torre Arnolfo was the first public clock to be installed anywhere in Florence … It was designed by Florentine watchmaker, Niccolò di Bernardo, and installed in 1353. However, this was replaced with an exact replica made by George Lederle from Augsburg and installed by pupil of Galileo, Vincenzo Viviani, in 1667 – a clock that remains functional today. The asymmetrically-placed, unpretentious ‘front door’ is guarded by a copy of Michelangelo’s David placed here in 1910 (the original now being one of the most popular tourist attractions in the Accademia) and Bandinelli’s Hercules and Cacus … The ground-floor of the Palazzo Vecchio is open access and free to enter. Once inside, a glimpse back outside reveals to one side across in the Loggia dei Lanzi, Cellini’s Perseus with the Head of Medusa and, to the other, the back side (literally) of Michelangelo’s David … Once inside … … the first courtyard opens out … The surrounding walls in here are adorned with vedute paintings from 1565 by Giorgio Vasari of major Austrian cities. This was at the time when Francesco I de’ Medici married Archduchess Johanna of Austria and were intended to make the Archduchess ‘feel at home’. The central fountain is surmounted by a sculpture of a Putto (cherub) holding a Dolphin … This is a copy of a work by Andrea del Verrocchio (1476) of which Verrocchio’s original can be seen displayed on the second floor of the palazzo. Once inside this courtyard, look up … A 360o view around this courtyard can be seen here (Accessed 09/07/2024). Through the second courtyard, passing Vasari’s staircase up to the Salone dei Cinquecento (more of which in Part 2 of these Palazzo Vecchio posts), leads out into the third courtyard, in the centre of which is a rampant lion … This sculpture is a 20th century incarnation that first appeared in the Palazzo Vecchio‘s third courtyard in July 2023. At the feet of the lion lies a decapitated Roman dressed in a toga. The decapitated head is within the lion’s mouth and is about to be crushed. The symbolism here represents the clash between epochs separated by two millennia – here the 20th century lion aggressively destroys the 2nd century BCE civilisation. A 360o view around the third courtyard (without the lion!) can be seen here (Accessed 09/07/2024). See you in Part 2a and Part 2b, when we head inside the palazzo to the Salone dei Cinquecento (Hall of the Five Hundred). Ciao Tutti! Perhaps you have walked from the Ufizzi Gallery in Florence through the lower arcade (to the right in the above photograph) … … alongside the Arno River to the Ponte Vecchio … … perhaps not realising that in this structure, above your heads is another, ‘secret’, passageway … … that was built at the request of Duke Cosimo I de’ Medici (1519-1574) in 1565 … So what’s the story? Bear with, while all the pieces that constitute the reason for the existence of the Vasari Corridor are here assembled … Prior to 1540, the official Medici residence in Florence was the Palazzo Medici on the Via Larga. However, in 1540 the then Medici ruler and Duke of Florence, Cosimo I (in 1569 becoming the Grand Duke of Tuscany), decided living in a more strategic location from which to rule Florence would be the already 250-year-old Palazzo della Signoria in Florence’s Centro Storico (Historic Centre). Some years later, Cosimo I and family moved residence again, this time to the Palazzo Pitti on the other side of the Arno River, whereupon the Palazzo della Signoria was renamed by Cosimo as the Palazzo Vecchio (the Old Palace), a name that it retains to this day … While the Medici were well-connected, they were fundamentally bankers made good. They were not of noble birth. In order to extend the aggrandisement of the House of Medici and to enhance the power of their recently acquired ducal status, in 1539 Cosimo married the 17-year-old Eleanor of Toledo (1522-1562). Eleanor was the daughter of Pedro Álvarez de Toledo, the Viceroy of Naples, and the third cousin of Emperor Charles V, King of Spain and Archduke of Austria – Eleanor was of noble birth. At the time, Spain was in control of Florence, so the marriage to Eleanor offered Cosimo the opportunity to show allegiance to Spain, whilst at the same time mixing Medici blood with the blue blood of European royalty. With the large dowry provided by her father on her marriage to Cosimo, Eleanor had sufficient wealth to buy Palazzo Pitti in 1549. Initially a summer retreat, the palazzo later became a family home suitable to bring up their eleven children (although only eight survived to maturity) in the fresh air of what was then countryside … Palazzo Pitti‘s location across the river away from the bustling city centre position meant that extensions and enlargements to the palazzo (made by Arezzo-born artist and architect Giorgio Vasari) were possible, so doubling the size of the new Medici home – making it much larger and grander than the Palazzo Vecchio (whose position in the Centro Storico meant extensions were not possible) and so more befitting of a Spanish noblewoman. On the purchase of Palazzo Pitti, Eleanor embellished home life for Cosimo and her family by enhancing the land behind the palace on the Boboli Hill, creating in 1550 parkland and large Italian-style formal gardens covering 111 acres (45 hectares), the ‘Boboli Gardens’ – again something that could not be created at the Palazzo Vecchio … Upon the family’s relocation in 1560 to the Pitti Palace as their new residence, Palazzo Vecchio‘s main raison d’être was to become the seat of government. By 1560, Cosimo had commissioned Giorgio Vasari to commence work designing and building a set of offices beside the Palazzo Vecchio to consolidate power and administrative control in one small area. These offices (or uffici in Italian) are what we know today as the Uffizi … … here below, viewed from within the Uffizi Gallery, looking back towards the Palazzo Vecchio, with the Piazzale degli Uffizi below and an ‘arm’ of the Uffizi on each side … So, the pieces are all in place. Can you see Cosimo’s problem? At a time when the Medici had not long since restored, wrested even, their power from the ruling council of the third Florentine Republic and at a time when political assassinations were not unusual, Cosimo was reluctant to openly walk amongst the public on the streets and across the Ponte Vecchio between his residence at Palazzo Pitti and the government buildings of the Palazzo Vecchio and the Uffizi. In order to avoid walking amongst the hoi-polloi, Cosimo commissioned his architect, Giorgio Vasari, to design a passageway that would allow the Duke to walk unnoticed between his home and his workplace. Vasari’s design was to take Cosimo all the way between the two end palazzi above street level! This elevated passageway was to become known as the Vasari Corridor At the Palazzo Vecchio end, Vasari made an opening in the side of the palazzo on the second floor out from Eleonor’s apartment to bridge the narrow Via della Ninna below, taking the other end of this bridge into the north end of the Uffizi buildings … The corridor passes through the Uffizi, exiting as a corridor above street level across the Lungarno degli Archibusieri … before making an immediate right turn along and above the Lungarno degli Archibusieri … At the corner of the Lungarno degli Archibusieri and the Ponte Vecchio there is a plaque on the wall above the archway… Now the corridor takes an immediate left turn to cross over the Ponte Vecchio … Just as now, filled with tourists, in the 16th century Ponte Vecchio was thronged with people going about their daily lives. Unfortunately for Cosimo, the bridge was the shortest route between his home and his workplace! Fortunately, in the Vasari Corridor he was above it all and could pass unnoticed by the rag-tag populace below … Speaking of which … Before the Vasari Corridor, The Ponte Vecchio housed butcher shops from one end to the other – well, it was convenient to throw the waste cuts over the side of the bridge into the river. But the smell …! The smell wafting up into the Grand Duke’s Corridor would have been unbearable for such refined noses, so all butcher shops were removed from the bridge and replaced by less-malodorous jewellery shops. Even today, over 400-years later, both sides of the Ponte Vecchio are still lined with jewellery (and trumpery!) shops … The eastern, upstream, inland, side of the Vasari Corridor over the Ponte Vecchio has larger windows … … than the smaller porthole windows on the west, downstream, side … The story is that these windows were small since their main role was to spot enemies approaching Florence by boat from the coast. The larger windows looked in a direction where there was less of a threat, so were bigger to allow more light, especially the morning sun, to enter the Corridor. Apocryphal maybe, but then why are there three large windows on that small-window side? However, not apocryphal is the story behind the the three large windows. In 1938, Mussolini was expecting a visit from Adolf Hitler in order to seal the mutual Rome-Berlin pact. Naturally, he wanted to impress his visitor with the grandeur that was Florence. Where better then than the Vasari Corridor. In order to maximise the view down the Arno, he had the three large, panoramic, windows installed from where Florence, the Arno and its bridges could best be seen and best impress … The irony here is that, despite being impressed, Hitler’s retreating army blew up all Florence’s bridges across Arno in 1944 to stop the advancement of the Allies – apart from the Ponte Vecchio and the Vasari Corridor – ah, except, that is, for each end of the bridge which was reduced to rubble so no vehicles could cross, or even gain access to the bridge … Gaining his power from wealth gave Cosimo almost carte blanche to construct his Corridor however and wherever. On the bridge at the time there were four towers belonging to (not as rich or as powerful) Florentine families, who were easily bought out and whose towers were demolished as the Corridor ploughed through. That is, except for one! At the south-east corner of the bridge stood the Manelli Tower. The Torre dei Manelli owners refused to comply with Cosimo’s wishes so Vasari had to dog-leg the Corridor around their tower … .. from where the Corridor passes across the Via de’ Bardi … … which, needless to say, is a reconstruction following the destruction of each end of the bridge during the Second World War. From here the Corridor snakes its way across the Oltrarno district of Florence over and through houses and across the Piazza Santa Felicita, before finding itself obscuring the façade of the Chiesa di Santa Felicita … Taking advantage of this position, Vasari opened up the side of the Corridor into the church, placing a balcony where the Medici family could take part in the church services without being seen by the people below … From the Uffizi there was no entrance or exit for Cosimo until the grey door here below, next to the Grotta del Buontalenti in the Boboli Gardens … Originally the position of the Grotto marked the area where an aqueduct brought a water supply to the Pitti Palace, However, in the 1580s, Artist and Architect, but also Stage and theatrical designer, Buontalenti, took the already existing structure and ‘(over?)ornamented’ it to become the Grotto as seen today … Sharp-eyed readers may have recognised the two front statues here as two of Michelangelo’s unfinished Prisoners (or Slaves), which upon the death of Michelangelo, were donated to Cosimo I de’ Medici and placed by Bernardo Buontalenti in the Grotto in 1583 according to the wishes of Grand Duke Francesco I, who had succeeded his father, Cosimo I … In 1908, however, Michelangelo’s four Slaves in the Grotto were transferred to the Accademia Gallery, and now stand in the Hall of the Prisoners with Michelangelo’s David – while in the Grotto the originals were replaced with concrete replicas. While the Corridor was open to groups of visitors, the exit next to the Grotto at the Pitti Palace end of the Corridor was the exit that they had to use . However, the exit next to the Grotto was not the end of Vasari’s Corridor for Cosimo and family … … no, for Cosimo, the Corridor continued the short distance into the Pitti Palace itself, ending in the palazzo‘s gallery – this section of the Corridor has not been accessible to the public up to now (but see access details at the end of this post) … Although a practical project for Cosimo, facilitating his 750-metre pedestrian-free passage across Florence between the palazzi of home and of work, Vasari’s Corridor is also seen as something of a vanity project. Such a grand undertaking was designed to impress … … and to further cement the power of the Medici over Florence. ACCESS DETAILS: The Corridor has been closed for some time for refurbishment, but is supposed to have opened on 27 May 2024. This was the anniversary date of the damage to the Corridor from the 1993 car-bombing in the Via dei Georgofili beneath the beginning of the external part of the Corridor near the Uffizi. However, 27 May 2024 passed by without a reopening, despite the help of a US foundation donating $1 million to help complete the restoration work begun in 2021. Restoration was not the only end-goal, the overall safety of visitors has been achieved through architectural reinforcements, the addition of lifts and paved floors to increase accessibility and the introduction of emergency exits and removal of flammable materials en route. The comprehensive, but flammable, collection of portrait paintings that hung there previously are to be replaced by Greek and Roman marble epigraphs. On 2 July 2024, the director of the Uffizi Galleries stated that the first section will reopen by late autumn 2024, with everything open by the end of the year. Please check the Uffizi web site for any details. A great three-dimensional map of the Vasari Corridor can be found on the Florence with Flair website (Accessed 02/07/24). Click on their pictures of the maps to enlarge them. A one-minute fly-through video of the empty interior of the Corridor can be viewed on YouTube here. (Accessed 29/06/24) Ciao Tutti! One cannot deny the power, profligacy and hubris of the Medici. This was a family that came from humble beginnings but rose to power through their banking wealth. They held sway over Florence, and eventually the whole of Tuscany, from when Cosimo the Elder rose to power in 1434, until the last Medici ruler, Gian Gastone de’ Medici, died without an heir in 1737. It was a ‘humble’ family that, over three centuries, produced four popes (Leo X, Clement VII, Pius IV, and Leo X), seven grand dukes of Tuscany (from 1569 to 1737), and who married into many European royal families. Before describing the unbelievable opulence of the Chapel of the Princes, it is worth outlining how this one family had achieved so much wealth and power … It was Giovanni di Bicci de’ Medici (1360-1429) who established the Banco Medici (Medici Bank) at the end of the 14th century … … a bank that was, in its heyday, to become the 15th century’s largest and most respected bank in Europe. During this time the bank introduced innovative practices, still used in modern finance today, such as Double-Entry Bookkeeping, Letters of Credit (providing a secure method of transferring funds across borders) and Holding Companies. After Giovanni’s demise in 1429, the bank was was taken to its reign of greatest profitability and extension throughout Europe by his son, Cosimo di Giovanni de’ Medici (1389-1464) … … making the Medici the wealthiest family in Europe during the Renaissance. With immense wealth comes power. Cosimo moved into politics establishing the charisma of the Medici, eventually rising to become the leader of the Florentine Republic. By then, the family had amassed a large fortune that helped Cosimo maintain power in Florence. But by the end of the 15th century, with the French invasion of Italy of 1494 under the leadership of King Charles VIII of France, the bank, which for some time had been in decline, collapsed – but not before the Medici had attained a vast array of riches, land and power. With their wealth and power, the Medici dynasty became great patrons of the Arts and Humanities and were among the ultimate movers-and-shakers in the rise of Florence to cultural prominence during the High Renaissance. Their patronage extended to many great artists, architects and scientists who were either native to Tuscany or drawn to Florence through the Medici patronage. These included (amongst many!): Ghiberti, Brunelleschi, Donatello, Botticelli, Leonardo da Vinci, Galileo and Michelangelo. Quite a line-up! The House of Medici, not averse to a touch of hubris, capitalised on their patronage of Arts and Humanities to promote their grandeur and power. As such, there was a requirement for the family to have their own church in Florence, the official church of the Medici, … … San Lorenzo … … which was commissioned with the financial support of the Medici family’s wealth by Cosimo in 1419 and designed by Brunelleschi (1377 –1446). It took from 1422 to the 1490s to complete (although essentially completed by 1459), with delays in intervening periods due to financial challenges and political turmoil. The small dome seen on the right (above) covers the Segrestia Nuova (New Sacristy) designed and adorned by Michelangelo and constructed in the 16th century. The equivalent sacristy on the opposite side of the church, the Segrestia Vecchia (Old Sacristy), was designed and built by Brunelleschi between 1421 and 1440, and was adorned internally by Donatello. The Old Sacristy houses the tomb of the Medici bank founder, Giovanni di Bicci de’ Medici, together with his wife, Piccarda Bueri. Both the Old and New Sacristies are covered in our posts, Brunelleschi’s ‘Old’ Sacristy of San Lorenzo, Florence and Michelangelo’s ‘New’ Sacristy of San Lorenzo, Florence. However … … the LARGE dome in the above photograph covers what can only be described as a ‘super apse‘ – this is the Capella dei Principi (Chapel of the Princes) … … a dome second only in the Florence skyline to the dome of Florence Cathedral designed and built by Brunelleschi … While most ecclesiastical buildings have a ‘small’ semi-circular apse behind the altar, here the apse is a chapel in its own right … Passing through the entrance leads visitors directly into the vaulted crypt, holding the mortal remains of three-centuries worth of major and minor Medici (about 50 in total), including, amongst others, the second Duke of Florence, Cosimo I (1519-1574), Grand Duke Cosimo II (1590-1621), Prince Lorenzo (1492-1519), Cardinal Leopoldo (1617-1675). Also to be found buried in the crypt is the final lineal descendant of the Medici Grand Dukes, Anna Maria Luisa de’ Medici, who died childless in 1743 at the age of 76. In order to avoid the sale and dispersion of the Medici heritage, Anna Maria’s will left most of the Medici possessions to the safekeeping of the city of Florence. These remain virtually intact to this day. Think on this as you visit the artworks in the Ufizzi Gallery, the Pitti Palace and elsewhere in the city. Anna Maria also willed sufficient funds to ensure the completion of the Medici Chapels here at San Lorenzo. As well as her mortal remains resting here, a recent bronze commemorative statue by Alfonso Boninsigni (1910-2003) of Anna Maria stands in the crypt near her tomb … Ascending from the crypt leads either to the Segrestia Nuova, or to the overpowering magnificence and blinding grandeur of The Chapel of the Princes (itself a hubristic misnomer since no high-flying Medici was ever a prince, only ever rising to become Grand Dukes!) … Here, Baroque architect Matteo Nigetti (ca. 1560-1648) in a collaboration with, and based on designs by, Don Giovanni de’ Medici (1567-1621), was entrusted with supervising the construction. The chapel contains an opulent and sumptuous interior (which took almost two centuries to complete) almost entirely encrusted with marble, rare pietre dure (semi-precious stones) and bronze statues, making it a grand mausoleum promoting and celebrating the hegemony, wealth and glory of the Medici Grand Dukes … … while at the same time taking mausoleum design to a new level of ostentation! Its origins may have been conceived in the Renaissance, commissioned by Cosimo I in 1568, but it was completed in a flourish of exuberant Baroque architectural detail in the following century. Nigetti started work on the immense octagonal single structure mausoleum in 1604, personally completing his work 36 years later in 1640. Its internal dimensions measure 28 metres (92 feet) from each side to the opposite, ascending to a height of 59 metres (194 feet) into the cupola … … where the altar’s centrepiece in hard stones shows the Supper at Emmaus (painted by many artists elsewhere, but none so brilliantly as that painted by Caravaggio) … The walls, floor and ceiling of the chapel were designed to be completely inlaid with thin veneers of different-coloured marble and semi-precious stones courtesy of the Opificio delle pietre dure (Workshop of semi-precious stones), a workshop instituted by Ferdinando I de’ Medici in 1588 specifically for this task, but still in operation today. While much work was completed, the demise of the last of the Medici after 1743 left the interior of the dome, in fact the whole chapel itself, unfinished. Originally the dome’s interior was to be entirely covered with lapis lazuli, but with no further Medici money for such an expensive outlay, the dome was instead frescoed by Pietro Benvenuti as ‘recently’ as 1828, featuring scenes from the Old and New Testaments depicting themes such as the last judgment, creation, death, resurrection, … However, no expense seems to have been spared on the smooth, uniform floor inlays, an intricate mosaic of marbles and hardstones begun in 1874 and finished only as recently as 1962 … … while not forgetting to incorporate the Medici crest (even in the floor!) … The walls are also fully finished with stone mosaics of coloured marbles to produce a highly decorative effect … Set into the dado … …are the coats-of-arms of Florence and the Tuscan cities that were under Medici control, including: The artistry of the stone workers can be seen in the intricacy of their marquetry … … and perhaps you can make out the materials inlaid that contribute to these complex portrayals: mother-of-pearl, lapis lazuli, coral, alabaster, quartz … This Florentine marquetry of making pictures and decorating architecture, perfected in the Optificio, even went under its own name, ‘commesso fiorentino‘ (Florentine mosaic) – or ‘commesso in pietre dure‘ (mosaics of semi-precious stones). But let us not forget why we are here … … this whole structure (including the crypt and the New Sacristy) were built to glorify the Medici dynasty by providing a sumptuous resting place, the largest of mausoleums, for the good and not-so-good members of the family. Now while other members of the household have their tombs in the crypt or the two Sacristies, the intention here in the Chapel of the Princes was to provide the ultimate resting place commensurate with the importance of the Medici Grand Dukes. As such, there are six porphyry sarcophagi which were to contain the remains of the Grand Dukes, set below niches to hold statues of the interred. Here are those of Grand Duke Ferdinand I and Grand Duke Cosimo II with bronze statues made by brothers Ferdinando and Pietro Tacca, assistant to Giambologna, between 1626 and 1642 … … while below is that of Grand Duke Cosimo III, where here, and with the other three niches, they find themselves devoid of statues … So, a couple of things to notice here: The six-ball Medici crest appears multiple times around the chapel. The sarcophagi are each placed several feet off the floor; even in death the Medici are lauding their power OVER their ‘subjects’. Each niche has written over the top ‘Dux Etr‘, standing for Duke of Etruria. Etruria was the ancient name for Tuscany ruled over by kings and princes. This inclusion was possibly an act of self-aggrandisement with the Medici equating themselves with the ancient kings of Tuscany. Only two of the six niches provided contain a statue. Unfortunately money and time ran out for the Medici – and the Chapel of the Princes. Fortunately, work on the Chapel was completed in the following centuries. However, these niches aren’t the only empty spaces – and here is the final irony of the Chapel of the Princes … While the Medici have achieved immortality through their record of wealth, power and patronage, not one of those sarcophagi in the Chapel of the Princes contains any of their (im)mortal remains! So where are they? All six grand dukes represented here in the Chapel are buried with their families beneath the floor of the crypt below – the crypt that you whisked past as you entered the building! Did you miss them? Ciao Tutti! We would certainly recommend having a look at the all-round 360o view of the Chapel of the Princes that can be found here (Accessed 24/06/2024) … and don’t forget to visit our posts on Brunelleschi’s and Michelangelo’s Sacristies of San Lorenzo here and here respectively. For opening hours and ticket prices see the Medici Chapels website here. COVER PHOTO: Tomb of Giuliano de’ Medici, Duke of Nemours, with Night and Day, Segrestia Nuova, San Lorenzo, Florence Our previous post, Brunelleschi’s ‘Old’ Sacristy of San Lorenzo, Florence, looked at the Basilica’s Segrestia Vecchia on the left transept, the construction of which was completed in 1428. This post takes us across the other side of the transept to pick up the story a century later, to 1519, when Michelangelo was commissioned to construct the ‘New’ Sacristy of San Lorenzo – the Segrestia Nuova. Strictly not a sacristy (a room in a church used by clergy to prepare for worship), Michelangelo’s ‘sacristy’ was primarily intended as a funerary chapel containing the mortal remains of members of the Medici family, but whose architecture was based on Brunelleschi’s design to maintain symmetry either side of the transept. Now while the Segrestia Vecchia is accessible from within the Basilica, there is no direct access to the New Sacristy from the Basilica itself – there is, but unfortunately this is closed off to visitors. The Segrestia Nuova, together with the Chapel of Princes and the Crypt, are separate entities from the Basilica, combining in 1869 to become a state museum complex in their own right, the Cappelle Medici (Medici Chapels), that today fall under the auspices of the Florence’s Bargello Museum. Entry is around in the Piazza di Madonna degli Aldobrandini beneath the impressive dome … … second only in its inspiration to Brunelleschi’s dome that crowns Florence Cathedral. The sign beside the entrance door, lists the museums principal contents … Online reservation and details of entrance charges (covering the Crypt, the New Sacristy and the Chapel of Princes) and times of opening can be found here. The entrance leads directly into the crypt, in which can be found the tombs of the Grand Dukes of Tuscany (all Medici). Here, for example, can be found the resting place of Cosimo il Vecchio (1389 -1464) Pater Patriae (father of the country) – founder of the Medici family as rulers of Florence … … together with the less grand members of the dynasty who invariably find their less grand tombs beneath stone slabs … A set of stairs leads up to the sublime Sagrestia Nuova (“New Sacristy”), both architecturally designed and adorned with statuary by Michelangelo … Directly modelled on Brunelleschi’s Old Sacristy (1421 – 1440), Michelangelo produced a similar cube-surmounted-by-a-hemisphere structure, where here the coffered cupola reflects that of the Pantheon in Rome … …. but while the Old Sacristy had Brunelleschi as architect and Donatello as sculptor, in the New Sacristy (1520 – 1533), Michelangelo was both. The Segrestia Nouva was Michelangelo’s first realisation of architecture. While his sculptural work here was in Marble, the architectural surrounds, such as the Corinthian pilasters, use the blue-grey pietra serena, an architectural stone commonly used in Renaissance buildings. In the use of these materials, here Michelangelo was promoting himself both as sculptor and architect. The Medici reign was not continuous. After the failed Pazzi Conspiracy of 1478, which attempted to relieve the Medici of their power, significant challenges befell the Medici during the 1490s in which an angered Florentine public forced the exile of the then Medici leader, Piero di Lorenzo de’ Medici, beginning a first Medici interregnum from 1494 to 1512. The first ennoblements of any of the Medici fell to Giuliano, Duke of Nemours (1479 -1516) who ruled Florence from 1512 to 1513 after the family had been restored to power, … … and Giuliano’s nephew, Lorenzo, Duke of Urbino (who died in 1519) … Now such illustrious members of the dynasty required a monumental resting place befitting of their status. Unfortunately, Brunelleschi’s ‘Old’ Sacristy was deemed too sacrosanct to change, to make additions, so a new sacristy was required. In 1519 it was Pope Leo X, aka Giovanni di Lorenzo de’ Medici (1475 –1521), brother and uncle of the two recently deceased dukes, who commissioned Michelangelo to produce a mortuary chapel (a funerary chamber rather than a true sacristy) and adornments befitting their ennobled rank. Upon Leo’s death in 1521, there was a short hiatus after which the commission was continued by Leo’s cousin, Pope Clement VII (another Medici Pope), with work recommencing in 1524. The sacristy was not only intended for the two dukes but was also to include final resting places for one of the more famous members of the Medici family and father of both Pope Leo X and Giuliano, Duke of Nemours, Lorenzo il Magnifico (1449 – 1492) together with Lorenzo’s brother Giuliano di Piero de’ Medici (1453 –1478) – who was also Pope Leo’s uncle. Convoluted, yes, brimming with hubris and nepotism, yes, but this was essentially Popes Leo X and Clement VII looking after their own and promoting their family’s power. A family tree of the Medici can be found in Encyclopaedia Britannica here (where the Family Tree can be enlarged). Michelangelo began work on the new sacristy and its interments from March 1520. Originally suggesting floor-mounted tombs, he eventually opted for wall-mounted tombs with the noble dukes within their own tombs and the two Medici ‘Magnificents’ sharing a single tomb. The work continued on-and-off until 1534 when Michelangelo was called away to Rome to continue his work on the tomb of Pope Julius II and to paint the Altar Wall in the Sistine Chapel with The Last Judgement – commissioned by Pope Clement VII. The relatively unimpressive sepulchre containing both Lorenzo il Magnifico (d. 1492) and Giuliano di Piero de’ Medici (killed in the Pazzi Conspiracy in 1478) is to be found on the wall immediately to the right on entry to the Sacristy … Originally intended to be buried in a free-standing monument, Lorenzo is buried with his brother Giuliano. This was the last tomb in the Sacristy to be ‘completed’ by Michelangelo and was unfinished since it was during this later phase that Michelangelo was called to work in Rome (but completed by pupils of Michelangelo after his departure). The tomb is surmounted by three statues. Either side of Michelangelo’s Madonna and Child … … are the patron saints of the Medici family each centring their gaze on the Madonna, Saint Cosmas (left) and Saint Damian (right) by sculptors Montorsoli and Montelupo respectively. These three sculptures were eventually placed here by Giorgio Vasari in 1554 … Although Lorenzo the Magnificent was perhaps one of the most famous members of the Medici family, the crowning glory in the Segrestia Nuova are the two Ducal tombs with each surmounted by a major sculpture by Michelangelo representing (though not with a true likeness) of the duke interred thereunder. The two ducal tombs are not free-standing, just set against the wall. No, each is an architectural and sculptural complex with Michelangelo ’embedding’ each in its individual wall – an irremovable relationship between the overall structure of the sacristy, the statues and the sepulchres. The tomb of Giuliano, Duke of Nemours, the first of the House of Medici to obtain a noble title, is on the side wall to the right … … with the head of Giuliano’s representative figure turned towards the Madonna and Child above Lorenzo’s tomb on the adjacent wall. Reclining on the top of the sarcophagus itself are two of Michelangelo’s allegorical figures of the four phases of the day – reflecting the passage of time – Night and Day. Either side of the main sculpture is an empty niche, designed to hold statues representing Heaven and Earth but, with Michelangelo executing several other projects at the same time (including the tomb of Pope Julius II and the Laurentian Library), they were never created. Giuliano himself is represented by a classical Roman general holding an army commander’s baton with both hands … … perched above his sarcophagus on which lie the recumbent Night and Day – with all three sculptures carved from individual marble blocks by Michelangelo … Both the lower figures appear incomplete, with smooth-bodied Night emerging from, and still attached to, the marble block from which she was formed (albeit roughly decorated with an owl – a nocturnal bird – and a mask – representing deception) … … as is Day, but here even his head appears to have been left roughly hewn compared with the smoothness of the rest of his torso and limbs … On the opposite wall is the tomb of Lorenzo, Duke of Urbino … … a dukedom that had been secured with the help of his uncle – Pope Leo X! As with Giuliano’s tomb opposite, each of the two upper side niches were meant to hold a statue, this time of Knowledge and Will, but again these were never completed with Michelangelo’s departure to Rome … … and, as with the tomb of Giuliano, the head of the idealised representation of a contemplative Lorenzo in the centre niche here too is turned towards the Madonna and Child … Again, recumbent on the sarcophagus itself are two further allegorical personifications of the times of day – Twilight (left) and Dawn (right) … .. with what again appear to be incomplete sculptures – each smooth, muscular statue being irrevocably bound to the rough hewn marble blocks from which they were formed … Investigations of the contents of this tomb indicated a second body, that of Lorenzo’s illegitimate, but recognised, son, Alessandro de’ Medici, first duke of Florence, murdered at age 27 in a conspiracy by distant relative Lorenzino de’ Medici in 1537. What a tangled web they wove! From behind the altar, the orientation of the sacristy becomes more obvious … The floor area of this square recess ‘behind’ the altar to the area of the funerary chamber beyond is in the ratio 1:4 – exactly as in Brunelleschi’s sacristy. Essentially this smaller area is a chapel – with the room of tombs behind as a backdrop. However, what is more interesting here in the altar’s recess is the graffiti covering much of the walls, now behind Perspex screens – part of which is shown here … The walls are covered with graffiti of characters, animals and architectural features – none of which can be absolutely attributable to Michelangelo himself, being more likely the work of his assistants. However, … … from the Segrestia Nuova here there is trap-door access to a barrel-vaulted chamber beneath, discovered in 1975 during restoration work, whose walls are covered in charcoal sketches – this time it is more likely to be the work of Michelangelo since the drawings show his past and current works, including for the proposed allegorical figure of Night found on the tomb of Giuliano, Duke of Nemours. Further details on the secret room with accompanying photographs of the sketches and why Michelangelo was there can be found in an article by The Florentine available here (updated 23/01/24 and accessed 25/04/24 – let me know if this is ever withdrawn). Note that access to this room is by advanced booking only and allows timed entrance for a 15-minute visit for just four people at a time. Entry to the ‘Secret Room’ itself costs €20.00 (2024 price) on top of the access charge to the Medici Chapels. Advanced ticket booking can be obtained from here or by phone by calling (+39) 055294883. By 1534, Michelangelo’s permanent departure to Rome left the New Sacristy unfinished with the statues left scattered around the sacristy’s floor – only to be placed in their final positions by Giorgio Vasari some 20 years later. We would certainly recommend having a look at the all-round 360o view of the Segrestia Nuova that can be found here (Accessed 25/05/2024) See also our previous post on San Lorenzo’s ‘Old’ Sacristy by Brunelleschi and our next post on the Chapel of the Princes. If you have a ‘Bucket List’ of things to do in Italy, the Medici Chapels should be somewhere near the top! Ciao Tutti! COVER PHOTO: Statue of Giovanni delle Bande Nere in front of the Basilica di San Lorenzo, Florence An inscription on the back of the supporting plinth beneath the marble statue of Giovanni delle Bande Nere by Italian Renaissance sculptor, by Baccio Bandinelli, (literal translation by Google Translate) reads: “A part of this monument, intended by Cosimo Primo to honour the memory of his father Giovanni delle Bande Nere, which had been neglected for a long time, remained here and the vulgar called it the base of San Lorenzo, was restored in the year 1850 and placed there the statue of the great Captain, and at last the valuable work sculpted by Bandinelli was completed.” * Cosimo Primo is Cosimo I de’ Medici (1519 –1574) *** Giovanni delle Bande Nere was another name for Ludovico de’ Medici (1498 -1526) who was a condottiero (= contractor), a captain in command of mercenary companies during medieval times. … so Bandinelli‘s statue and plinth, commissioned by Cosimo I, which had taken from 1540 to 1560 to complete, were only positioned together here in 1850. On the side of the plinth is the Medici Coat of Arms with its five ‘balls’ (more of which later) … … and therein lie the clues as to the family who held sway over this part of Florence. The building behind is the Medici Family Church, the Basilica di San Lorenzo, designed by Brunelleschi (1377 –1446) with the financial support of Giovanni di Bicci de’ Medici (1360 -1429) and the Medici family’s wealth. As such, it is not surprising that there are many of the Medici family whose mortal remains can be found within the basilica. The Basilica’s west front (in the Cover Photo above) shows a particularly prosaic frontage of coarse terracotta brick work – and has done so since completion at the end of the 15th century. A competition was held to design a much more elaborate façade – a competition won by Michelangelo. Unfortunately, his design only ever reached the (wooden) model stage. This can be seen nowadays in the Casa Buonarotti Museum, Florence. See our post, Casa Buonarotti Museum (Part 2) PLAN VIEW OF THE BASILICA DI SAN LORENZO This post looks at Brunelleschi’s ‘Old’ Sacristy on the left side of the transept (labelled 1), the second post in this series at Michelangelo’s ‘New’ Sacristy on the right (labelled 2) and the third considers what may best be described as the “super-apse“, (labelled 3) the Chapel of the Princes (the latter two posts in course of preparation). Commissioned by the Medici as their family mausoleum, Filippo Brunelleschi’s ‘Old’ Sacristy (Sagrestia Vecchia) in the left transept is essentially a cube surmounted by a hemispherical dome. Even so, in its detail it is a masterpiece of early Renaissance architecture … Taking nine years to complete, from 1419 to 1428, it simply oozes the 15th century revival of Classical architecture with its Roman arches, architrave, Corinthian pilasters and Ionic columns. Astronomers have ascertained that the frescoes in the small dome in the apse above the crucifix, attributed to Giuliano d’Arrigo (aka Pesello), show the Sun and the constellations as they appeared over Florence most likely on the night of 4 July 1442 … The tomb beneath the centre table is that of Giovanni di Bicci de’ Medici (1360 –1429) and his wife, Piccarda Bueri (1368 –1433) … Giovanni was the father of Cosimo il Vecchio (1389 –1464) and great-great-great-grandfather of Cosimo I de’ Medici (1519 –1574). At his death, Giovanni was one of the richest people in Florence having founded the Medici bank – the largest in Europe in the 15th century. The power of the Medici fortune led directly to the rise of one of the main branches of the mighty Medici dynasty that lasted for around three centuries (whose family tree from the time of Giovanni di Bicci can be seen here). From humble beginnings, over time the family rose to becoming the Grand Dukes of Tuscany whilst also providing four Popes and two Queens of France. The last Medici ruler, Gian Gastone de’ Medici, died without a male heir in 1737, so bringing the dynasty to an end. Once the Sagrestia Vecchia was completed, it was left to Donatello (1386 – 1466), one of the most outstanding sculptors of the day, to complete the adornments some time between 1428 and 1443. In the above photograph can be seen some of Donatello’s contributions, such as the two double bronze doors with relief panels … … above each door can be found Donatello’s stucco reliefs of four saints, including the Medici patron saints, Cosmas and Damian … Both By Donatello – from the book: Rolf C. Wirtz, Donatello, Könemann, Colonia 1998, Public Domain, https://commons.wikimedia.org/w/index.php?curid=6885730 & https://commons.wikimedia.org/w/index.php?curid=6885722 Dating about 20 years later (1469-72), the side wall of the Segrestia Vecchia holds a tomb, commissioned by Lorenzo de’ Medici (1449 – 1492) and completed by Andrea del Verrocchio (1435 – 1488), containing the mortal remains of Lorenzo’s father, Piero di Cosimo de’ Medici (1416 – 1469) and his uncle, Giovanni di Cosimo de’ Medici (1421 – 1463) … The eight roundels just below the cupola contain painted stucco reliefs by Donatello, one of which shows the Ascension of John the Baptist … Immediately below the tondo is the Medici Crest, this time showing eight balls. Why eight? On the side of the plinth above there were only six. When first adopted as the family coat-of-arms, there were 12, here in the Sagrestia Vecchia there are 8 and by the time of Cosimo I, it had settled down to just the 6. The reason for the variation seems to have become lost in the mists of time, as is the use of balls on a gold shield. Here the explanations range from being pharmaceutical pills (after all the name Medici translates as ‘doctors’, the family’s original trade), through to coins (their association with banking) or even dents in a shield from their time in battle. No one knows for sure. One thing IS for sure, the Medici crest adorns many of the buildings of Florence – such as here, in the central courtyard of the Palazzo Vecchio … You may notice that the later crests have one ball different to the rest … The blue ball in the Medici crest features the symbol of the French monarchy, three golden lilies. Folklore tells us that Louis XI (1423 – 1483), King of France, owed money to the Medici family. So in 1465, to reduce his debts, he allowed the Medici to incorporate the royal symbol into their crest – which, if correct, would have been willingly accepted by the Medici since it added kudos and gravitas to their dynasty. We would certainly recommend having a look at the all-round 360o view of the Segrestia Vecchia that can be found here (Accessed 12/05/2024) The bust in the glass case behind the camera operator is that of Donatello See also our posts on San Lorenzo’s ‘New’ Sacristy by Michelangelo and the Chapel of the Princes (sorry, still inpreparation!) Ciao Tutti! COVER PHOTO: A view across Lake Como from the tip of the promontory that is Bellagio. By Daderot – Self-photographed, Public Domain, https://commons.wikimedia.org/w/index.php?curid=15153875 From Bellagio … … to Skipton, a charming market town in the Craven District of North Yorkshire, England … … where the occasional cobbled streets and alleyways have a beguiling charm … … and where the town lies astride the Leeds-Liverpool canal … Stretching 127 miles and taking 46 years to complete, the Leeds-Liverpool canal is Britain’s longest inland waterway, with its first section opening in 1773 from Bingley to Skipton. The canal played a significant part in Skipton’s development, becoming a major hub facilitating the transport between Yorkshire and Lancashire of stone (from which most of Skipton’s traditional houses are made), cotton, coal, grain and wool. Nowadays the canal has become a wonderful leisure facility for those who ply their iconic narrowboats (a link with the Industrial Revolution in Britain) along the canal through idyllic countryside and bustling towns and cities. On market days, Skipton’s High Street is thronged with temporary market stalls and willing customers … … and at the head of the High Street is the 11th century Skipton Castle … But wait! Hold on! Why am I giving you a travelogue of a market town in England when all the other posts in Italian Reflections are Italy-based? Let me explain … I was visiting Skipton when I happened to pass the Library, noticing this plaque outside … … and it wasn’t the apparently misplaced apostrophe in the word “Mechanic’s” that drew my attention (who was this Skipton Mechanic?)! No, it was the fact that the library’s main benefactor was the ‘American’ (but born in Scotland) steel magnate and one-time one of the richest individuals in the America, Andrew Carnegie! What association had he with Skipton? The Craven Herald & Pioneer from the 11th October 2019 (Accessed 30/04/2024) can explain in more detail than space allows here. So no Italian link there! However, … … look down the list of names on the right (passing by George Harrison!) … … and there, amongst local names such as Birtwhistle, Bairstow and Dewhurst, there appears a Thomas Fattorini – someone who must have had Italian forebears. Who were they? Why and when did they come to England? The scene now shifts to the Lakes of Lombardy during the 1820s post-Napoleonic, pre-Risorgimento Italy, to Bellagio, a promontory in the inverted-Y that is Lake Como … During the early 19th century, this area of Lake Como, then part of Switzerland, was left impoverished by the Napoleonic Wars but was particularly well-endowed with artisans adept at making barometers, clocks and other precision instruments. In order to maintain a livelihood, there was a migration of these artisans to an emerging industrial power – England. One such migrant was Antonio Fattorini (1797 -1859). Arriving in Dewsbury, Yorkshire in about 1820, for several years Antonio made a living as a travelling salesman and selling items at street markets. By 1831, 1841 and 1846 he had bought three shops (in Dewsbury, Harrogate and Bradford, respectively) – and had had seven sons! By 1827, the Fattorini family opened a shop selling jewellery, clocks and other luxury goods on the corner of Skipton’s High Street and Newmarket Street. Ahh, the link becomes clearer! Although all part of the same family, Thomas Fattorini Ltd of Skipton was distinct from Fattorini and Sons of Bradford (established 1829) and Antonio Fattorini in Harrogate (est.1831). Moving into the 20th Century, Thomas Fattorini Ltd opened a factory in Birmingham to manufacture medals, brooches etc … … including Lonsdale Belts, awarded to champion professional boxers, first awarded in 1909 … The company progressed to such an extent that it was granted a Royal Warrant of Appointment to Her Majesty Queen Elizabeth II in 2008. The Fattorini family was later instrumental in setting up a selling method whereby customers could afford to buy more expensive goods by purchasing them over a 20-week regular payment of instalments (the so-called, never-never). This new method of purchase eventually morphed into the Grattan Warehouses Ltd company, founded in 1912 by John Enrico Fattorini and Empire Stores, first registered in 1909. The demise of Empire Stores is well chronicled in the Bradford Telegraph & Argus of 11th January 2008 (Accessed 30/04/2024). However the Fattorini Group is still a major player in the manufacture of Emblematic Jewellery, Trophies, Medals and Badges, Ceremonial Swords, Civic Insignia, Automotive Products and Prestigious Silverware. Their website can be found here. Today Thomas Fattorini Ltd is based on three sites: London, Manchester and Birmingham, but its headquarters are registered at … Wait for it …! So, back to Skipton and the mystery of who is … By 1910, the year Skipton Library opened, the Fattorini family were well established major characters in Skipton (and Yorkshire) life, with Thomas Fattorini (1864-1934) mentioned here on the library plaque as a Trustee. This Thomas was the son of Innocent Fattorini (1830 – 1874) and the grandson of the ‘original’ Fattorini, Antonio (1797-1859) from Bellagio. So that was one mystery solved, but there was another … Above, I left hanging the statement that “Thomas Fattorini Ltd … headquarters are registered at …” Why? Because their headquarters are registered at Skipton Castle! Back in 1956, the Fattorini family were wealthy enough to purchase this Grade I Listed medieval castle, built in 1090 by Robert de Romille, a Norman baron. It is a Fattorini-owned private residence but, apart from their private wing, is a tourist attraction currently managed by Sebastian Fattorini, open for visits, £12.00 for adults (18 – 64 years old) and £11.00 for seniors (65 and older), 2024 prices. Sorted! The Fattorini family have made great contributions not only to Yorkshire life, but British life as a whole – and still do after 200 years since leaving Bellagio. Skipton is an enchanting, archetypal, historic Yorkshire market town set in stunning countryside on the southern end of the Yorkshire Dales National Park and just to the east of the Forest of Bowland National Landscape. Do visit! … and see if you can find out more about Antonio Fattorini and his descendants! Ciao Tutti! or this time Ta’ra! COVER PHOTO: Casa Buonarotti, Via Ghibellina 70, 50122 Firenze (43°46′11.32″N 11°15′48.93″E) Part 1 of our Casa Buonarotti posts gives a brief history of the Casa and has a look around the ground floor. In Part 2 here we ascend the stairs to visit rooms on the first floor. At the top of the first flight of stairs is a landing where hang images of Michelangelo – a person who painted portraits only in exceptional cases and who disliked having portraits painted of him. Fortunately for us, he allowed just the two portraits to be painted by friends, one here by Jacopino del Conte (originally believed to be a self-portrait) … … while other paintings of Michelangelo on the landing are derivative works. The second original portrait of Michelangelo (wearing a turban) by Giuliano Bugiardini (who assisted Michelangelo on the vault of the Sistine Chapel), hangs in an adjacent room accompanying a bronze bust of Michelangelo created by Daniele da Volterra, a trusted friend of Michelangelo (who was there to assist him on his deathbed and to remove his death mask in 1564) … A copy of di Volterra’s bust of Michelangelo can be found over the front door of Casa Buonarotti – and in many tourist shops in Florence! Two of Michelangelo’s earliest sculptures can be found here on the first floor; works that were completed while under the patronage of Lorenzo de’ Medici. This, while a teenager, was a time during which Michelangelo lived with the Medici family, absorbing the scientific, philosophical, poetical and artistic influences from the many philosophers and artists who frequented the courts of the Medici. The earlier of the two sculptures had been donated along with drawings by Leonardo Buonarotti to Cosimo I de’Medici around 1566, but were donated back by Grand Duke Cosimo II de’Medici in 1616 to Michelangelo’s grand-nephew, Michelangelo the Younger, specifically to place in the Casa Buonarotti in recognition of the Younger’s work in instituting the house-museum to his illustrious ancestor. The 57cm x 40cm (22″ x 16″) Madonna of the Stairs, influenced by his study of the works of Donatello, was sculpted in marble by the 15-year-old around 1490 using the low-relief stiacciato technique … Here the Madonna sits on a stone slab with the child held firmly on her lap. Along and up the stairs, youngsters are seen handling a long cloth. Even on such a low-relief sculpture the Madonna’s drapery hangs realistically around her and over the stone block, exhibiting an illusory 3-dimensionality that belies the shallow depth of the sculptor’s chisel cuts. Do YOU know any 15-year-olds that could produce such an amazing, mature, piece of work!? The later of the two sculptures, the unfinished 84.5cm x 90.5cm (33″ x 36″) marble Battle of the Centaurs ), his final work while under Lorenzo’s patronage, was created at the age of 17 around 1472 … This scene of utter mayhem, a chaotic tangle of writhing bodies, represents the battle between the Aeolian tribe of the Lapiths and the Centaurs (half-horse, half-human) at the wedding feast of Pirithous – a favourite composition from ancient Greek mythology. The use of the subbia chisel (a pointed chisel or punch) has produced the unfinished (non finito) appearance of the surfaces, as opposed to the smoothness of the earlier work (above) … While the Madonna of the Stairs was completed as a shallow-relief, this sculpture is truly high-relief in which the characters come bursting out of the scene … The room off to one side of the space containing these two sculptures is devoted to the wooden model (2.83m wide by 2.10m high) designed by Michelangelo of the proposed marble façade … … for the incomplete, rough-stone, gable-end of the Basilica di San Lorenzo, the Brunelleschi-designed church dating from 1421, considered by the Medici as their own family church … … although, as can be seen, Michelangelo’s marble façade was never implemented! On the opposite side to the room containing the two marble sculptures is the Galleria … … with walls and ceilings adorned with paintings by contemporary Italian artists, including Artemesia Gentileschi‘s ‘Allegory of Inclination’ as one of the ceiling panels (discussed in Part 1) … The Gallery, the ornamental plan of which was designed by Michelangelo the Younger, is overseen from one end by Michelangelo himself in the form of a statue created specifically for the Casa by Antonio Novelli (1599 – 1662) around 1633 … Commissioned by Michelangelo the Younger, the statue portrays Michelangelo as the classical philosopher, dressed in a toga and holding a scroll, in a similar pensive mode that Michelangelo himself had created for the tomb of Lorenzo de’ Medici in the Medici Chapel in the 1520s … The walls of the Gallery are adorned with panels showing scenes from Michelangelo’s life, such as the painting by Anastasio Fontebuoni (1571–1626) showing Michelangelo introducing himself to Pope Julius II in Bologna … … or the painting by Cosimo Gamberucci (1562 – 1621) in which a young Michelangelo meets with Francesco I de’ Medici … The Gallery continues through to the Camera della Notte e del Dì (Room of Night and Day) completed in 1637-1638, depicting members of the Buonarroti family and events connected with them. This is the room that contains Giuliano Bugiardini’s turban wearing portrait and di Volterra’s bronze bust of Michelangelo (both mentioned above) … So through to the next room, the Camera degli Angioli (Room of the Angels), which from 1677 was used as a chapel, containing frescoes by Jacopo Vignali of the good and great of Florence in a procession lead by John the Baptist … The cupola and the ceiling of the former chapel are decorated with frescoes by Michelangelo Cinganelli, with the ceiling panels depicting angels, from which the room takes its name … … and the cupola containing an image of St. Michael the Archangel … The following, final room along from the Galleria, is the Studio, a room originally belonging to an adjoining apartment but incorporated into the Casa in 1633 by Michelangelo the Younger. The ceiling portrays Fame, a trompe l’oeil painting by Cecco Bravo … … while the perimeter of the upper part of walls is festooned with a gallery of the great and good of Tuscany, including mathematicians, physicists, historians, philosophers, judges … The small room just beyond is the Stanzino dell’Apollo (Small Room of Apollo), completing the run of monumental rooms created by Michelangelo the Younger. This room is named after the marble statue therein, a restored 1st-century BCE Roman sculpture of Apollo, behind which there is a faded fresco of a terrace that opens onto a garden … … and on the side wall is an arm carved from marble, probably from a Roman copy of Greek sculptor Myron’s portrayal of Discobolus, the “Discus Thrower” … There is so much more to see in the Casa Buonarotti including around 200 drawings, sketches and cartoons (although some of which found their way into the British Museum in London in the mid-19th century) … With the death of Michelangelo’s last direct collateral descendant and heir, Cosimo Buonarotti, all remaining works and the Casa itself were left for the public good. The drawings up to the 1960s were on permanent display in frames and display cases, but suffered some damage. For their conservation they were restored at the Uffizi and returned to the Casa Buonarroti in 1975. Since then only a rotating selection have been released for public view. The collection also includes texts and letters, including this sonnet to Giovanni da Pistoia … … a translation of which can be found here. We have not covered the whole of Casa Buonarotti here. As somewhere that is so full of riches and is off the well-worn beaten track of Tourist-Florence, it just has to be included on your must-see stops in the city. Casa Buonarotti is a fabulous find, giving an overview of Michelangelo, his work and his descendants. For a tour of the Casa via Google Street View, have a look here … … start on the ground floor at the front door here … … and then have a look around upstairs, starting with Artemesia, here. Just step inside and wander round! Ciao Tutti! COVER PHOTO: Casa Buonarotti, Via Ghibellina 70, 50122 Firenze (43°46′11.32″N 11°15′48.93″E) Part 1 here investigates some of the history of the Casa Buonarotti and what can be seen on the ground floor. Part 2 moves upstairs to see some of the exhibits on the first floor. Contained within what for Florence is an assuming house on an unassuming street (but is, nevertheless, a 17th-century palazzo) can be found one of the most outstanding artistic treasure-troves of Florence. This is the Casa Buonarotti, an absolutely ‘must-visit’, where the exterior disguises the richness of its contents and its history … Anyone who has visited the museums of Florence will have experienced the queues snaking around the block to enter the larger, more widely known galleries such as the Uffizi, or the Bargello or the Accademia; but often here, at the Casa Buonarotti, it is possible to walk in directly off the street … … and if you haven’t already guessed, the bust above the door gives the game away … … this is the house, part of a complex of five buildings, bought in 1508 and 1514 by the great Renaissance artist, Michelangelo Buonarotti. While not his main residence – he spent much of his time in Rome – Michelangelo is known to have occupied two of the buildings within this complex (with the other three buildings rented out) from 1516 to 1525 while he was working on the façade of the Basilica di San Lorenzo. All five were rented out between 1525 and 1534, while Michelangelo lived elsewhere in Florence. With a permanent move to Rome in 1534, Michelangelo requested of his nephew, Leonardo Buonarotti, to transform all five buildings into a single entity that would represent and house memorabilia of the Buonarotti inheritance in one building. On Michelangelo’s death in 1564, Leonardo inherited the estate, but left it until 1590 to partially restore and unify the complex. However, Michelangelo’s vision was only realised after the death of Leonardo in 1599, when the buildings passed to mathematician and Michelangelo’s grand-nephew, ‘Michelangelo Buonarotti the Younger’ (1568 – 1646) … … an ardent supporter of his family’s distinguished ancestor, who from 1612 began the transformation to what we see today as the Casa Buonarotti… Subsequent to the integration of the five buildings into one, Michelangelo the Younger set about retrieving autograph manuscripts and drawings and other artefacts by, or belonging to, his famous ancestor. On entering the Casa, the first room on the right deals not with Michelangelo himself, but with an archaeological collection that was put together by Michelangelo the Younger and later, and more significantly, by antiquarian, numismatist, archaeologist and great-grandnephew, Filippo Buonarotti (1661 – 1733) … The room contains over 150 archaeological pieces, mainly Etruscan and Roman, including urns and terracotta figures and two large Roman Togati (toga wearers) statues that originally stood in the courtyard of the Casa … The following room displays works all completed in the 16th century by artists wishing to emulate the style of Michelangelo. Here can be seen, for example, adaptations from The Last Judgement and a Sybil from the ceiling of the Sistine Chapel … The next room holds various works of art from the Buonarotti family collection including a sculpture of Michelangelo as a child sculpting the head of a Faun … … however, this is a 19th century sculpture by Emilio Zocchi (1835 – 1913). Out into the Casa‘s 19th century internal courtyard, modelled after the central courtyards of Roman houses, stands a marble statue of a 2nd-century Togato which formerly stood in the Uffizi Gallery before being moved here in 1875 … On our 2023 trip to Florence, we were extremely fortunate to visit Casa Buonarotti during a particular exhibition, ‘Artemisia in the Museum of Michelangelo’, which ran from September 2023 to January 2024 … Artemisia Gentileschi (1593 – 1656), a widely-acclaimed and important 17th-century Baroque artist, has a fascinating, but gruesome, story; but why does she warrant an exhibition in the Casa Buonarotti? In 1615, Artemisia came to the attention of Michelangelo the Younger who, at the time, was preparing the Casa Buonarotti as a ‘shrine’ to his illustrious forbear. Under his patronage, several artists including Artemisia were commissioned to paint panels for the ceiling in the Galleria (more of which in Part 2 – in preparation) which represented personal traits associated with Michelangelo. Artemisia’s, entitled ‘Allegory of Inclination‘, depicts the inborn creative ability of Michelangelo … Originally painted as a nude in 1615, the drapes were added at a later date by Baldassare Franceschini in 1684 to avoid any embarrassment for the viewer. During 2022, the painting was removed from the ceiling for restoration. Although it would not be possible to remove the drapery without damaging the painting, modern scientific techniques were able to reconstruct how the painting would have looked in its original form. By 2023, the restoration work was completed, allowing for the Artemisia exhibition at the Casa. A fabulous tour, setting the rooms of the Casa Buonarotti in context, can be experienced using Google Street View. Start on the ground floor at the front door here … … and in the meantime, proceed to Part 2 (but not yet – in the course of preparation) to view the exhibits on the first floor. Casa Buonarotti opening hours 10.00 a.m. to 4.30 p.m. Admission Full price: € 8.00 Reduced: € 5.00 (2024 prices) Ciao (for now!)
5438	dbpedia	1	25	https://www.italyformovies.com/film-serie-tv-games/detail/6902/my-friends	en	The locations of the movie on Italy for Movies	https://italyformovies.it/app/img/film/locandine/	https://italyformovies.it/app/img/film/locandine/	[ "https://www.facebook.com/tr?id=650055965346548&ev=PageView &noscript=1", "https://www.italyformovies.com/app/img/logo-ifm.png", "https://www.italyformovies.com/app/img/film/6902/amici_miei_1_1585564480.webp", "https://www.italyformovies.com/app/img/elements/arrow-down.png", "https://www.italyformovies.com/app/img/film/6902/amici_miei_1_1585564480.webp", "https://www.italyformovies.com/app/img/film/6902/amici_miei_2_1585564480.webp", "https://www.italyformovies.com/app/img/film/6902/amici_miei_3_1585564480.webp", "https://www.italyformovies.com/app/img/film/6902/amici_miei_4_1585564480.webp", "https://www.italyformovies.com/app/img/film/6902/amici_miei_5_1585564480.webp", "https://www.italyformovies.com/app/img/film/6902/amici_miei_1_1585564480.webp", "https://www.italyformovies.com/app/img/logo-ifm-w.png", "https://www.italyformovies.com/app/img/footer-logos/logo_mic.png", "https://www.italyformovies.com/app/img/footer-logos/banner-luce.png", "https://www.italyformovies.com/app/img/footer-logos/banner-ifc.png" ]	[]	[]	[ "" ]	null	[]	null	Find out where it was filmed in Italy My Friends	it	/app/img/favicon.ico		https://www.italyformovies.com/film-serie-tv-games/detail/6902/my-friends	Where it was filmed 'My Friends' “What is genius? It’s imagination, intuition, decision and rapid execution.” Perozzi describing Necchi The locations of the film show the audience several lesser-known corners of Florence, such as the place that which passes for Bar Necchi in via dei Renai, in the San Niccolò neighbourhood; the four friends play billiards and cards in the bar with its community feel, organize pranks and most importantly identify the perfect victim, Righi. The street where the bar is located is also the setting for the car horn scene at the start of the film where a traffic warden becomes the first victim of their pranks. Righi waits for the four friends in the park near the bar so he can return the drugs, unaware that it is actually sugar. The hospital where Sassaroli works is not in Pescia as it is in the film, but the Istituto del Salviatico, in Campo di Marte. The friends will later be patients here after an accident and Mascetti will try to sell his fake leg “already declared valid by the insurance company” on the steps of Chiesa San Lorenzo. Married man, Mascetti has fallen in love with Titti, whose school is in the National Archaeological Museum of Florence, in Piazza della Santissima Annunziata. He walks her home, down Lungarno della Zecca Vecchia and Viale Gramsci, making a strongly felt but ultimately pointless declaration. One of their most famous pranks takes place at the Santa Maria Novella train station where the “gypsies” find entertainment in slapping unsuspecting passengers leaning out of train windows. Another takes place in Calcata Vecchia, a borgo perched on a hill of tufa rock near Viterbo, where they alarm the residents by making them think that several buildings are due to be knocked down to make way for motorways and ring roads. One evening, the five friends gate-crash a party at the Castle of Marignolle, west of Florence. The prank they play on Righi involves setting him up as an accomplice to a terrifying gang of drug dealers, fighting the “Marseilles gang” but first he has to survive several trials: when the moment finally comes for him to share in the spoils, his friends stop in what is today the Mandela Forum, a cement building in Campo di Marte and now part of a stadium. The film’s epilogue takes place in Piazza Santo Spirito where Perozzi’s funeral is celebrated and where the survivors have no qualms in teasing Righi behind his back. Where it was filmed 'My Friends' “What is genius? It’s imagination, intuition, decision and rapid execution.” Perozzi describing Necchi The locations of the film show the audience several lesser-known corners of Florence, such as the place that which passes for Bar Necchi in via dei Renai, in the San Niccolò neighbourhood; the four friends play billiards and cards in the bar with its community feel, organize pranks and most importantly identify the perfect victim, Righi. The street where the bar is located is also the setting for the car horn scene at the start of the film where a traffic warden becomes the first victim of their pranks. Righi waits for the four friends in the park near the bar so he can return the drugs, unaware that it is actually sugar. The hospital where Sassaroli works is not in Pescia as it is in the film, but the Istituto del Salviatico, in Campo di Marte. The friends will later be patients here after an accident and Mascetti will try to sell his fake leg “already declared valid by the insurance company” on the steps of Chiesa San Lorenzo. Married man, Mascetti has fallen in love with Titti, whose school is in the National Archaeological Museum of Florence, in Piazza della Santissima Annunziata. He walks her home, down Lungarno della Zecca Vecchia and Viale Gramsci, making a strongly felt but ultimately pointless declaration. One of their most famous pranks takes place at the Santa Maria Novella train station where the “gypsies” find entertainment in slapping unsuspecting passengers leaning out of train windows. Another takes place in Calcata Vecchia, a borgo perched on a hill of tufa rock near Viterbo, where they alarm the residents by making them think that several buildings are due to be knocked down to make way for motorways and ring roads. One evening, the five friends gate-crash a party at the Castle of Marignolle, west of Florence. The prank they play on Righi involves setting him up as an accomplice to a terrifying gang of drug dealers, fighting the “Marseilles gang” but first he has to survive several trials: when the moment finally comes for him to share in the spoils, his friends stop in what is today the Mandela Forum, a cement building in Campo di Marte and now part of a stadium. The film’s epilogue takes place in Piazza Santo Spirito where Perozzi’s funeral is celebrated and where the survivors have no qualms in teasing Righi behind his back.
5438	dbpedia	2	70	https://search.proquest.com/openview/07004a6ed2a5815ab844a09d1e13662d/1%3Fpq-origsite%3Dgscholar%26cbl%3D18750	en	What Burckhardt Saw: Restoration and the Invention of the Renaissance, c.1840	https://search.proquest.…roQuest_logo.gif	https://search.proquest.…roQuest_logo.gif	[ "https://search.proquest.com/assets/ctx/51be0a5b/images/icons/blank.gif" ]	[]	[]	[ "" ]	null	[]	null	Explore millions of resources from scholarly journals, books, newspapers, videos and more, on the ProQuest Platform.	en	/apple-icon-57x57.png		null	Database copyright ProQuest LLC; ProQuest does not claim copyright in the individual underlying works. Your library or institution may also provide you access to related full text documents in ProQuest.
5438	dbpedia	1	24	https://www.amazon.com/prime-video/actor/Marina-Massironi/amzn1.dv.gti.d58a697f-2553-4267-b6ff-28b739bcb1fd/	en	Marina Massironi: Movies, TV, and Bio	https://m.media-amazon.c…CB587940754_.png		[ "https://fls-na.amazon.com/1/batch/1/OP/ATVPDKIKX0DER:145-4923830-3069469:SW3ZZKT798KW54261KK4$uedata=s:%2Frd%2Fuedata%3Fstaticb%26id%3DSW3ZZKT798KW54261KK4:0", "https://m.media-amazon.com/images/G/01/gno/sprites/nav-sprite-global-1x-reorg-privacy._CB587940754_.png", "https://m.media-amazon.com/images/G/01/digital/video/web/Logo-min.png", "https://m.media-amazon.com/images/S/pv-target-images/dd1ca63c5f86e7171990b4aa2857a63b3e6317b16cd364a6150f4d1934835773._SX300_.jpg", "https://m.media-amazon.com/images/S/pv-target-images/596f0ff7fe1096d3eb613cdd83c079405da1c260e033cd4db9efae6f9d4f8443._SX329_.jpg", "https://m.media-amazon.com/images/S/pv-target-images/514e9f3e0ff994506c55deda49932324a18f50e05c32c71063d9dd1a703a5958._SX329_.jpg", "https://m.media-amazon.com/images/S/pv-target-images/29a582846f0a18547254a99ec093d21e7f744674431c9b1d3e6a355b2e975489._SX329_.png", "https://m.media-amazon.com/images/S/pv-target-images/887d3ab154ba28bef40779b61c13b685ae4b77631dedf76784bf612e974d2024._SX329_.jpg", "https://m.media-amazon.com/images/M/MV5BMTgzNDUzNWItMmVkNS00NjMzLWJmNjUtYmQ4MjY1MzEzMmI3XkEyXkFqcGdeQXVyMTMzMDQxOA@@._V1_SX300_.jpg", "https://m.media-amazon.com/images/M/MV5BY2Y4ZmRlOTMtMTU0OS00YzNjLWEzMDItYTI2MzdmMDlkYWQ5XkEyXkFqcGdeQXVyMzQ0NTk5NzU@._V1_SX300_.jpg", "https://m.media-amazon.com/images/M/MV5BZjJlNGIwNmQtOGNkYi00NzRhLWFhYzMtODFmMGMxNmIyMTQxXkEyXkFqcGdeQXVyMTE1MTYxNDAw._V1_SX300_.jpg", "https://m.media-amazon.com/images/M/MV5BOWUzZGNhM2ItYWRhMS00YTdlLWI0NmItZWRlM2E4ZTNiZjkxXkEyXkFqcGdeQXVyMzQ0NTk5NzU@._V1_SX300_.jpg", "https://m.media-amazon.com/images/M/MV5BNTMzNDZiNjMtNTAwMy00MjViLWIzZmYtZjAxYWNmNTg3MzQ3XkEyXkFqcGdeQXVyMzI5NDcxNzI@._V1_SX300_.jpg", "https://m.media-amazon.com/images/G/01/digital/video/sonata/SVOD_MV_FANTASY/3c629e7d-97c5-4a38-ac7a-10203bab384b._SX300_.jpg", "https://m.media-amazon.com/images/G/01/digital/video/sonata/SVOD_MV_ACTIONADVENTURE/8ca643df-7f29-45ff-b895-4583e6484b83._SX300_.jpg", "https://m.media-amazon.com/images/G/01/digital/video/sonata/SVOD_MV_COMEDY/e6c10939-65e7-455e-a99c-79e7f6f0cdac._SX300_.jpg", "https://m.media-amazon.com/images/G/01/digital/video/sonata/SVOD_MV_DRAMA/ff08f33b-26bd-42eb-b24f-36a3854e1bc4._SX300_.jpg", "https://m.media-amazon.com/images/G/01/digital/video/sonata/SVOD_MV_ROMANCE/a913ed77-a328-4136-bd01-ed8f1b37235f._SX300_.jpg", "https://m.media-amazon.com/images/G/01/digital/video/sonata/SVOD_MV_KIDS/d01cca2d-00e0-4dd3-a996-d9ddc9b662d6._SX300_.jpg", "https://fls-na.amazon.com/1/batch/1/OP/ATVPDKIKX0DER:145-4923830-3069469:SW3ZZKT798KW54261KK4$uedata=s:%2Frd%2Fuedata%3Fnoscript%26id%3DSW3ZZKT798KW54261KK4:0" ]	[]	[]	[ "" ]	null	[]	null	Browse Marina Massironi movies and TV shows available on Prime Video and begin streaming right away to your favorite device.	en			https://www.amazon.com/prime-video/actor/Marina-Massironi/amzn1.dv.gti.d58a697f-2553-4267-b6ff-28b739bcb1fd/	Marina Massironi is a theater, cinema, and TV actress. She's well known for her affiliation with Aldo, Giovanni & Giacomo. With them, she appeared on numerous seasons of "MaidireGol", "I Corti", and "Tel chi el telun", and made her big screen debut in "Tre uomini e una gamba". She's worked with film directors such as Giuseppe Piccioni, Enzo Monteleone, Gianluca Fumagalli, Alessandro Benvenuti, Giuseppe Bonito, Edoardo Leo, Gianni Zanasi, Maurizio Zaccaro, she won a David di Donatello and Nastro D'Argento award for the film "Pane e Tulipani" by Silvio Soldini. Having always loved the stage, she starred in many hit performances such as: "I Corti", "Harry ti presento Sally", "Due Partite" by Cristina Comencini", "Sottopaga non si paga!" directed by the Nobel Prize winner Dario Fo, "La scuola" with Silvio Orlando, directed by Daniele Luchetti, for which she won a Premio Flaiano award as best theatrical actress, "La donna che sbatteva nelle porte" by R.Doyle, directed by Giorgio Gallione, "Rosalyn" by E.Erba, directed by Serena Sinigaglia, "La somma di due" from Lidia Ravera's book of the same name, "Le verità di Bakersfield" by S. Sachs, directed by Veronica Cruciani, and "Il Marito Invisibile" by Edoardo Erba, with Maria Amelia Monti. She has many TV series and shows under her belt: "Comici" and "L'Ottavo Nano", along with Serena Dandini and Corrado Guzzanti, numerous seasons of "MaidireGol" with the Gialappa's Band, "Cotti e mangiati" with Flavio Insinna for Rai1. She also dubbed many characters such as "Daria" for MTV, Grace from "Mucche alla riscossa/ Home on the Range", the Disney animated movie, Celia from "Monsters&Co." for Disney-Pixar. Her voice also appears in both the American and Italian versions of "Luca", a Disney-Pixar animated movie released in June 2021.
5438	dbpedia	2	30	https://www.amarcort.it/2019/en/giuria.html	en	Amarcort Film Festival	http://www.amarcort.it/img/logo-amarcort.png	http://www.amarcort.it/img/logo-amarcort.png	[ "https://www.facebook.com/tr?id=1645577385682401&ev=PageView&noscript=1", "https://www.amarcort.it/2019/img/logo-piccolo.gif", "https://www.amarcort.it/2019/img/logo-piccolo.gif", "https://www.amarcort.it/2019/img/logo-regione-emilia-romagna.gif", "https://www.amarcort.it/2019/img/logo-comune-rimini.gif", "https://www.amarcort.it/2019/img/icona-facebook-n.png", "https://www.amarcort.it/2019/img/icona-instagram-n.png", "https://www.amarcort.it/2019/img/icona-twitter-n.png" ]	[]	[]	[ "rimini", "amarcort", "cortometraggi", "corti", "festival", "november 2019", "film", "cinema", "cinema breve", "giuria", "francesca fellini", "edo tagliavini", "giuseppe tagliavini", "gianfranco miro gori", "alberto gimignani" ]	null	[]	null	Amarcort Film Festival - La Giuria che decreterà i vincitori del festival di cortometraggi di Rimini	en	../icons/favicon.ico	Amarcort Film Festival	http://www.amarcort.it/	GRAND JURY Sandrine Cassidy Sandrine Faucher Cassidy è Senior Director per Festival e Distribuzione alla USC School of Cinematic Arts. In quanto tale, consiglia e tutora student e alumni, aiutandoli a strategizzare le carriere e i festival e la distribuzione dei loro corti e lungometraggi indipendenti. Aiuta a costruire quel ponte vitale tra la scuola cinematografica, il circuito dei festival e l'industria cinematografica. Il catalogo USC di cortometraggi cresce di circa 2000 titoli l'anno. Sandrine si occupa della distribuzione di quei corti in tutto il mondo. Alcuni di questi film includono corti di registi di fama come George Lucas, Robert Zemekis etc. Con oltre 25 anni di esperienza nell'industria cinematografica e nei festival internazionali sin dalla sua posizione come promoter di film all'Unifrance Film International, Sandrine Cassidy ha costruito la propria carriera specializzandosi nella distribuzione, esposizione di corti e lungometraggi e il supporto di registi indipendenti. Andrea Lodovichetti Andrea Lodovichetti was born in Italy in 1976 and currently lives between Europe and the US. Graduated in Film Directing at the Centro Sperimentale di Cinematografia (National School of Film in Italy), he worked as 2AD for the Academy Award winner director Paolo Sorrentino. Director, producer and screenwriter, he won a consistent number of international Awards including the Italian Golden Globe and the Looking for a Genius Award at the Babelgum Film Festival in Cannes, headed by Spike Lee. Luca Nervegna Luca Nervegna works as director of photography and has nearly twenty years of experience in the cinema field. After years spent working whithin the industry in Rome, he has founded a film company, in partnership with Giacomo Benini and entirely focused on the region of Romagna: the Furia Film. Tony Parnis Tony undertook film studies in Canada and produced and hosted Servizz Xandir Malti on Graham Cable TV in Toronto. He won four Graham Awards for drama in Maltese, and Producer of the Year from Graham Cable Television. He was also awarded the Canada Birthday Award for Achievement (Government of Ontario). In 1984 he joined Xandir Malta's Newsroom as editor / director. Later as Head of Drama of PBS he directed and produced TV drama serials and various documentaries. Independently he wrote and directed the feature film Operation White Dove which was shown both in Malta and Australia, and also directed Bawxati The Movie, and Pawlu ta' Tarsu which were also screened at local Cinamas. In 1990, he joined One Productions as head of drama, and produced and directed drama and various award winning documentaries, and as an independent director/producer he has also done sterling work for NET TV. Tony has won several Broadcasting Authority Awards for Drama and documentaries as well as the BPC Award to Journalism (TV). He also, won the award for Best Cultural Programme with Joyce Grech for the production of the Malta International TV Short Film Festival aired on TVM. He has served as judge on several film festivals, including the Short-Shock 2007 International Film Festival in Anapa, Russia, and The Golden Knight Film Festival in Malta (Malta Cine Circle) and the Malta Journalist Awards. Tony is the Festival Director/Producer of The Malta International TV Short Film Festival that is broadcasted by PBS, Malta national television for the past eleven years. Elena Zanni Elena Zanni was born in a cinephile family of entrepreneurs. She spends her childhood in the many cinemas owned by his family, who also run some independent movie theatres like the parish indie cinema in Gabicce Mare, the very first challenge of his father, Silvio Zanni, back in the 60s. Elena literally grows up in the movie houses. She now runs one of the most known movie theatres in the world and in Italy: Fulgor, Fellini's movie theatre. Praised, discussed and still loved by many for its long history, Fulgor movie house is more than 100 years old and it raised the little Federico Fellini who fell in love with it. That is why Fulgor is displayed in many of his movies. It is the first indie cinema to open its doors in Rimini, in 1914, and it was led by a resourceful woman, Ida Ravulli. The cinema reopens in January 2018, on Fellini's birthday, to celebrate the non-forgotten director. This time, another charismatic woman is in charge of it: Elena Zanni. She begins her activity in 2009 thanks to his father. Together, they decide to take over Settebello in Rimini to turn it into an independent movie theatre. Thanks to the precious help of the many collaborators she meets during her carrier and thanks to her foresight, she takes over her family business and runs it with success, winning the management of Fulgor. Nowadays, she manages projects which lead to the great cultural events organized in her movie theatres in Rimini. Writers, artists, actors, directors, musicians but also scientists and entrepreneurs, leaders of the national cultural scene, animate those spaces which are no more just 'cinemas', but a real cultural, social, artistic and humanitarian melting pot. All of this is possible thanks to the sensible and big efforts that her team put in place every day, in order to convey feelings and awareness to people. FELLINI'S AWARD JURY Francesca Fabbri Fellini My name is Francesca Fabbri Fellini, born in 1965, professional journalist. Being daughter of his sister, Maria Maddalena, I'm the only remaining heir for Maestro Federico Fellini's DNA. I'm the worldwide ambassador of this work. In addition to being peacefully legitimized to the protection of Maestro's name and image by being his heir, I'm also the only and exclusive owner for trade marks composed of FEDERICO FELLINI's patronymic (including his signature), registered trademark in Italy and abroad, in order to distinguish actual and/or potential commercial activities suited to Maestro's prestige and image, and to avoid the attempts of hoarding sales power connected to Fellini's name by third parties. Therefore, I take care of Maestro Fellini's name, image of his works and of his signature. Defending artist Fellini is a job. Born in Bologna in 1965 under the sign of Gemini, with Libra on the ascendant, Francesca lived her first 19 years in Rimini, with her parents Maria Maddalena Fellini and Giorgio Fabbri, a pediatrician. At 23 years she graduated in Foreign Languages and Literature and in 1987 she signed her first writing in video for RAI, for the program "Muoviamoci su Rai Due" with Sidney Rome, composed of 180 episodes. After this experience, she signed many more contracts with RAI: from 1999 to 2006 she's one of the correspondents for "La vita in diretta" with Michele Cucuzza on Raiuno. She worked with authors such as Michele Guardì, Senza Sampò, Licia Colò. She really likes television, but cinema has been in her chromosomes since forever (she defines herself as "raised with cinema and tortellini"): from 1993 and 1997 she collaborated with radio network RTL 102.5, managing cinema, and thanks to this experience she became a professional journalist. From 2004 to 2006 she signed and hosted on RTL: "Asa NIsi MAsa L'ANIMA del cinema", which took its name from the magic sentence repeated by Guido/Mastroianni, main character of "Otto e mezzo". Francesca thought about this title for her program as a tribute to her uncle "CHICCO". The 'Fellinette', as her uncle Federico used to call her, loves good food, theatre, books, flowers and spending her time with her little big friend Alfie, a white poodle who only lacks of words. Her favorite movie is Amarcord, of which she knows every line and which she watches as soon as she can. Blasco Giurato Born in Rome on 7th June 1941, he's a cinematographer and became known working with Giuseppe Tornatore in "Nuovo Cinema Paradiso". Thanks to his work with his film he also gained a nomination to BAFTA. Filmography (partial): Sapore di mare 2 - Un anno dopo (Bruno Cortini, 1983) Olga e i suoi figli (Salvatore Nocita, 1985) Il camorrista (Giuseppe Tornatore, 1986) Teresa (Dino Risi, 1987) Nuovo Cinema Paradiso (Giuseppe Tornatore, 1989) Sinbad of the Seven Seas (Enzo G. Castellari, 1989) Saremo felici (Gianfrancesco Lazotti, 1989) Tolgo il disturbo (Dino Risi, 1990) Una pura formalità (Giuseppe Tornatore, 1994) Belle al bar (Alessandro Benvenuti, 1994) Chicken Park (Jerry Calà, 1994) Passaggio per il paradiso (Antonio Baiocco, 1998) Ferdinando e Carolina (Lina Wertmuller, 1999) Vajont (Renzo Martinelli, 2001) Piazza delle Cinque Lune (Renzo Martinelli, 2003) L'estate del mio primo bacio (Carlo Virzì, 2005) Il mercante di pietre (Renzo Martinelli, 2006) Ma l'amore... sì! (Marco Costa eTonino Zangardi, 2006) Tutte le donne della mia vita (Simona Izzo, 2007) Zodiaco, miniseries (2008) 100 metri dal Paradiso (Raffaele Verzillo, 2012) Il bambino cattivo (Pupi Avati, 2013) Un ragazzo d'oro (Pupi Avati, 2014) Oltre le nubi (Marcella Mitaritonna, 2014) Le nozze di Laura (Pupi Avati, 2015) Mi rifaccio il trullo (Vito Cea, 2016) Prigioniero della mia libertà (Rosario Errico, 2016) Stato di ebbrezza (Luca Biglione, 2018) Television work: Il balordo (Pino Passalacqua - miniserie TV, 1978) Piazza di Spagna (Florestano Vancini - miniserie TV, 1992) La missione (Maurizio Zaccaro - miniserie TV, 1998) Un nero per casa (Gigi Proietti - film TV, 1998) Luigi Piccolo Luigino Piccolo (Giuti) was born in Udine, studies Literature in Padua with the idea of becoming a restorer. In 1980 he arrives in Rome, contacted by Paolo Tommasi, set designer and costume designer for Giancarlo Cobelli. After two years as assistant to the costume designer, he meets Pietro Farani who asks him help in running tailoring history: there, the majority of the costumes for the masterpieces in Italian cinema from 60s to 70s were realized. And all of this happened thanks to the collaboration with Danilo Donati, usual costume maker for Pasolini, Fellini e Zeffirelli, two Oscar Awards and several other prizes. Since 1997, after the passing of Farani, the tailoring passes directly into his hands; without disowning his past, tailoring oriented in historical reconstruction of costumes and, with great pride, between his last years' clients we can remember Colleen Atwood, Tim Burton's costume designer, who won four Oscars. Starting with a small fundus found in tailoring, during the years Piccolo created a notable collection of authentical dresses: more than 3000 pieces, starting from 1750s to High Fashion collections of the 60s; he uses this material for studying, which is very important to philologically reproduce the time. For five years now he's teaching, with great passion, reciprocated by his students, History of Cinema at IED in Rome and, for a year now, History of Costume at Accademia di moda e costume (Academy of fashion and costume), which is also based in Rome. ALDINA JURY Samuele Sbrighi (Born in Santarcangelo di Romagna, Rimini - 21.10.1975). Is an italian actor, director and screenwriter. He graduated in 1997 from Accademia d'Arte Drammatica Antoniana in Bologna and is a member of Centro di Cinema e Teatro "Duse" in Rome, hosted by Francesca De Sapio from 2000 to 2004. He is known to television audience for his role as Billo in "Un posto al sole d'estate" in 2008/2009 and for his role as inspector Giacomo Romani in "Centovetrine" 2010/11. In 2006 opens at cinema "La Vida es un Carnaval", a movie that sees him in the three hats of director, author and actor. In 2013 he is one of the main characters of "Una notte gli studios", cinema movie directed by Claudio Insegno, and he's testimonial for the national campaign of Ministry against AIDS, directed by Raul Bova. During the same year, he shoots "La Prof. 5" and the successful webserie "Interno giorno". He's in the radio, on M20, hosting the section "Good News" of the programm "AQPP". In 2014 he's in "Un passo dal cielo 3" along with Terence Hill and he's one of the main characters of "Forse Sono Io 2", a webserie directed by Vincenzo Alfieri. From 2014 to 2016 he's Biagio Izzo's theatre company, in which he takes part to the national tour for shows such as "Come un Cenerentolo" (directed by Claudio Insegno) and "L'amico del cuore" (Directed by Vincenzo Salemme". In 2017 he's one of the main characters in the cinema movie "Tiro Libero" by Alessandro Valori. In 2017 he debuts in theatre as a director and author with "Un altro spettacolo con cui rovinare una serata ad amici e parenti" and in 2018 he directs and writes the show "L'evoluzione della specie". In 2018 he also takes part as actor in the RAI fiction "L'Allieva 2", in Giorgia's music video "Le tasche piene di sassi" and he's screenwriter and co-protagonist with Maria Grazia Cucinotta, Ivano Marescotti and Pietro Maggiò in the feature film "Tutto Liscio" by Igor Maltagliati, produced by "La Famiglia Film" with the contribution of region Emilia Romagna. After shooting many music videos, in 2019 he's director and screenwriter for music video "Rossetto", a song by the winner of platinum record "Random". Since 2016 he's founder and teacher of Centro di Cinema e Teatro "La Valigia dell'Attore", a laboratory for acting, established in Romagna. Charles Stroud Started off in modern Theatre as actor/director together with working as a projectionist in a local Cinema. A few years in Film art departments followed at Malta's Film facilities. Directed and coordinated events both for the Private and Public sector. These include Opening and closing ceremonies for the Games of the Small States of Europe, Grand Harbour Spectacles on VE Day, complete production and direction of Malta's Millennium activities and part production and direction of Malta's accession celebrations into the EU with mega projections on Fort St. Angelo in Malta's Grand Harbour. 1973 employed with Television Malta as programme producer and director, showing specialisation for drama and documentaries. Employed with NET Television as Head of Programmes, Produced and directed Best Drama Production 2003. 2005 set up the Media Production company, "26th Frame" and directed numerous award winning productions. In 2018/19 wrote and Co Produced "Carmelo" for PBS Television Malta together with a TV Series "Nostalgija". Attended film making courses and seminars, including most recent Master Classes with writer John Coolle, in Working on a Micro Budget, Crowd Funding, Marketing and Distribution, (Valletta Film Festival 2015) Film Production and Script Writing (Storyworks) 2015. Commenced production of Short Animation Films and major animation projects. 2016 19 with productions shortlisted in international film Festivals. Attended and represented Malta in International Seminars and Conventions covering all aspects of film production. Gave talks, courses and seminars on Audience attitudes, Television, Acting for TV, Cinema and Public Events Organisation. Served on boards and committees including the National Festivities Committee as president (1987 - '91), the Foundation of European Carnival Committees as vice-president (1988 - '91), Radio 101 (1991 - '94 ), Mediterranean Film Studios (1992 - '93), and the Council for Culture and the Arts (2002 '05). Sat on judging panels for Photographic, Art, Costume, Drama, Beauty and Song competitions including Malta's prestigious Golden Knight Film Festival and the Television Short Film Festival. Producer/Manager of Malta's first Film Expo 2017. Enrico Zoi Family, cinema, theater, journalism , music and poetry: here's Enrico Zoi, Florentine born in 1959, graduated in Literature on a poem from the 1500s. To his credit also various books, including two poetic sillogues and the recent collection of fairy tales "Favole per Irene" (2018), illustrated by his son Filippo. Zoi has been writing press releases for the Municipalities of Bagno a Ripoli and Impruneta for 25 years. He published thousands of interviews, articles, film and theater reviews and puzzles and seen (currently) 6400 films, a figure destined inexorably and daily to rise. With Philippe Chellini, Zoi is Alessandro Benvenuti's cinematographic biographer (two books) and the author of the twenty-year volume of Leonardo Pieraccioni's 'Ciclone'. Zoi He was part of the Juries of 'Underflorence' (Florence Film Festival, 1991), 'Under Rock - Futurock a Firenze' (1992), 'Schermi Irregolari' (2001, 2016, 2017 e 2018), 'Amarcort Film Festival' (2014, 2016, 2017, 2018), 'Cartoon Club' (2018, 2019). He also has an editorial football incursion, having written a book, "Firmamento Viola", on Fiorentina, his favorite team. In recent times, he has ventured into theatrical writing, with the monologue show "Zenrico, or his clone?" (Co-author Massimo Blaco) and the two cinemonologue shows "As time goes by", dedicated to Humphrey Bogart, and "Dr. Jekyll & Mister(o) Totò", obviously on the Prince of laughter. YOUTH JURY - Cooperativa Sociale Ragazzi e Cinema Giorgia Aprile Annaluna Batani Jennifer Giacone Lorenzo Montaguti Jacopo Mussoni Dino Rebai Gaia Vannucci YOUTH JURY - Liceo Artistico Volta/Fellini - Riccione Filiberto Filanti Virginia Gabriele Carlotta Guglielmi Alessandro Pavlovi&cacute; Erika Ricci Asia Lucia Rocchi Beatrice Rosa REX JURY Giorgio Ghisolfi Once a student of the school "Ipotesi Cinema" run by Ermanno Olmi, he is now an entertainer, director, professor, and production manager with an extensive experience in the field of cinema and animation. He has worked with Bruno Bozzetto, Maurizio Nichetti, Guido Manuli, Enzo d'Alò. He wrote the theme song of the 47th Venice Film Festival and won awards for some tv spots and medium-length films. For Benetton, he directed "Birima son of Africa", a short film featuring the music of Youssou Ndour, the web series "Security.com" for Pirelli, and the animated video for the WWWF and its campaign "Now or Never" concerning climate change. As adjunct professor, he teaches subjects about cinema and communication in several schools such as the IED in Milan, the CISA in Locarno, the Insubria University and the High School of Linguistic Mediation in Varese. He is also the author and director of A-tube, the Global Animation Film Festival and A-tube Review 2019. For the publishing house Mimesis, he wrote the essay "Indiana Jones e il Cinema di Animazione" (2011) and the monographs "Star Wars. L'Epoca Lucas" (2017), "Superman&Co. Codici del Cinema e del Fumetto" (2018). Riccardo Sivelli He graduated as Master of Applied Arts at the Art Institute in Bologna. With a bachelor's degree in Surgical Anatomical Drawing achieved at Med School in Bologna, he has worked as advertising graphic designer and illustrator in several fields, and at the same time he has undertaken, in the role of designer, a few projects on set design, aimed at communication, interior design, theatre, film and advertisement setting. For almost 8 years he has worked as teacher, photographer and director in fashion. As a freelancer, he majored in the setting up of theme parks and worked for EuroDisney and for the main suppliers of carousels and coin-operated games. In 1999 he founded a communication and set design company in Rimini, which aims at bringing together the local artistic scene and prestigious clients. He was selected from ECIPAR in Rimini as best advisor for a project on female entrepreneurship and has obtained funding for a training course on work psychology, transactional analysis, lateral thinking and HR management. In those years, he broadened his experience by working for producers such as Casa Vianello, Stelle a quattro zampe, Quelli che il calcio, Smau Milano for WIND, TG5, the Bonci Theater in Cesena, Iceberg, Paolo Gerani, Roberts, Microsoft Italia and more. Riccardo Sivelli is the founder of "extralab" and is engaged in creativity and experimentation. He has a good knowledge of numerous materials, both traditional and composite. Moreover, he combines contemporary arts and groundbreaking materials. He is always looking for new types of communication and visual concepts in order to conceive effective communication projects that are able to appeal for the uniqueness and refinement of the manufacturing. Along the years, Riccardo Sivelli has developed a strong experience in the areas of communication, art, fashion and design. His projects are based on trends and how they can interact with one another in order to shape communication means, installations and committed projects. He relies heavily on the ongoing search for innovative techniques and materials, and on the development of new interaction systems between the digital world and the real world. Along with traditional materials, he specialized in the use of composite materials such as silicones, resins for different uses. As a video enthusiast, he combines traditional and video animation techniques for inventive projects addressed to the several demands of communication. Extralab is the embodiment of all his experiences, from which modeling samples, fake food, make-up, artistic installations, theatrical and film settings, and pilot projects are conceived. Sabrina Zanetti Born in Rimini in 1963, graduated in sociology with a specialization in mass communications and a master's thesis on animation films. From 1990 she has been working in the field of social research, particularly on issues such as juvenile disadvantage, intercultural disciplines and mass media. She is an expert in cinema and mass communications and has worked extensively in various cultural activities of the city of Rimini, collaborating on the organization of a large number of events dealing with music, film and visual arts. Since 1991 she has been taking care of the ACLI Rimini cultural activity,from the association activities (music clubs, dance, theater, photography and movie culture) to "Progetto Immagine", a special project including various activities and events dedicated to the world of communications. In 1984 she organizes two video-film events and since 1991 she becomes their Artistic Director: "Round - Video film festival for short films, dedicate to independent authors" (1984/2012). "Cartoon Club - International Festival of animation, comics and games". Since 1999, she's been organizeing activities and cultural events for the detained of the Prison of Rimini. From 2000 to 2008 she has been president of the ACLI of Rimini Province. From 1999 to 2009 she has coordinated the activities of the Social Services of the town of Verucchio. From 2001 to 2003 she has coordinated the activities of the Culture of the Municipality of Riccione. From 2005 to 2013 she has been president and director of "Foundation Enaip S. Zavatta" which organizes training courses and social activities. From 2008 to 2013 she has been managing director of CO.AP. Cooperativa Comunità Aperta a.r.l. that manages radio channels, TV and web in the Rimini province. In 1998, together with the musician Andrea Felli of Acanto Snc, she founded a sound research center located in Rimini which includes a professional recording studio called Farmhouse, a recording label and music publishings. GIRONZALON JURY (composed by campus "Emilia-Romagna welcomes Europe" students) Alessia Gallo Andrea Cimilio Anita Pavolucci Azzurra Ricci Benedetta Bronchi Camilla Maldini Cristina Sordano Elena Romano Elisabetta Zani Enrico Chiudinelli Enza Pulvirenti Federica Benini Gianluca Messini Ilaria Prenga Julian Bisacchi Kevin Ferrini Livia Guidi Luca Cola Luna Evangelisti Maria Laura Carrara Martina Dall'Ara Maurizio Nari Nabil Bella Nicola Capelli Roberta Calisesi Rostas Laurentiu Gabriel Sara Nardi Serena Mondello Silvia Cruccu Simona Ottaviani Simone Forti Sofia Di Pietro Stefania Rossi Swami Fusaroli Swami Prati Tiziano Neri Valentina Brulli Viola Dini FULGOR JURY Kristian Gianfreda Italian director and screenwriter. He was born on the 27th March 1971 in Rimini, where he still lives with his family. He has always been socially committed. After a short experience as a social educator in the rehabilitation centre "Luce sul Mare", in 1997 he gets in touch with the association "Comunità Papa Giovanni XXIII". For almost 20 years, until 2017, he has been in charge of "Capanna di Betlemme", a reception facility for homeless people. From 2011, he is also the spokesman for Housing Sociale, a project of the municipality of Rimini and contact person for solidarity projects dedicated to people who live in extreme poverty. In 2016, his social commitment leads him to be elected Councilman of Rimini in the civil list "Rimini Attiva" of the Democratic Party. In the same year, "Capanna di Betlemme" collects experiences from social outcasts: people living in poverty and in solitude. All of this life experiences impress Kristian, who strives to give those subjects a voice and make them visible at society's eyes. His experience in the audio-visual industry begins in 2011 with an internship at Produzioni L&C, in Rome. In 2002, he attends "CICS" (Centre for Social Communication) at the Gregorian University. In 2005, he attends theWorkshop Documentary in Europe for screenwriting and production promoted by "Festival dei Popoli" of Florence. In 2005, he collaborates to the screenwriting and production of TV documentaries for 2AFILM of Antonio e Pupi Avati. In 2002, for "L&C" of Luca De Mata, he realizes a documentary series called "La Valigia con lo Spago" for the National Italian Television, while in 2011 he realizes "Musulmani Europei". He is head of production and director of the production studio "Audiovisivi Apg23" of the association "Comunità Papa Giovanni XXIII". In 2010, he becomes head of the communication, events and sensitization campaign office for the association. In these years, he has been producing and directing many documentaries, short films and social advertisements. Here's a list: Documentaries - "La strada di Oana" (2005), documentary movie on the life of a girl forced to prostitute herself; "Do you love Jesus?" (2005), documentary movie on Don Oreste Benzi's life; "Il metodo Apac" (2009), documentary on Brazilian prisons; "I bambini di Dakka" (2012), documentary on the life of children in the streets of Bangladesh; "Con gli ultimi sulle strade del mondo" (2012), documentary on "Comunità Papa Giovanni XXIII"; "So far so close" (2014), documentary on the Arab-Israeli conflict; "Vite in fuga" (2015), documentary on immigrants fled by refugee centres in Lebanon and their disembarkation; "I ragazzi del carcere minorile di Acireale" (2015), documentary on youth detention centre in Acireale; Short Films - "Da un pugno a una carezza" (2008) and "Oltre le sbarre" (2008), short film on prisons in Italy; "1,1,2,3,5" (2014), short film on disability; "Rimini homeless" (anno 2015), short film on poverty; TV Programs - "Punto a capo" (2005 2006) and "Scatechismo", (2010 2012), TV broadcasts on current events; Animation - "Thiago y el Caracol" (2014 e 2016), animation project for deaf-mute children; Social Advertisement - "Un pasto al giorno, qualcosa di straordinario" (2010) for the fundraising for meal centres of Comunità Papa Giovanni XXIII; "Moments" (2011) and "5x1000 un gesto d'amore che cambia la storia" (2012) for the 5x1000; "La mia famiglia esce dal foglio" (2012), advertising IULM's foster home of Milan; "Per le donne crocifisse" and "Questo e` il mio corpo" (2016, 2017), social adverts against prostitution.. Kristian Gianfreda has obtained many prizes and awards for his works. In 2012, he was awarded the prize for his advert "La mia famiglia esce dal foglio". In 2015, he obtained a special mention for "La strada di Oana" and "1, 1, 1, 2, 5" at l'Anello Debole di Capodarco Festival. In the same year, he wins the First Prize for best documentary with "So far, so close" at People for Peace and at The Prem Rawat Foundation. In 2012, he was invited at Fiuggi Film Festival as a member of the jury. He gained an international recognition thanks to his first feature film, "Solo cose belle". His movie has been applauded both by the public and the critics. For this movie, in 2007 he founded the production studio "Coffee Time Film", based Rimini. Roberto Grassilli Roberto Grassilli was born in S. Pietro in Casale (Bologna). Since the 80s he publishes comics, illustrations, cartoons on magazines and newspapers such as Alter, Linus, Frigidaire, Tempi Supplementari, Consumatori, Cuore, PuntoCom, il Fatto Quotidiano, Banca Etica, NavigareSicuri. As an illustrator, he works for Milano Libri, Conde' Nast, VociOff, Sperling & Kupfer, Cuore s.r.l, Inter Press Edizioni, Arcana Edizioni, Il Manifesto, Manutencoop, Kowalski, L'Arca Edizioni, Perdisa Editore, L'Arengo di Rimini, Edizioni Este, Bookrepublic, Telecom Italia, NdA Edizioni, Italica Edizioni, Edizioni Smasher, Bertoni Editore. He collaborated in various ways to events and manifestations, especially Biografilm Festival in Bologna, Mare di Libri in Rimini, Cesena Comics & Stories and Festa della Rete / Blogfest. In 1988 he established Showbiz with Steo Zacchi (illustration and graphic for album and advertisement campaigns for Italian music makers). In 1990 he moves to London to work in Spielberg's animation studio for the animated feature "Fievel goes West" (Amblin, Usa, 1991). In 1991 he enters the newsroom of the new weekly satire magazine Cuore, run by Michele Serra. He remains until qualifying as art-director and until the magazine closes in '96. In 97/98 he's responsible for publishing for Pan Distribuzioni (Marvel Italia) and collaborates to the realization of commercial websites (Alitalia, Ras, Microsoft Italia etc). In 1999 with Gianluca Neri and Gianluigi Mazzeschi he establishes Clarence srl. During the years of "net-economy", he works with marketing and graphics. Inside the well-known portal he also publishes a daily comic strip (sept. 2001): Net To Be. Speaking of which, it was also published in a comic collection: "To Be or Net to Be", Hops Libri, Milano, 2002. In 2004, moved to Rimini, he starts again with his illustrator and cartoonist career. He collaborates to the creation of Il misfatto, satiric insert for Il Fatto Quotidiano, he projects and realizes graphic for the editorial online series 40K, of which he also draws singular covers. In 2015 he creates la Realtà Diminuita. In 2018 he illustrates Orlando e il Pinguino, comic book for children, written by Sara Galli, Bertoni Junior Editore. The "side" business he's been most involved into, in particular from 1982 to 1991, as lead singer, was the rock band Lino e i Mistoterital. Piero Maggiò After competing as a professional boxer in the '80s, thanks to his resemblance to Marlon Brando, he then starts modeling for the most important fashion designers at the beginning of the '90s. In '95 he is Popeye for the famous Moschino Cheap and Chic campaign and in that same year he becomes its testimonial for the underwear. In 1997, he decides to study and pursue his passion: acting. He attends the Beatrice Bracco's acting school and he is cast in his first film, Elvis e Marilyn, directed by Armando Manni. Following, he stars in several films and in 2000 he is on the international set of the film Captain Corelli's Mandolin along with Nicolas Cage, Penelope Cruz and Christian Bale, with the direction of John Madden. In 2002 he is in El Alamein, directed by Enzo Monteleone and in Radio West, directed by Alessandro Valori. During those same years, Maggiò participates in several TV shows, among which Anni '60, Casa Vianello, Don Luca, L'ispettore Coliandro. In 2005 he founds La Famiglia Film studio with Samuele Sbrighi and produces La vida es un carnaval, directed by Samuele Sbrighi. In 2018, they produce Everything's Going Smooth (Tutto liscio!), directed by Igor Maltagliati, in which Maria Grazia Cucinotta and Ivano Marescotti star as protagonist, and distributed globally in 2020 thanks to Industry Works. Currently, he is on the TV show Il collegio, broadcast by Rai 2 channel, where he interprets the hall monitor of the school. Daniele Pagnoni Nasce a Rimini nel 1974, in un decennio di gran fermento sociale e politico in Italia. Daniele Pagnoni was born in Rimini (Italy) in 1974, in a lively social and economic decade. He obtained a degree in Engineering, a Master's degree and then started to work permanently in a multinational cooperation based in Milan, as a result of his education and dedication to his studies. In Milan, he dedicates both to his job and the cultural life, regularly visiting museums, cinemas, exhibitions and theatres. He gets into photography; an art he performs regularly even now he is back in his native town to enjoy the seaside and a happy family life. He is an associate and volunteer member of Palloncino Rosso, a cultural association. Here, he deals with the logistics and organization of cultural events, thanks to his passion for cinema and TV series. CANTAREL JURY Enrico Fink Born in Florence, where he always lived apart from two years passed in the USA. He graduated in Physics in 1994, immediately understanding that he wanted to focus on music and theatre. He produced and recorded music going from jazz to modern music, from street music to sacred music; he performed as singer, actor, flute player, on several stages starting from Sanremo Festival to Quirinale, from discos to international festivals, from sidewalks to major legitimate stages. He wrote and acted musical theatre shows such as "Patrilineare" (1998), "Lev" (1999), "Purimshpil!" (2000), "Yonah" (2002 who deserved an award from the European Association for Jewish Culture). He acted in Moni Ovadia's company from 2000 to 2004 on "Tevye un Mir", and "Il violinista sul tetto". He collaborates with the ancient music assemble Lucidarium, with which he recorded in France the cd "La Istoria de Purim". For Materiali Sonori he published in 2000 the album "Lokshen Patrilineare" and in 2005 "Il ritorno alla Fede del Cantante di Jazz" (produced by Arlo Bigazzi), in which he dedicates a revisit in a contemporary, electronic, jazz key many Jewish lyrics and musics from religious ambit. His main publications are "Klezmer Cronache di viaggi", Frame editions (1997); "La Mutazione" (1999) with group named Tacitevoci directed by Bruno de Franceschi. With the "Homeless L.I.G.H.T. Orchestra", in 2009, he published the cd "Quasi Live" (Officine della Cultura/Materiali Sonori Associated). He's musical director for O.M.A. (Orchestra Multietnica di Arezzo) and he published in 2009 the cd/dvd "Animameticcia" and in 2013 "portosantagostino" (Officine della Cultura). He's one of the founding members of the ensemble "Cantierranti" directed by Giampiero Bigazzi, with which he realized the narrative concert "Senza Padrone - sogni e storie dell'impresa a capitale collettivo". Since 2007 he teaches classes of Jewish music at Università degli Studi Ebraici in Rome. For Materiali Sonori in 2010 he publishes "La mamma, l'angelo e la ciambella" (with Stefano Bartolini playing sax and Marcella Carboni playing harp) and in 2011 takes care of the cd "La casa dei canti quasi 100 anni di Chazanut al Tempio Maggiore di Firenze". In 2012 with Arlo Bigazzi, Sabina Manetti e Cantierranti, he writes a song for Caterpillar Rai Radio 2 "Vedo chiaro limpido vero", which videoclip won as best music video. In 2014 the song gets included into the album "Fuori dal pozzo", realized with Arlo & Cantierranti and the participation of Sabina Manetti, Mino Cavallo, Marzio Del Testa, Moni Ovadia, Raiz... "Fuori dal pozzo" goes on tour. He held classes and conferences in many universities such as Yale, UC Santa Cruz, Università Federale di Rio de Janeiro; Fondazione Levi, Venezia; and also in the universities of Bologna, Genova, Venezia, Milano. He taught "Storia della Musica Ebraica" at the Corso di Laurea in Studi Ebraici in Rome; he regularly teaches at the Bet Midrash of the Jewish community in Florence. He taught music from Jewish tradition in many schools of musical specialization. Collaborating with Renaissance music group Ensemble Lucidarium, he studied Jewish authors from Italian Renaissance and presented several programs in festivals, universities and institutions all around the world. He's curator for Primo Levi Center in New York for the project "Italian Chazanut Round Table" dedicated to Erna Finci Viterbi. Enrico Fink he's coming back from his third Canadian tour and from a long theatrical season in which he directed Orchestra Multietnica from Arezzo on original compositions for the new show written by Stefano Masini and acted by Ottavia Piccolo. Matteo Medri Matteo Medri was born in Forlì on 8 September 1975 and he lives in Cesena since he graduated in Psychology. He gets close to the arts world in third grade by starting to play classical clarinet at the "Angelo Masini" music school in Forlì and graduating with the lower-level diploma of the 5th year at "Cherubini" Conservatory in Florence. After that, he started playing the drums with Maestro Stefano Paolini and forms a rock group (The Wizards), which performs with its own and unpublished music, with more than 65 live dates every year. The group gets reviewed by various trade magazines and publishes two CDs with independent production companies. During his university years he gets close to theatre and acting by participating in local and national drama courses with teachers from the international scene and by acting in some theatrical performances and in minor roles in TV fictions. During the same years, he establishes an association of social promotion (L'Aquilone di Iqbal) that takes care of activities for minors and art, also starting a path of official recognizing from Ministry of the role of Clowndoctor, through the establishment of a National Federation. Both those realities are operating today in the area with several projects. While participating in different artistic projects, he also operates as an animator/educator and street artist with many national realities such as WWF Italy, Arci NA, Regione Emilia-Romagna, etc. The experience he lived while realizing his group's music video made him find out a passion and love for video language. He then starts an educational process in that direction. He takes part of many courses with professional figures in different parts of Italy, such as a course in Rome's cinema academy with R. De Laurentiis and Acay Cinematografica, as well as getting closer to professionals by covering different roles. At the start of 2000s he establishes his own society (Metters Studio Films srl) and a production team, with which he took care of productions and 360° audiovisuals during the years (from commercials to documentaries, from short and medium-length films to formats and TV projects, from corporate to viral for web and social medias, and not to forget music videos and live events). Some of the companies and institutions that entrusted him to be the video director are: Technogym, Orogel, Zucchetti, Tubes, Yamaha (with Valentino Rossi), Elio Fiorucci, Eridania, Prink, Calibe, Regione Emilia Romagna, Regione Marche, Trevi, Avis EMR, Cosmoprof International, Hera, ecc. In the world of art and audiovisual he won several national and international prizes, such as the international festival "I've seen film festival" by Rutger Houer with the short film "Solo"; the "Red Dot Award" for the commercial video "Faraway" for Zucchetti.KOS company, and many more special mentions and prizes for short films, commercials and social media realized between 2005 and 2019. In music and artistic world he took care of audiovisual projects for: Dario Fo, FNC Italia, ONG Internazionale "Persone come noi", Max Gazzè, YoYo Mundi, Demo Rai Radio Uno with Michel Pergolani and Renato Marengo, Khorakhanè for Sanremo festival 2007, Libero.it portal with the videoclip project on women's bullying and more, SKYARTE with "Vai col Liscio" format, Mediaset friend with social adverts (among which we remember the one about abandoning animals, aired during all the summer in 2012), TV2000 and national channels with documentary about Clown Doctors (still airing). In theatre world he wrote three shows as a tribute to Fabrizio De André, two of them collaborating with authors and actors from national scene, which were added to some theatre bills in region EMR and Tuscany. Those shows had the coexistence of different artistic languages: from live music to painting, from acting to dance, to video projection. In his educational path he didn't miss out on professional experiences as a live events director (Repubblica delle Idee, Cosmoprof, Techongym, Utopia etc.) and as production manager to programs and institutions (Rai Radio 1- Demo Rai, RTI and national and regional television networks). Diego Spagnoli Born in the province of Brescia in 1959. Meet the Music at 16 and immediately fall in love with it, finding in her a lifestyle, a goal to reach. His studies led him to obtain a diploma as a surveyor, but his career behind a desk stopped shortly. Guido Elmi, a historical Artistic producer of Vasco Rossi, notices him, who after a concert organized by Diego asks him to be a professional member of the Group. Since 1982 Diego follows Vasco Rossi in the role of Stage Manager, coordinates people and things nec essary for the best performance of the Show as well as making his artistic contribution with his Performances as Master of Ceremony during the Band's presentations since 1996. He founded and is a director of ATTIVI E CREATIVI, a company that deals with entertainment services. His clients include many other Italian and foreign artists, as well as entertainment agencies. In addition to the technical role, he is involved in musical projects as DubMaster and Singer. When he's not busy touring in Diego, he like s to cook, hang out with people and design shows. He is currently busy writing a theater project. AFIC JURY (Best italian short movie) Pedro Armocida Art. Dir. Pesaro Film Festival Pedro Armocida (Madrid, 1971), a graduate of La Sapienza University of Rome in Literature, he is an essayist, professional journalist, film critic and adjunct professor. He contributes for Ciak magazine, 8 1/2, Film Tv and Il Giornale. He is art director of the Mostra Internazionale del Nuovo Cinema, member of the board of the AFIC, the Italian Film Festivals Association, general secretary of the trade union of Italian Film Critics (SNCCI). He is adjunct professor of Film Criticism in the Theatre, Cinema, Dance and Digital Arts Master's Degree Course at the for the La Sapienza University in Rome. He is a member of a shortlist of juries for the documentaries of the David di Donatello Awards (2018-2019). He was the editor and co-editor of various publications, among which: Ieri, oggi e domani. Il cinema di genere in Italia, Marsilio, Venice, 2019; L'attore nel cinema italiano contemporaneo. Storia, performance, immagine, Marsilio, Venice, 2017; Romanzo popolare. Narrazione, pubblico e storie del cinema italiano negli anni duemila, Marsilio, Venice, 2016; Esordi italiani. Gli anni Dieci al cinema (2010-2015), Marsilio, Venice, 2015; Il cinema argentino contemporaneo e l'opera di Leonardo Favio, Marsilio, Venice, 2006; Oltre la frontiera. Il cinema messicano contemporaneo, Revolver, Bologna, 2004; Cinema in Spagna oggi, Lindau, Turin, 2002. Luca Caprara Art. Dir. Corto Dorico Film Festival Screenwriter and producer of short films, film clips, educational videos, commercials, theatre performances. He organizes film courses, festivals and seminars, while also working with magazines and websites. He has been a radio host in several regional and national broadcast channels, where he was in charge of the cinema section. With the film director Andrea Lodovichetti, he founded the cultural association Lobecafilm and he wrote the short film Sotto il mio giardino, produced by the Centro Sperimentale di Cinematografia Scuola Nazionale del Cinema (Experimental film centre National film school) in Rome. Currently, Sotto il mio giardino is one of the short film which has been selected and awarded the most, having received awrds such as the Italian Golden Globe, the People's Choice Award at the Academy Festival of Beijing, the first prize at the Rhode Island International Film Festival and the Looking for Genius Spike Lee's International Competition Award at the Festival of Cannes. He wrote and produced with the director Andrea Lodovichetti the documentary PescAmare. He also wrote the screenplay of the film Le parole del silenzio. Together with Andrea Lodovichetti and Eros Tumbarello, he wrote the screenplay for Nero come le formiche (Black as the ants) and for the film L'origin du monde. He is the author of the original screenplay of the fictional feature-length film La bambina di Chernobyl, co-written with Massimo Nardin. He is the creator of a recital on Marcello Mastroianni named Il bel Marcello, as well as another recital about Monica Vitti, entitled L'avventura di chiamarsi Monica. He contributed to the realisation of the Ozu Film Festival in Sassuolo. Since 2018, with Daniele Ciprì, film director and director of photography, he is the art director for the CortoDorico Film Festival of Ancona, supported by MIBAC, the Ministry of Cultural Heritage and Activities. Gianluca Castellini Art. Dir. Sedicicorto Film Festival Born on 07 April 1962 in Forlì, Italy. He attended several courses in Film History and Directing. He organizes film clubs and film literacy activities. In 2004, he founded the Association "Sedicicorto". Since then, he has been Art Director of the Sedicicorto International Film Festival in Forlì. He is member of the promoting Committee of the CNC, the Italian National Short Films Centre. In 2008, he created the Golden FEDIC, a network composed by 12 film festivals and 30 film clubs. He has been an advisor member for FEDIC, the Italian Film Clubs Federation, since 2009. In 2011, in Cesenatico, Castellini founded ANIMARE, an animation film festival for children aged 3 to 13. Since 2014, he coordinates the REFF network, in which 15 film festivals take part. In 2018, he founded the IRANFEST, which focuses on Iranian cinema. He took part in many Italian and international film festivals as a jury member and a member of the selection committee. He works with several cultural associations to support programmes which promote the art of short films and the development of film literacy in the schools of his area. He participates in numerous Italian and international film festivals to contribute to the distribution network of short films in Italy and abroad. POPULAR JURY Alessandro Rossini Andrea Gobbi Anna Linsalata Annaflavia Bianchi Barbara Garagnani Carla Bonvicini Caterina Gobbi Clara Bollini Dario Virginillo Deano Giunchi Elisabetta Zavoli Erica Rocchi Fabrizio Pelaca Floriana Polino Gabriella Ancona Maria Del Carmen Moretto Marina Costantini Marina Cerdà Bernabeu Massimo Venturelli Michele Ghiselli Monia Facondini Monna Moatemri Nino Celli Patrizia Bacci Paolo Pini Redeo Amadori Rossella Salvi
5438	dbpedia	3	9	https://blog.scuolaleonardo.com/2023/09/19/scuola-leonardo-da-vinci-awarded-st-study-award-2023/	en	Scuola Leonardo Da Vinci won the ST Study Award 2023 for the Italian language school	https://blog.scuolaleona…arawolfy2023.jpg	https://blog.scuolaleona…arawolfy2023.jpg	[ "https://blog.scuolaleonardo.com/wp-content/plugins/sitepress-multilingual-cms/res/flags/it.svg", "https://blog.scuolaleonardo.com/wp-content/plugins/sitepress-multilingual-cms/res/flags/it.svg", "https://blog.scuolaleonardo.com/wp-content/uploads/2015/10/logo-blog1.jpg", "https://blog.scuolaleonardo.com/wp-content/uploads/2015/10/logo-blog-scuolaleonardo.jpg", "https://blog.scuolaleonardo.com/wp-content/uploads/2023/09/chiarawolfy2023-620x420.jpg", "https://blog.scuolaleonardo.com/wp-content/uploads/gravatar/ba256d6f6e71b6e83dfc411825531719.png", "https://blog.scuolaleonardo.com/wp-content/uploads/gravatar/ba256d6f6e71b6e83dfc411825531719.png", "https://blog.scuolaleonardo.com/wp-content/uploads/2021/04/study-italian-in-milan-ftr-350x320.jpg", "https://blog.scuolaleonardo.com/wp-content/uploads/2021/11/black-friday-italian-2021-blog-350x320.png", "https://blog.scuolaleonardo.com/wp-content/uploads/2015/09/presepe-ftr.jpg", "https://blog.scuolaleonardo.com/wp-content/uploads/2015/09/firenze-img-130x130.jpg", "https://blog.scuolaleonardo.com/wp-content/uploads/2021/08/Blogbanner-luis-milan-130x130.jpg", "https://blog.scuolaleonardo.com/wp-content/uploads/2024/02/akikostory-130x130.png", "https://blog.scuolaleonardo.com/wp-content/uploads/2024/07/IMG_20240624_163811-1-130x130.jpg", "https://blog.scuolaleonardo.com/wp-content/uploads/2024/02/akikostory-130x130.png", "https://blog.scuolaleonardo.com/wp-content/uploads/2023/09/chiarawolfy2023-130x130.jpg", "https://blog.scuolaleonardo.com/wp-content/uploads/2023/06/ued-award-2022-130x130.jpg", "https://blog.scuolaleonardo.com/wp-content/uploads/2023/04/S4E1-copertina-1600x1084-mangiapregama-130x130.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://blog.scuolaleonardo.com/wp-content/plugins/sitepress-multilingual-cms/res/flags/it.svg" ]	[ "https://www.youtube.com/embed/D7l_sgoJ3Ts?feature=oembed" ]	[]	[ "" ]	null	[ "Scuola Leonardo da Vinci", "www.facebook.com" ]	2023-09-19T00:00:00	The quality of the Scuola Leonardo Da Vinci has been awarded by Study Travel Magazine for the third consecutive year	en		Blog of Leonardo da Vinci ;)	https://blog.scuolaleonardo.com/2023/09/19/scuola-leonardo-da-vinci-awarded-st-study-award-2023/	Scuola Leonardo Da Vinci has won the ST Star Award for the third consecutive year, a very prestigious award, as voted by experts in the field of study abroad travel. This award recognizes the quality of both courses and services offered by a school. This is why we are extremely happy with this recognition. Receiving it for 3 years in a row is a beautiful gratification. It confirms that our schools, which have hosted over 250,000 students in the last 46 years, are working in the right direction. Our thanks go to all those who made this victory possible: our teachers, the secretarial staff, our beloved students, partners, and collaborators. Thank you very much to all of you. Read the news on the site: https://www.scuolaleonardo.com/news/study-travel-star-award-winner-2023.html Listen to the special dedicated episode of the "Italiano ON-Air" podcast entitled: Premiati 3 volte di fila - Episodio 4 (stagione 5)
5438	dbpedia	1	65	https://academic.oup.com/book/33534/chapter/287889247	en				[]	[]	[]	[ "" ]	null	[]	null					null
5438	dbpedia	0	2	https://blog.indiecinema.co/italian-directors/	en	Italian Directors to Know	https://blog.indiecinema…rico-Fellini.jpg	https://blog.indiecinema…rico-Fellini.jpg	[ "https://blog.indiecinema.co/wp-content/uploads/2023/04/logo-2-2-copia.jpg", "https://blog.indiecinema.co/wp-content/uploads/2022/10/indiecinema-background-sottile-eng.jpg", "https://blog.indiecinema.co/wp-content/uploads/2023/06/CTA-blog-english-copia-1-scaled.jpg", "https://blog.indiecinema.co/wp-content/uploads/2023/12/indiecinema-background-eng.jpg", "https://blog.indiecinema.co/wp-content/uploads/2023/06/CTA-blog-english-copia-1-scaled.jpg", "https://blog.indiecinema.co/wp-content/uploads/2023/12/indiecinema-background-eng.jpg", "https://blog.indiecinema.co/wp-content/uploads/2023/06/CTA-blog-english-copia-1-scaled.jpg", "https://blog.indiecinema.co/wp-content/uploads/2023/12/indiecinema-background-eng.jpg", "https://blog.indiecinema.co/wp-content/uploads/2023/06/CTA-blog-english-copia-1-scaled.jpg", "https://blog.indiecinema.co/wp-content/uploads/2023/12/indiecinema-background-eng.jpg", "https://blog.indiecinema.co/wp-content/uploads/2023/06/CTA-blog-english-copia-1-scaled.jpg", "https://blog.indiecinema.co/wp-content/litespeed/avatar/e19c3b6d4c41b6c9c2f7a830ff40410c.jpg?ver=1723477705", "https://blog.indiecinema.co/wp-content/uploads/2023/04/logo-2-2-copia-1024x250.jpg" ]	[]	[]	[ "" ]	null	[ "Fabio Del Greco" ]	2023-09-17T14:50:56+00:00	Since the origins of cinematographic art, Italian directors have inspired the most famous directors in the world.	en	https://blog.indiecinema…presso-32x32.jpg	Indiecinema	https://blog.indiecinema.co/italian-directors/	Since the origins of cinematographic art, Italian directors have influenced and inspired the most famous directors from all over the world, creating some of the most important absolutely must-see movie, cinema masterpieces of all time. Italy is one of the birthplaces of arthouse cinema and the artistic element has actually been the most essential element in the history of Italian cinema. The first Italian filmmakers began to take an interest in films a couple of months after the Lumière brothers began their film exhibitions. The very first Italian director is thought to have been Vittorio Calcina, an associate of the Lumière brothers, who filmed Pope Leo XIII in 1896. The very first films date back to 1896 and were shot in the main Italian cities. These short experiments immediately interested the working class as entertainment, motivating Italian directors to produce unreleased films to the point of laying the foundations for the birth of a real film market. In the early years of the 20th century, silent cinema established itself, with various avant-garde Italian directors. In the early 1900s, creative and legendary films such as Othello (1906), The Last Days of Pompeii (1908), The Inferno (1911), Quo Vadis (1913), and Cabiria (1914), were made as adaptations of books or theatrical performances. Italian directors used elaborate sets, luxurious clothing and record spending plans to produce pioneering films. The first European film movement, Italian futurism, dates back to the late 1910s. After a period of contraction in the 1920s, the Italian film market rejuvenated in the 1930s with the arrival of sound cinema. Many Italian directors dedicated themselves in those years to the cinema of Telefoni Bianchi, comedies with attractive settings. While the Italian fascist government provided financial support to the country’s film market, particularly the construction of the Cinecittà studios, the largest film studio in Europe, it similarly participated in censorship, and thus many Italian films produced in the late 1930s they were films by propaganda. A renewal for Italian directors occurred at the end of the Second World War with the birth of the Italian neorealist movement, which achieved broad public and critical consensus throughout the post-war period, and which introduced the careers of Luchino Visconti, Roberto Rossellini, Vittorio De Sica. Neorealism declined in the late 1950s in favor of lighter films, such as those of Italian comedy and great directors such as Federico Fellini and Michelangelo Antonioni. Actresses such as Sophia Loren, Giulietta Masina and Gina Lollobrigida achieved worldwide fame during that period. From the mid-1950s to the end of the 1970s, Commedia all’Italiana and many other categories developed thanks to auteur cinema, and Italian directors achieved a position of excellence both nationally and abroad. [13] [14] Spaghetti Westerns achieved appeal in the mid-1960s, reaching their peak with Sergio Leone’s Dollars Trilogy. Italian erotic thrillers, or Giallo, produced by Italian directors such as Mario Bava and Dario Argento in the 1970s, influenced the horror category around the world. In the 1980s, for various reasons, Italian directors went through a crisis. Throughout the 1980s and 1990s, Italian directors such as Ermanno Olmi, Bernardo Bertolucci, Giuseppe Tornatore, Gabriele Salvatores and Roberto Benigni brought Italian cinema crucial praise, while the most appreciated directors of the 2000s and 2010s were Matteo Garrone, Paolo Sorrentino, Marco Bellocchio, Nanni Moretti. Here is a partial list of Italian directors to know (in alphabetical order) Gianni Amelio Gianni Amelio was born in San Pietro di Magisano, province of Catanzaro, in Calabria. His father moved to Argentina soon after he was born. He spent his youth and adolescence with his mother and grandmother. The lack of a father figure will be a common thread in Amelio’s future works. During his university studies in Messina, Amelio began to think about cinema, writing as a film critic for a local newspaper. In 1965 he moved to Rome, where he worked as an operator and assistant director for people such as Liliana Cavani and Vittorio De Seta. Amelio’s initial work is the television film La città del sole, directed in 1973 for RAI and inspired by the work of Tommaso Campanella. In 1982 he made his film debut with Colpire al cuore, about Italian terrorism, presented at the Venice Film Festival. In 1987 Amelio created The Boys of Through Panisperna, about the lives of Italian physicists of the 1930s such as Enrico Fermi and Edoardo Amaldi. 1989’s Open Doors (Open Doors), including Gian Maria Volonté, established Amelio as one of Italy’s best directors and won best foreign film at the 1991 Academy Awards. Interesting was The Child Thief in 1992, which won the Special Jury Prize at the 1992 Cannes Film Festival plus 2 Silver Ribbons and 5 David di Donatello. In 1994 Lamerica, on the Albanian migration to Italy, doubled its success, with 2 Silver Ribbons and 3 Davids. 4 years later, Cosi Laughing (So They Laughed) won the Golden Lion at the Venice Film Festival. Amelio won another Nastro d’Argento for best director for 2004’s The Keys to the House. Michelangelo Antonioni Antonioni was born into a thriving landowning family in Ferrara, Emilia Romagna, in northern Italy. Born into a working class family, he managed to acquire wealth through night classes and work. As a child, Antonioni loved drawing and music. A precocious violinist, he gave his first performance at the age of 9. He abandoned the violin with the discovery of cinema in his adolescence, drawing would remain an enduring enthusiasm. He is best known for directing his trilogy about modernity and alienation: L’Avventura (1960), La Notte (1961) and L’Eclisse (1962), along with the English-language film Blow-up (1966), considered masterpieces of world cinema. His films have been called enigmatic reflections on the human soul and feature escapist plots, surprising visual structure and an obsession with modern landscapes. His work significantly influenced subsequent art cinema. Antonioni has won numerous awards and is the only director to have won the Palme d’Or, the Golden Lion, the Golden Bear and the Golden Leopard. Pupi Avati Pupi Avati, born November 3, 1938, is an Italian screenwriter, producer and film director. He is known to horror film fans for his two crime works of art, The House with Laughing Windows (1976) and Zeder (1983). After attending school and studying Political Science at the University of Florence, he began working at a frozen food company. At the same time, he became passionate about jazz, ending up as a professional clarinetist. In the second half of the 1950s he played and trained in the Doctor Dixie Jazz Band, which also included Lucio Dalla. At first he thought he was an expert musician, then he realized he didn’t have the essential skill. In the mid-1960s he chose to devote himself to cinema after seeing 8 1/2 by Federico Fellini. Avati’s enthusiasm for music, as well as his love for his hometown, which was the setting for most of his films, would end up being recurring themes in his productions. Mario Bava Mario Bava was born in Sanremo, Liguria, on 31 July 1914. Mario Bava’s very first aspiration was to become a painter. Unable to finish paintings at a good pace, he entered his father’s service, working as an assistant to other Italian cinematographers such as Massimo Terzano. He also assisted his father in the special effects department at the Luce Institute. He has worked as a director, cinematographer, special effects artist and film writer, regularly regarded as the Master of Italian horror. His low-budget genre films, known for their unique visual style and ingenious technical resourcefulness, are a mix of fiction and realism. He was a leader of Italian genre cinema, and is considered among the most important authors in the horror genre. After offering impactful work and other help on productions such as Hercules (1958) and Caltiki, The Immortal Monster (1959), Bava made his directorial debut with the horror film Black Sunday, released in 1960. He went on to direct films such as The Girl Who Knew Too Much, Black Sabbath, The Body and the Whip, Six Daughters (1964), Planet of the Vampires, 1965, Kill , Baby, Kill, 1966), Diabolik (1968), Chain Reaction (A Bay of Blood, 1971), The Horrors of Nuremberg Castle (Baron Blood, 1972), Lisa and the Devil (1974) and Rabid Dogs (Rabid Dogs, 1974). Marco Bellocchio Born in Bobbio, near Piacenza, Marco Bellocchio had a strict Catholic childhood: his father was a lawyer, his mother a teacher. He began studying in Milan but then chose to enter film school, first at the Centro Sperimentale di Cinematografia in Rome, then at the Slade School of Fine Art in London. His very first film, Fists in the Pocket, was financed by a relative and shot at home, in 1965. Bellocchio’s films include China is Near (1967), Slap the Monster on Page One) (1972), In the name of the Father (1972), Marcia triumphale (Victory March, 1976), Salto nel vento (A Leap in the Dark, 1980), Enrico IV (Henry IV, 1984 ), Devil in the Flesh, 1986 and My Mother’s Smile, 2002. Bernardo Bertolucci Bernardo Bertolucci was an Italian director and screenwriter with a career that spanned 50 years. Considered among the best directors of Italian cinema, Bertolucci’s work has achieved worldwide recognition. He was the first Italian director to win the Academy Award for Best Director for The Last Emperor (1987), with many awards including 2 Golden Globes, 2 David di Donatello, a British Academy Award and a César Award. A student of Pier Paolo Pasolini, Bertolucci made his directorial debut at 22 years old. His second film, Before the Revolution (1964), had strong global reviews and has been called a work of art of Italian cinema. His 1970 film The Conformist, an adaptation of Alberto Moravia’s original, is considered a classic of world cinema and was shortlisted for an Academy Award for Best Adapted Screenplay and the Berlin Golden Bear. His 1972 sensual drama Last Tango in Paris was scandalous and hampered by censors because of its sex scenes, as well as an unscripted rape scene, which actress Maria Schneider did not allow. This was followed by films such as the historic and impressive Novecento (1976), the family drama La Luna (1979) and the black comedy Tragedy of a Ridiculous Man (1981). His epic movie 1987’s The Last Emperor, a biopic of Chinese emperor Puyi, was a critical and commercial success, garnering rave reviews and Oscars for Best Picture and Best Director. He followed his success with 2 more films in his “Oriental Trilogy”: The Sheltering Sky, an adaptation of the book of the same name, and Little Buddha, an epic spiritual film about Buddhism. His 1996 film, Stealing Beauty, brought him his second nomination for the Palme d’Or. He continued directing well into the 21st century, launching his last film, Io e te (Me and You), in 2012. Bertolucci’s films deal with themes of politics, sexuality, history, class struggle and social taboos and his style has influenced numerous directors. Some of his films are considered among the best films of all time. Claudio Caligari Born in Arona, Piedmont, Claudio Caligari began his profession as a documentary filmmaker, often collaborating with Franco Barbero; his first ever work was Why Drugs (1975). He launched his first feature film in 1983, with the drug-focused drama Toxic Love, which won the De Sica Award at the 40th Venice International Film Festival. Only fifteen years later he directed another work, the neo-noir The Scent of the Night. He finished editing his latest and third film, Don’t Be Bad, a couple of days before his death from cancer. Liliana Cavani Liliana Cavani is an Italian director and screenwriter. He comes from a generation of Italian filmmakers from Emilia-Romagna who entered the scene in the 1970s, made up of Bernardo Bertolucci, Pier Paolo Pasolini and Marco Bellocchio. Cavani ended up becoming known around the world after the success of her 1974 feature film The Night Porter. His films deal with historical issues. In addition to making documentaries and films, he has also directed operas. Sergio Citti Sergio Citti was an Italian director and screenwriter, born in Rome in 1933. He usually worked with Pier Paolo Pasolini, but also for other directors such as Ettore Scola. His films include We Free Kings, for which he won a Silver Ribbon for Best Original Story. His 1981 film Il minestrone participated in the 31st Berlin International Film Festival. His 1977 film Beach House was part of a retrospective on Italian comedy at the 67th Venice International Film Festival. He was the brother of the actor Franco Citti. Among his masterpieces are Ostia (1970), Storie scellerate (1973), Mortacci (1989). Luigi Comencini Luigi Comencini was an Italian director. Together with Dino Risi, Ettore Scola and Mario Monicelli, was considered among the masters of Italian comedy. His first successful film was The Emperor of Capri, with Totò. Comencini’s 1953 Bread, Love and Fantasy, with Vittorio De Sica and Gina Lollobrigida, is considered an example of pink neorealism. Followed by Bread, Love and Jealousy. After having directed Alberto Sordi for the first time in La belle di Roma (1955), Comencini once again confronted Sordi in what is considered his masterpiece, Tutti a casa, a bitter comedy about Italy after the armistice of 1943. The film won the Special Prize at the 2nd Moscow International Film Festival. Set in the Second World War, but dedicated to the Italian partisans, is Bube’s Girl (1963). Followed by Incompreso (1966, based on the English book by Florence Montgomery). One of his must-see films is a TV serial, The Adventures of Pinocchio from 1972, an extraordinarily poetic 6-episode TV miniseries. Vittorio De Sica Vittorio De Sica was an Italian director and actor, a prominent figure in neorealist movement. 4 of the films he directed won the Oscar: Sciuscià and Bicycle Thieves, while Yesterday, Today, Tomorrow and The Garden of the Finzi-Continis won the Oscar for best foreign language film. Sciuscià was the first foreign film to be awarded by the Academy of Motion Picture Arts and Sciences together with Bicycle Thieves. These 2 films are considered masterpieces of cinema history. Bicycle Thieves has been considered the best film of all time by many directors and critics. De Sica was also shortlisted for the 1957 Academy Award for Best Supporting Actor for playing Major Rinaldi in American director Charles Vidor’s 1957 adaptation of Ernest Hemingway’s A Farewell to Arms, a film that was panned by critics and it was a box office flop. Fernando Di Leo Fernando Di Leo was an Italian director and screenwriter. He made 17 films as director and around 50 screenplays from 1964 to 1985. Fernando Di Leo was born on 11 January 1932 in San Ferdinando di Puglia. After working for a short period at the Centro Sperimentale di Cinematografia of a film school in Rome, he made his debut as a director in the comedy The Heroes of Yesterday, Today, Tomorrow with his episode entitled A Place in Paradise. Di Leo later wrote numerous screenplays for westerns, often uncredited, such as A Fistful of Dollars and For a Few Dollars More. Some of his westerns had uncredited literary sources, such as Days of Vengeance which was loosely based on Alexandre Dumas’ The Count of Monte Cristo. Di Leo was a fan of noir movie and wanted to make an Italian variation of these films. Among his very first works was the screenplay for Mino Guerrini’s Appointment for a Murder based on the novel Tempo di massacro by Franco Enna written in 1955. Di Leo began directing some of his own films at the time, including the war film Red roses for the Fuhrer and a couple of sexual films: Lady on Fire, The Wrong Way to Love and Seduction. From 1969 to 1976, di Leo was able to produce much of his own work with his production company Duania cineproduzioni 70. He returned to the noir genre with Naked Violence, a film adapting a short story by Giorgio Scerbanenco, an author that Di Leo will adapt for numerous future film productions. Federico Fellini Federico Fellini was an Italian director and screenwriter known for his unique style that mixes dreamlike and baroque imagery. He is recognized as one of the most important directors of all time. Most of his films are cinema masterpieces: The Road (1954), The Nights of Cabiria (1957), La Dolce Vita (1960), 8 1/2 (1963), Juliet of the Spirits (1965), Toby Dammit (1968), Fellini’s Satyricon (1969), Roma (1972), Amarcord (1973) and Fellini’s Casanova (1976). Fellini was nominated for 16 Academy Awards over the course of his career, winning 4 for Best Foreign Language Film, the most for any director in the award’s history. He received an Honorary Lifetime Achievement Award at the 65th Academy Awards in Los Angeles. Fellini also won the Palme d’Or for La Dolce Vita in 1960, the Moscow International Film Festival twice in 1963 and 1987 and the Golden Lion for Lifetime Achievement at the 42nd Venice International Film Festival in 1985. Among the best directors who ever existed, Fellini ranked 2nd in the directors’ poll and 7th in the critics’ poll. Marco Ferreri Marco Ferreri was born in Milan and was an Italian film director and screenwriter, who began his profession in the 1950s by directing 3 films in Spain, followed by 24 Italian films before his death in 1997. He is considered one of Europe’s cinematic provocateurs of its time and has had a consistent presence on the prominent festival circuit, with 8 films competing at the Cannes Film Festival and a Golden Bear win at the 1991 Berlin Film Festival. 3 of his films are among the 100 films selected for preservation for their notable contribution to Italian cinema. His best-known film is La Grande Bouffe from 1973, with Marcello Mastroianni, Michel Piccoli, Philippe Noiret and Ugo Tognazzi. He was a socialist and atheist. Upon his death, Gilles Jacob, creative director of the Cannes International Film Festival, declared: “Italian cinema has lost among its most important artists, among its most original authors. No one was more demanding nor more allegorical than him in reveal the state of crisis of modern man”. Riccardo Freda Riccardo Freda, born in 1909 in Alexandria, Egypt, was an Italian director who worked in a number of film genres, including cloak and dagger, crime, horror and spy films. Freda began directing The Vampires in 1956. After school he worked as a carver and art critic. Freda began working in the film market in 1937 and directed her first film Don Cesare di Bazan in 1942. The Vampires was the first Italian horror film of the sound period, after the only silent scary film Frankenstein’s Monster (1920) . The wave of Italian horror productions didn’t catch on until Mario Bava’s Black Sunday was released globally. Lucio Fulci Lucio Fulci was an Italian writer, actor and film director. He has worked in a wide selection of categories such as Giallo movie and spaghetti westerns and has garnered a worldwide cult following. His most significant films are in the “Gates of Hell” trilogy – City of the Living Dead (1980), The Beyond (1981) and The House by the Cemetery (1981) – along with Massacre Time (1966), One Above the other (1969), Beatrice Cenci (1969), A lizard with the skin of a woman (1971), Don’t torture a Donald Duck (1972), White Fang (1973), The Four of the Apocalypse (1975), Seven Notes in Black ( 1977), Zombies 2 (1979), Contraband (1980), The New York Ripper (1982), Murder Rock (1984) and A Cat in the Brain (1990). For his telling imagery and nontraditional storytelling, Lucio Fulci has been called “The Poet of the Macabre” by critics and scholars, in reference to Edgar Allan Poe, whom he adapted into The Black Cat (1981). The high level of graphic violence present in many of his films, particularly Zombies 2, The Beyond, Contraband and The New York Ripper, has made him “The Godfather of Blood”. Matteo Garrone Matteo Garrone is an Italian director born in Rome. In 1996 Garrone won the Sacher d’Oro, a prize promoted by Nanni Moretti, with the short film Silhouette, which became one of the 3 episodes that make up his first feature film, Terra di mezzo in 1997. He reached the general public with the noir The embalmer in 2002. He won best director at the European Film Awards and the David di Donatello for Gomorrah (2008), as well as numerous other awards. His film Reality (2012) was shown in competition at the 2012 Cannes Film Festival and won the Grand Prix. His films Tale of Tales (2015) and Dogman (2018) were chosen for the Palme d’Or at the 2015 Cannes Film Festival and the 2018 Cannes Film Festival. Emidio Greco Emidio Greco was an Italian director and screenwriter, best known for the 1974 film Morel’s Invention. Born in Leporano, in the province of Taranto, Greco moved to Turin as a boy. In 1964 he finished at the Centro Sperimentale di Cinematografia, then, 2 years later, he began working as a documentary maker for RAI. In 1971 he collaborated with Roberto Rossellini, accompanying him to Chile for an interview with Salvador Allende. In 1974 Greco made his directorial debut in a feature film with The Invention of Morel which, appreciated by critics, marked him as a true promise of Italian art cinema. His second film, Ehrengard, recorded in 1982, would not be released until 2002 due to the bankruptcy of the producers. Since then he has directed 6 more films, generally adaptations of literary works. In 1991 he was awarded a Nastro d’Argento for best screenplay for the film A simple story. In 2004 Greco, together with Francesco Maselli, conceived and set up the “Giornate degli Autori” space at the Venice Film Festival. Ugo Gregoretti Ugo Gregoretti was an Italian film, television and theater director, actor, screenwriter, author and television host. He directed 20 films during his career. Born in Rome, Gregoretti joined RAI in 1953, working as a director and documentary maker. In 1960 he won the Italy Award for the television documentary La Sicilia del Gattopardo. In 1962 he made his film debut with the comedy drama The New Angels. In 1978 he began his activity in theater and opera. His work as a director has been primarily defined by a level of sensitivity to social and political problems integrated with a strange use of paradox and satire. In 2010 he was awarded a Silver Ribbon for lifetime achievement. Luca Guadagnino Luca Guadagnino was born on August 10, 1971 in Palermo and spent his early youth in Ethiopia, where his father taught Italian history and literature at a technical school in Addis Ababa. The family left Ethiopia for Italy in 1977 to avoid the Ethiopian civil war, settling in Palermo. Guadagnino is a writer, director and film producer. He worked together several times with actress Tilda Swinton in the films The Protagonists (1999), I Am Love (2009), A Bigger Splash (2015) and Suspiria (2018). For the production and direction of Call Me by Your Name (2017), Guadagnino received crucial recognition and numerous awards, including elections for the Oscar for Best Film, the Nastro d’Argento for Best Director, the BAFTA Award for Best Director and Best Film, and the Golden Globe for Best Motion Picture – Drama. Umberto Lenzi Umberto Lenzi was an Italian writer, screenwriter and director. Passionate from a young age, Lenzi studied at the Centro Sperimentale di Cinematografia and made his first film in 1958 which remained unpublished, while his main launch came in 1961 with The Adventures of Mary Read (Queen of the Seas). Lenzi’s films of the 1960s followed the popular patterns of the period, which led him to direct numerous spy films and sensual thrillers. In the 1970s he made crime films, crime films and the first film about an Italian cannibal with Man from the Deep River. He continued making films until the 1990s and later worked as a writer creating a series of thrillers. Sergio Leone Born on 3 January 1929 in Rome, Leone was the son of the director Vincenzo Leone and the silent film actress Edvige Valcarenghi. During his school years, Leone was for a time a classmate of his future musical collaborator Ennio Morricone. After watching his father work on film sets, Leone began his profession in cinema at the age of 18 after leaving his law studies at university. He is the leader of the Spaghetti Western category and commonly considered among the outstanding directors in the history of cinema. Leone’s filmmaking style consists of mixing dramatic close-ups with long, drawn-out shots. His films are the Dollars trilogy with Clint Eastwood: A Fistful of Dollars (1964), For a Few Dollars More (1965) and The Good, the Bad and the Ugly (1966); and the films Once Upon a Time: Once Upon a Time in the West (1968), Once Upon a Time in America (1984), and Once Upon a Time in America (1984). Antonio Margheriti Antonio Margheriti was born in Rome on 19 September 1930. The son of a railway engineer, he began his film career in 1950 with Mario Serandrei. He then began making short documentaries starting with Vecchia Roma in 1953. In 1955 he was credited in film scripts such as The Iron Class. He also worked under the pseudonyms Anthony M. Dawson and Antony Daisies. Margheriti has worked in various genres in the Italian film market: science fiction, cloak and dagger, horror, crime fiction, espionage, Spaghetti Westerns, war films and action films which have been distributed to a wide audience worldwide. Mario Martone Mario Martone is an Italian director and screenwriter. He has directed more than 30 films since 1985. His film L’amore molesto participated in the 1995 Cannes Film Festival. His 2010 film We believed competed for the Golden Lion at the 67th Venice International Film Festival . He was also the director of Lorenzo Ferrero’s opera Charlotte Corday, which premiered at the Teatro dell’Opera di Roma on 21 February 1989. His 2014 film about Leopardi was in competition for the Golden Lion at 71st International Venice Exhibition. Francesco Maselli Francesco Maselli finished the National Film School in 1949 and began his profession as assistant director to Luigi Chiarini, Michelangelo Antonioni and Luchino Visconti. Thanks to Visconti, Maselli managed to direct his first feature film, Abandoned, presented in competition at the 16th Venice Film Festival. In the 1980s Maselli dedicated himself to more intimate films, typically centered on female images, such as A Tale of Love, with which Maselli won the Grand Jury Prize at the 43rd Venice Film Festival, with Valeria Golino awarded as best actress. His 1990 film The Secret participated in the 40th Berlin International Film Festival. He directed 38 films starting his career in 1949. Aristide Massaccesi Aristide Massaccesi, known as Joe D’Amato, was an Italian director, producer, screenwriter and cinematographer who worked in many film genres (western, erotic, peplum, war film, sword, comedy, dream, post-apocalyptic film and thrillers. However he is best known for his adult horror and erotic films. D’Amato worked in the 1950s as a photographer, in the 1960s as a camera operator and from 1969 onwards as a director of photography. Since 1972, he has directed and co-directed approximately 200 films under many pseudonyms as a cinematographer. Since the early 1980s, D’Amato has produced many director’s genre films through his production company. From 1979 to 1982 and 1993 to 1999, D’Amato also produced and directed approximately 120 films for adults. Mario Monicelli Mario Monicelli he was an Italian director and screenwriter and among the masters of Italian comedy. He was chosen 6 times for an Oscar and was awarded the Golden Lion for Lifetime Achievement. Monicelli was born in Rome to a wealthy family from Ostiglia, a municipality in the province of Mantua, Lombardy, the second of 5 children of Tomaso Monicelli, a journalist, and Maria Carreri, a housewife. Raised between Rome, Viareggio and Milan, Monicelli lived a carefree youth, and much of the cinematic jokes he later inserted into Amici Miei were influenced by his own experiences during his youth in Tuscany. Nanni Moretti Nanni Moretti is an Italian director, producer, actor and screenwriter. His films have won awards including a Palme d’Or at the 2001 Cannes Film Festival for The Son’s Room, a Silver Bear at the 1986 Berlin Film Festival for The Mass is Over and a Silver Lion at the 1986 Film Festival Venice cinema in 1981 for Sogni d’oro, as well as the David di Donatello for best film for Dear Diary in 1994, The Son’s Room in 2001 and The Caiman in 2006. Ermanno Olmi Ermanno Olmi was an Italian director and screenwriter. Olmi was born into a Catholic family in Bergamo, Lombardy, northern Italy. When Olmi was 3 years old, his family moved to Milan, where he attended high school and took acting lessons at the Academy of Dramatic Arts. He ended up thinking about cinema while working at the Milanese electricity company Edison Volta, where he began producing 16mm documentaries about power plants. In 1963 he married Loredana Detto, who had played Antonietta Masetti in his film Il Posto (1961). Another early film was The Engaged (1963). His best-known film is The Tree of Clogs, which was awarded the Palme d’Or at the 1978 Cannes Film Festival. The film drew heavily on Olmi’s grandmother’s stories about peasant life in the agricultural areas of Italy. In 1988 his The Legend of the Holy Drinker, based on the novel by Joseph Roth and starring Rutger Hauer, won the Golden Lion at the Venice Film Festival together with Donatello’s David. Pier Paolo Pasolini Pier Paolo Pasolini was an Italian poet, author, intellectual and director as well as a journalist, writer, translator and playwright. He is considered among the intellectuals of reference in 20th century Italy, eminent both as an artist and as a political figure. Gay and avowed Marxist, he expressed strong criticism of the bourgeois class and the nascent consumerism in Italy, with socio-political controversies and sexual taboos. A popular protagonist of the Roman cultural scene after the Second World War, he was a recognized figure of importance in European literature and cinematographic arts. Pasolini’s unsolved murder in Ostia in November 1975 sparked a scandal in Italy, and his work continues to spark heated discussion. Among his masterpieces Accattone, The Gospel according to Matthew, La ricotta, Teorema. Giovanni Pastrone Giovanni Pastrone, also known by his stage name Piero Fosco, was an Italian actor, director, screenwriter and film actor. Pastrone was born in Montechiaro d’Asti. He worked throughout the silent film era and influenced numerous crucial directors in global cinema with Cabiria, such as David Wark Griffith, for his The Birth of a Nation (1915) and Intolerance (1916). Martin Scorsese thinks that Pastrone’s work in Cabiria can be considered as the birth of epic movie and is worthy of credit for a number of developments typically attributed to D. W. Griffith and Cecil B. DeMille. Among these was the full use of a moving camera, which freed the narrative feature from the fixed frame. Elio Petri Elio Petri was born in Rome on 29 January 1929. He was expelled for political reasons from San Giuseppe di Merode, a school run by a priest in Piazza di Spagna, and enrolled in the youth company of the Italian Communist Party (PCI). He wrote for L’Unità and Gioventù nuova as well as Città Aperta. Petri was a film director, screenwriter, theater director and critic associated with political cinema in the 1970s and 1960s. His film Investigation of a Citizen Above Suspicion won the 1971 Oscar for best foreign language film, and his film The Working Class Goes to Heaven won the Palme d’Or at the Cannes Film Festival in 1972. Petri’s other significant films include The Tenth Victim (1965), To Each His Own (1967), A Quiet Country Place (1968), Property Is No Longer theft (1973) and Every Way (1976). Franco Piavoli Degree in law, Franco Piavoli he practiced as a lawyer for several years. He made the short film Stagioni in 1961; he later abandoned the legal profession to teach in a technical institute and dedicate himself to cinema. After making a couple of short films (Domenica sera, Emigranti, Evasi), he came to prominence in 1982 when he made Il Pianeta blu (The Blue Planet), his launch feature film, in competition at the Venice Film Festival, UNESCO award. The knowledge of this work was made possible thanks to the interest of his friend Silvano Agosti who one day in 1979 showed up at Piavoli in Pozzolengo with an Arriflex video camera and a pack of reels, informing him that it was the time to make his first feature film . For an entire year Piavoli was responsible for filming the film which Andrej Tarkovsky would define as a total work of art. In the following years he made 3 more feature films (Nostos – The Return, 1989; Voci nel tempo, 1996; Al primo soffio di vento, 2002). In his cinema Piavoli does not give much meaning to words, focusing above all on images and sounds which in turn end up being protagonists and representing life. A cinema defined as “symphonic video”. Antonio Pietrangeli Antonio Pietrangeli was an Italian director and screenwriter, significant for his Italian Comedies, born in Rome. He started in cinema by writing film reviews for Italian film publications in the magazines Bianco e Nero and Cinema. As a film screenwriter, his works are Ossessione and La terra trema by Luchino Visconti, Fabiola by Alessandro Blasetti and Europa ’51 by Roberto Rossellini. Pietrangeli’s directorial launch was Il sole nelle occhi, a 1953 film starring Gabriele Ferzetti. The comedies with Alberto Sordi followed Lo scapolo (1956) and Souvenir d’Italie (1957). I Knew Her Well (1965), a portrait of a naive young actress played by Stefania Sandrelli, is his masterpiece. Dino Risi Dino Risi was an Italian director. With Mario Monicelli, Luigi Comencini, Nanni Loy and Ettore Scola he was among the masters of Italian comedy. Risi was born in Milan. He had an older brother, Fernando, a cinematographer, and a younger brother, Nelo, a director and author. At the age of twelve, Risi became an orphan and was cared for by family and friends of his family. He studied medicine but refused to become a psychiatrist, as his parents wanted. Risi began his career in cinema as assistant director of characters such as Mario Soldati and Alberto Lattuada. He later began directing his own films and was credited with giving early chances to future stars such as Sophia Loren and Vittorio Gassman. His 1966 film The Treasure of San Gennaro participated in the 5th Moscow International Film Festival where it won an award. In his career he made many films: the most important are Una vita difficile of 1961, Il sorpasso of 196e I monsters of 1963 and Una vita difficile of 1973, all masterpieces of Italian comedy. Francesco Rosi Francesco Rosi was an Italian director. His film The Mattei Case won the Palme d’Or at the 1972 Cannes Film Festival. Rosi’s films, particularly those of the 1970s and 1960s, often contained political messages. While the subjects of his later films ended up being less politically oriented and more literary oriented, he continued directing until 1997, his last film being the adaptation of Primo Levi’s book, The Truce. He received the Golden Bear for Lifetime Achievement. In 2012 the Venice Biennale awarded Rosi the Golden Lion for Lifetime Achievement. The 1963 film Hands on the City is considered his masterpiece. Roberto Rossellini Roberto Rossellini was an Italian director, screenwriter and film producer. He was the pioneer of Italian neorealist cinema, with films such as Rome, Open City (1945), Paisà (1946) and Germany Year Zero (1948). Rossellini was born in Rome. His mother, Elettra, was a housewife born in Rovigo, and his father, Angiolo Rossellini, owner of a construction company. His mother was of partial French descent, from immigrants who had arrived in Italy during the Napoleonic Wars. Rossellini’s films after his early neorealist films, especially his films with Ingrid Bergman, were not commercially successful. He was a master recognized by the critics of the Cahiers du Cinéma. Truffaut wrote in his 1963 essay that Roberto Rossellini preferred real life to films. Rossellini’s impact in France, especially among the directors who entered the New wave, was so formidable that he was called “the father of the French New Wave”. Unlike directors who usually become more restrained and stylistically more conservative as their careers progress, Rossellini became increasingly innovative and continually experimented with new techniques. Corso Salani Corso Salani was an Italian director, screenwriter and actor. Graduated from the Institute of Cinematographic Sciences of Florence in 1984, he made his directorial debut the same year with the short film Zelda, set on the island of Capraia. In 1985, he wrote the story and directed the video for the song Guerra dei Litfiba. Having moved to Rome, he was assistant director to Carlo Mazzacurati on the set of Notte italiana (1987), and in 1989 he made his first feature film, Voci d’Europa, which won an award at the RiminiCinema. He also began his profession as an actor, kept in the background compared to his career as a director. The role of reporter Rocco Ferrante in Marco Risi’s Muro di rubber (1991), about the Ustica massacre, became popular. Gabriele Salvatores Gabriele Salvatores is an Oscar-winning Italian director and screenwriter. Neapolitan by birth, Salvatores made his debut as a theater director in 1972, founding the Teatro dell’Elfo in Milan, for which he directed numerous shows until 1989. In that year he directed his third feature film, Marrakech Express, for which he Turnè’s 1990 sequel. Both films include a group of actor-friends, composed of Diego Abatantuono and Fabrizio Bentivoglio, who will be present in many of his subsequent films. Turné was selected in the Un Certain Regard section at the 1990 Cannes Film Festival. In 1991, Salvatores received worldwide recognition for Mediterraneo, which won an Oscar for best foreign film. He also won 3 David di Donatello and a Nastro d’Argento. Romano Scavolini Romano Scavolini is an Italian director and the younger brother of screenwriter Sauro Scavolini. He has been directing films since the 1960s. Most of his works are independent film individually shot on a low budget and with an original style. His best-known horror films are Nightmare (1981), a gruesome scary film that was banned in the United Kingdom, and 1972’s A White Dress for Marialé. Ettore Scola Ettore Scola was an Italian screenwriter and director. He won a Golden Globe for Best Foreign Language Film in 1978 for his film One Special Day and during his film career he was shortlisted for five Academy Awards for Best Foreign Language Film. Scola was born in Trevico, Avellino, Campania. From the age of 15, he became a ghostwriter. He entered cinema as a screenwriter in 1953 and collaborated with director Dino Risi and fellow writer Ruggero Maccari on the screenplay for Risi’s film, Il Sorpasso (1962). He directed his first film, Let’s Talk About Women, in 1964. In 1974 Scola enjoyed worldwide success with C’erariamo tanto amati, a great fresco of post-World War II Italian life and politics, dedicated to his fellow director Vittorio De Sica. The film won the Gold Prize at the 9th Moscow International Film Festival. In 1976 he won the Prix de la mise en scène at the 1976 Cannes Film Festival for Ugly, Dirty and Bad. Paolo Sorrentino Paolo Sorrentino is an Italian writer and film director. His 2013 film The Great Beauty won the Oscar, Golden Globe and Bafta Award for Best Foreign Language Film. In Italy he was awarded 8 David di Donatello and 6 Nastri d’Argento. Sorrentino’s direction and screenplays such as Il divo, The consequences of love, The family friend, This Must Be the Place and the 2016 television series The Young Pope, have received 3 Cannes Lions, 4 Venice Film Awards and 4 European Film Awards. He often collaborates with the actor Toni Servillo and with the director of photography Luca Bigazzi. He has also written three novels. Perhaps his best films are the 2 initial ones: The Extra Man and The Consequences of Love. Giuseppe Tornatore Born in Bagheria, in the province of Palermo, Tornatore has been interested in acting and theater since the age of 16 and dedicated himself to the works of Luigi Pirandello and Eduardo De Filippo. He initially worked as a freelance photographer. Moving on to cinema, he made his debut with Ethnic Minorities in Sicily, a collective documentary awarded at the Salerno Festival. He then worked for RAI before launching his first feature film, Il camorrista, in 1985. This sparked a favorable reaction from critics and audiences and Tornatore received the Nastro d’argento for best debut director. He is considered among the directors who have brought important recognition to Italian cinema. In a profession that has spanned over 30 years, he is known for writing and directing dramatic films such as Everybody’s Fine, The Legend of the Pianist on the Ocean, Malèna, Baarìa and The Best Offer. His best remembered film is Nuovo Cinema Paradiso, for which Tornatore won the Oscar for best foreign language film. He also directed several commercials for Dolce & Gabbana. His most personal film, from a linguistic point of view, is A Pure Formality. Then his style became more and more mainstream and “Hollywood”. Roberta Torre Roberta Torre is an Italian director and screenwriter. In 1997 he won the Nastro d’Argento as best debut director with his first film, Tano to Die, a truly original kaleidoscopic “mafia” musical. The film was presented at the 54th Venice International Film Festival, winning the FEDIC Award, the Kodak Award and the Luigi De Laurentiis Award for best debut director. The film also won 2 David di Donatello and 2 Nastri d’argento. Florestano Vancini Florestano Vancini was an Italian director and screenwriter. He has directed over 20 films since 1960. His 1966 film The Seasons of Our Love, starring Enrico Maria Salerno, participated in the 16th Berlin International Film Festival. His 1973 film The Assassination of Matteotti participated in the 8th Moscow International Film Festival where it won a Special Prize. In 1999 he was part of the jury of the 21st Moscow International Film Festival. Luchino Visconti Luchino Visconti was an Italian film director, director and screenwriter. A significant figure in Italian art and culture in the mid-20th century, Visconti was among the fathers of cinematic neorealism, but later moved towards melodrama and themes such as decadence, death and European history, particularly the decay of bourgeoisie and nobility. He received numerous awards, including the Palme d’Or and the Golden Lion, and many of his works are considered influential to subsequent generations of directors. Born into a noble Milanese family, Visconti worked as an assistant director to Jean Renoir. His 1943 directorial debut, Ossessione, was condemned by the fascist party for its depictions of working-class characters turning into criminals, but today it is known as a pioneering work of Italian cinema. His best-known films are Senso (1954) and Il Gattopardo (1963), both historical melodramas based on classics of Italian literature, the gritty drama Rocco and His Brothers (1960), and his “German Trilogy” – The Fall of the Gods (1969), Death in Venice (1971) and Ludwig (1973). He was also a skilled theater director of theatrical and lyrical works, both in Italy and abroad. Lina Wertmüller Lina Wertmüller was born in Rome in 1928. During her youth she was expelled from 15 different Catholic high schools. Throughout this time, she remained fascinated by comic books and defined them as particularly important to her in her youth, especially Alex Raymond’s Flash Gordon. Wertmüller characterized Raymond’s comic framing as “quite cinematic, more cinematic than most films”, an early sign of his predisposition towards cinema. Wertmüller’s desire to work in cinema and theater took hold at a young age, and from a young age she was fascinated by the works of Russian playwrights Pietro Sharoff, Vladimir Nemirovich-Danchenko and Konstantin Stanislavsky. She is known for her films of the 1970s Pasqualino Settebellezze, for which she was the first female director to be chosen for the Oscar as best director in 1977, Mimì metallurgico, Film of love and anarchy and Overwhelmed by an unusual destiny in the blue sea of August. In 2019, Lina Wertmüller was one of 4 recipients of the Academy Honorary Award for Lifetime Achievement, the second female director to receive the award. Cesare Zavattini Cesare Zavattini was an Italian film writer and among the very first theorists and supporters of the neorealist movement. Born in Luzzara, near Reggio Emilia, on 20 September 1902, Zavattini studied law at the University of Parma, but dedicated himself to writing. He began his profession at the Gazzetta di Parma. In 1930 he moved to Milan and worked for the book publisher Angelo Rizzoli. After Rizzoli began producing films in 1934, Zavattini obtained his first film script in 1936. Valerio Zurlini While studying law in Rome, he began working in the theater. In 1943 he joined the Italian Resistance. Zurlini was a member of the Italian Communist Party. He shot short documentaries in the immediate post-war period and in 1954 he directed his first feature film, The Girls of San Frediano, his only comedy film. In 1958, together with Leonardo Benvenuti, Piero De Bernardi and Alberto Lattuada, Zurlini won the Nastro d’argento for best screenplay for Lattuada’s Guendalina. Zurlini made his name as a director with his second feature film, Estate Violenta (1959), starring Eleonora Rossi Drago and Jean Louis Trintignant. In 1976 he created the greatest adaptation of the famous novel The Desert of the Tartars by Dino Buzzati.
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a slice of panettone or…	it	https://secure.gravatar.com/blavatar/f21d2a0f0f7faa57f4bcf8f934b576c92ae6fb6cef4709958642f5c8cb5734fb?s=32		https://dantemanchester.org.uk/eventi/events-archive/	* 2023 Events Archive * SOCIAL DANTE FOR CHRISTMAS – BRINDISI DI NATALE SATURDAY 9 December 2023 – 4.15pm for 4.30pm start Venue: Cross Street Chapel, Cross Street, Manchester M2 1N Come along for a special gathering to exchange the Season’s greetings over a glass (or two) of prosecco and a slice of panettone or pandoro. ITALIAN SONGWRITERS – WHEN MUSIC MEETS POETRY Italy has a long history of creative singer-songwriters who have shaped the country’s music industry and continue to do so. Angelo Farnetano will give a short presentation in English on the (possible) connection between poem and song by listening to few of them. During the evening we will take the opportunity to introduce our Poetry Club / Club di Poesia which will start its meetings from January 2024. Don’t miss it! CANTAUTORI ITALIANI – LA MUSICA INCONTRA LA POESIA L’Italia ha una lunga storia di cantautori creativi che hanno influito sulla musica del nostro paese. Angelo Farnetano darà una breve presentazione in inglese sul (possibile) collegamento tra poesia e musica facendoci ascolare alcune canzoni. Durante la serata sfrutteremo l’occasione per introdurre il nostro Club di Poesia che inizierà a riunirsi da gennaio 2024. Non mancate! Admission: members and our students of Italian FREE / non-members £ 3.00 Advanced booking would be highly appreciated to enable us to prepare the room and get enough panettone and (above all) prosecco. RSVP by Thursday 7 December – please contact dante@newfuture.org to book The Bay of Naples – from Antiquity to the Digital World SATURDAY 18 November 2023 – 4.20pm for 4.30pm start Venue: Cross Street Chapel, Cross Street, Manchester M2 1N A look at the places of interest around the Bay of Naples with highlights of Pompeii and Herculaneum and some interesting recent research. Speaker: Audrey Sheen Venue: Cross Street Chapel – Cross Street, Manchester M2 1NL Admission: members and our students of Italian FREE / non-members £ 3.00 The talk (in English) will be followed by a social gathering with a glass of wine and nibbles. To better arrange seating and refreshments, it would be helpful if you could book in advance by emailing us at dante@newfuture.org Pia Pera’s poetics of the planetary garden – an example of sustainability SATURDAY 21 October 2023 – 4.20pm for 4.30pm start Venue: Cross Street Chapel, Cross Street, Manchester M2 1N Speaker: Dr Marina Spunta (Associate Professor of Italian, School of Arts, University of Leicester) ITALIANO Questa presentazione esplora la poetica del giardino di Pia Pera, come esempio di sostenibilità. Intendo considerare l’importanza dell’opera letteraria di Pera (1956-2016) per rivedere il nostro rapporto con piante e giardini nel definire nel XXI secolo, e posizionare l’autrice come una voce originale all’interno del dibattito corrente sull’ambiente. ENGLISH This talk explores Pia Pera’s poetics of the garden as an example of sustainability. I will consider the significance of the literary works of Pera (1956-2016) for revisiting our relation to plants and gardens in the XXI Century, and position the author as an original voice within contemporary environmental debates. Venue: Cross Street Chapel – Cross Street, Manchester M2 1NL The talk (in English and Italian) will be followed by a social gathering with a glass of wine and nibbles. To better arrange seating and refreshments, it would be helpful if you could book in advance by emailing us at dante@newfuture.org The event has been arranged on the occasion of: XXIII edizione (16-22 ottobre 2023) della Settimana della Lingua Italiana nel mondo: “L’italiano e la sostenibilità” XXIII Week of the Italian Language in the World: “Italian and Sustainability” Sotto l’Alto Patronato del Presidente della Repubblica Under the High Patronage of the President of the Italian Republic EUROPEAN DAY OF LANGUAGES STORYTIME @ Manchester Central Library SATURDAY 23 SEPTEMBER 2023 – 2.00pm to 3.00pm Venue: Manchester Central Library, St Peter’s Square, Manchester M2 5PD Bonjour! Ciao! Hola! Hello! Celebrate European languages with your children or grandchildren! Let them discover new cultures and learn some new vocabulary in a fun and creative way with this very special Storytime at Manchester Central Library. Native-speaker storytellers will share stories in Italian, French, Spanish and English before inviting children to take part in simple craft activities. Suitable for children aged 4-7. No Booking required. Anna Maria Forti Sheikh, teacher Violaine Reinbold, teacher Magaly Flores, teacher Angela Rawcliffe, Manchester Central Library Event co-organised by Società Dante Alighieri, Instituto Cervantes, Alliance Française in Manchester and Manchester City Council See you there! The Pre-Raphaelite Brotherhood: Italy and the Industrial North of England SATURDAY 16 SEPTEMBER 2023 – 4.20pm for 4.30pm start Venue: Cross Street Chapel, Cross Street, Manchester M2 1NL Image: Dante Gabriel Rossetti, Dante meeting Beatrice (1864) Manchester Art Gallery This paper will examine the strong links between the famous Pre-Raphaelite Brotherhood, their northern industrial patrons and their extensive use of Italian medieval literary and cultural sources in the nineteenth-century. As ever, links will be made back to Mrs Rylands’ books and the art collections of a founder member of the Manchester Dante Society who gifted his Dante paintings and books to the city. Speaker: Talk by our Honorary President, Prof. Stephen J. Milner (Serena Professor of Italian Studies – The University of Manchester) Venue: Cross Street Chapel – Cross Street, Manchester M2 1NL Admission: members and our students of Italian FREE / non-members £ 3.00 The talk (in English) will be followed by a social gathering with a glass of wine and nibbles. To better arrange seating and refreshments, it would be helpful if you could book in advance by emailing us at dante@newfuture.org Non mancate / Don’t miss it! Cilento: the Amalfi coast’s sister SATURDAY 1 JULY 2023 – 4.20pm for 4.30pm start Venue: Cross Street Chapel, Cross Street, Manchester M2 1NL Cilento is an area in the South of Italy, around 100 km south of Naples. Thanks to its outstanding natural beauty and its great historic value, 25 years ago it became an UNESCO World Heritage Site; it is also an Italian National Park (Parco Nazionale del Cilento e del Vallo di Diano). Cilento is not far from the Amalfi coast (they both are located in the Provence of Salerno) but despite its spectacular landscape it is not Internationally famous as it is a rural area and only a few facilities are available for foreign tourists. During this presentation we shall explore some of Cilento’s beauties and we shall dig into its history. We will start our trip visiting some villages located by the sea and we will finish exploring mountains as high as almost 2000 m. We will also time travel going back to Greek and Roman time and back again to present day. Join us if you want to find out more about this area. Speaker: Angelo Farnetano Venue: Cross Street Chapel – Cross Street, Manchester M2 1NL Admission: members and our students of Italian FREE / non-members £ 3.00 The talk (in English) will be followed by a social gathering with a glass of wine and nibbles. To better arrange seating and refreshments, it would be helpful if you could book in advance by emailing us at dante@newfuture.org Non mancate / Don’t miss it! IL GATTOPARDO – THE LEOPARD By Luchino Visconti – Italian with English subtitles – Duration 178 minutes SATURDAY 20 MAY 2023 – 4.00pm for 4.10pm start Venue: Cross Street Chapel, Cross Street, Manchester M2 1NL Join us to mark the 60th anniversary of one of the most famous and celebrated movies of all time. The screening will be preceded by a brief presentation of the historical context by Angelo Farnetano and by a brief introduction to the film by Dr Silvana Serra. Venue: Cross Street Chapel – Cross Street Manchester M2 1NL Admission: members and our students of Italian FREE / non-members £ 3.00 (drinks included) To organise seating, drinks and popcorn it would be helpful if you could book in advance at dante@newfuture.org Non mancate / Don’t miss it! “SOCIAL DANTE” – Informal get together over spritz and cicchetti Saturday 29 April 2023 – 4.15pm for 4.30pm start Venue: Cross Street Chapel, Cross Street, Manchester M2 1NL Please confirm your attendance before Thursday 27 April 8.00pm (see below) FESTA DI SAN MARCO (Saint Mark Day) is a festival in Venice held in April to celebrate Venice’s patron saint, Saint Mark. It is also known as the Rosebud festival (Venetian: festa del bócoło). On this day, men traditionally give a single rosebud to the women they love. These two Venetian traditions go back to ancient times. Let’s discover Venice legends and gastronomy and what Venetians do on this day. Alida, Stefano and Manuela will take you through the various traditions and we will enjoy together a Spritz, one of the most popular Italian drinks, and few typical nibbles/cicchetti. Admission: members and our students of Italian FREE / non-members £ 5.00 Booking is required by Thursday 27 April 8.00pm – Please note that we cannot accept late bookings due to purchase and preparation of refreshments. RSVP: dante@newfuture.org Vi aspettiamo! Translating Umberto Saba by Patrick Worsnip Saturday 1 April 2023 – 4.15pm for 4.30pm start (this event was originally scheduled for the 4th of March) Venue: Cross Street Chapel, Cross Street, Manchester M2 1NL Speaker: Patrick Worsnip (Patrick Worsnip read Classics and Modern Languages at Merton College, Oxford. He worked for more than 40 years as a correspondent for Reuters news agency, with postings in Europe, the Middle East, the United States and Rome. Since retirement in 2012, he has devoted himself to translation, mainly of poetry including a selection of work by the Latin poet Propertius and La Divina Commedia.) Patrick Worsnip will be introduced by the poet Jeffrey Wainwright. Umberto Saba (1883-1957) is one of the towering figures of Twentieth-Century Italian poetry, jointly with Eugenio Montale and Giuseppe Ungaretti. His Canzoniere (first published in 1921, but subsequently re-edited and expanded until its final edition of 1956) was much loved and embraced by younger poets and yet, it is still today rarely frequented by Italian readers, and, what’s more important for us today, virtually unknown to British readers. This is being redressed at last, by the volume Umberto Saba, 100 Poems, edited and translated by Patrick Worsnip, published by Carcanet Press. Presentation of the volume, which then will be followed by a poetry reading in English and Italian. The talk (in English and Italian) will be followed by a social gathering with a glass of wine and nibbles. Admission: members FREE / non-members £ 3.00 To better arrange seating and refreshments, please book in advance by emailing us at dante@newfuture.org AGM (Riunione Annuale Soci) – members only Friday 17 March 2023 – 6.00pm (ZOOM) Please confirm your attendance to dante@newfuture.org and you will receive the Zoom link a couple of days prior to the meeting. AGM (Annual General Meeting / Riunione Annuale Soci) – members only – Welcome/opening remarks – Treasurer’s report 2022 – All members of the current Executive Committee to step-down except for the Honorary President – New Executive Committee to be elected – Overview of SDA activities in 2022 – Discussion and proposals for future events and activities in 2023 – Any other relevant business Vi aspettiamo! Transitions in Print: Revealing Secrets of the European Printing Revolution Thursday 9 February 2023 – Arrival 5:00pm onwards – Talk starts at 5:45pm John Rylands Research Institute and Library, 150 Deansgate, Manchester M3 3EH It will be possible to browse/visit the exhibition from 5:00-5:45pm on arrival, with the talk/presentation and close up session to take place between 5:45-6:45 in the Teaching Room. he Rylands has one of the world’s greatest collections of 15th-century European printing. For over 100 years, innovative technologies have been used to examine these earliest printed artefacts, many of which are Italian in origin. In this exhibition we explore how scientists, historians and imaging specialists are joining forces to develop tools and new ways of looking at these historic documents using cutting-edge techniques, giving us new insights into our earliest printed heritage. Prof. Stephen Milner has been particularly involved in one project that uses protein and DNA analysis of interrogate books printed on parchment (animal skin), especially in Venice during the time of Aldus Manutius the famous printer and inventor of the ‘italic’ typeface. Talk by our Honorary President, Prof. Stephen J. Milner (Serena Professor of Italian Studies – The University of Manchester) You are welcome to arrive early to view the exhibition yourself before the event starts at 5:45pm. The event will end around 6.45pm as the library closes at 7.00pm Please book your place as soon as possible by emailing us at dante@newfuture.org – Places are available on a first come, first served basis. * 2022 Events Archive * Social Dante for Christmas – BRINDISI DI NATALE Saturday 10 December 2022 – 4.15pm for 4.30pm start Cross Street Chapel, Cross Street, Manchester M2 1NL Come along for a special gathering to exchange the Season’s greetings over a glass (or two) of prosecco and a slice of panettone or pandoro. We will celebrate the approaching Christmas Time with the witty and light-hearted speech (in English) by the famous Italian conductor Riccardo Muti, and enjoy his beautiful directorial skills, by listening to a fragment from the Rossini’s opera Gugliemo Tell, performed by the “Orchestra del Teatro La Scala” di Milano. There will be a brief introduction in English by Roberta Collingwood. Don’t miss it! Admission: members and our students of Italian FREE / non-members £ 3.00 Advanced booking would be highly appreciated to enable us to prepare the room and get enough panettone and (above all) prosecco. RSVP by Thursday 8 December – please contact dante@newfuture.org to book Vivaldi’s “Manchester” Sonatas Saturday 15 November 2022 – 4.15pm for 4.30pm start Cross Street Chapel, Cross Street, Manchester M2 1NL Speaker: Dr Roberta Collingwood (Istituto Italiano Antonio Vivaldi, Venezia) Exactly 50 years ago the Vivaldi scholar, Michael Talbot, discovered by chance the manuscript of twelve, unknown violin sonatas in Manchester’s Central Music Library. It was an important find, not just because the music is by Vivaldi, but because it is the third largest collection by the composer ever found, and also an excellent one. The manuscripts were part of a bulk of partially identified music which was bought at auction by the Central Music Library in the mid-1960s. How did this wonderful music arrive in Britain? Join us next Saturday when we unveil a fascinating story of research and discovery. The TALK (in English) will be followed by a social gathering with a glass of wine and nibbles. Admission: members FREE / non-members £3 In order to arrange seating and refreshments, it would be helpful if you could book in advance by emailing us at dante@newfuture.org KINOFILM FESTIVAL 18th Edition Manchester International Short Film Festival was established in 1995 and its focus is primarily on UK and European shorts. KINOFILM™ will present its 18th short film festival, Manchester International Short Film and Animation Festival from 19 to 30 October 2022. The festival will be opening with the partners’ European programmes at the Cervantes Institute Manchester. This will be the Spanish Shorts programme on Wednesday 19 October in association with the Instituto Cervantes followed by the Italian Shorts programme on Thursday 20 October in association with the Societa’ Dante Alighieri in Manchester – both programmes will start at 6.30pm (doors open 6pm) Once again Societa’ Dante Alighieri in Manchester and KinoFilm are proud to offer an evening of Italian shorts hosted by the Instituto Cervantes. Thursday 20 October 2022 – ITALIAN PROGRAMME 6.30pm (doors open at 6.00pm programme starts at 6.30pm) Venue: Instituto Cervantes, Manchester – FREE EVENT – advance booking is advised Full details and tickets on following link https://www.eventbrite.co.uk/e/kinofilm-italian-shorts-programme-tickets-430299676917 ……………………………………………………………………………………………… SPANISH PROGRAMME on Wednesday 19 October 2022 – 6.30pm (doors open at 6pm) – FREE EVENT Full details and tickets on KinoFilm 18th Edition: Spanish Shorts Programme (Cert 15) Tickets, Wed 19 Oct 2022 at 18:00 \| Eventbrite Dante visionary: a reading of PARADISO 23 Saturday 15 ottobre 2022 – 4.15pm for 4.30pm start Cross Street Chapel, Cross Street, Manchester M2 1NL Speaker: Spencer Pearce (Honorary Research Fellow, Italian Studies, The University of Manchester) The speaker will address the religious context in which Dante’s Commedia was written. Next, we shall read together the text of Paradiso 23 (text and English translation will be supplied) and consideration will be given to the meaning and significance of what is perhaps the most lyrical canto in the entire poem. The aim is to provide the listener with as complete an understanding of Dante’s vision as time allows. The talk (in English) will be followed by a social gathering with a glass of wine and nibbles. Admission: members FREE / non-members £ 3 To better arrange seating and refreshments, it would be helpful if you could book in advance by emailing us at dante@newfuture.org EUROPEAN DAY OF LANGUAGES STORYTIME @ Manchester Central Library Saturday 24 September 2022 – 2.00pm to 3.00pm Manchester Central Library, St Peters Square, Manchester M2 5PD Bonjour! Ciao! Hola! Hello! Celebrate European languages with your children or grandchildren! Let them discover new cultures and learn some new vocabulary in a fun and creative way with this very special Storytime at Manchester Central Library. Native-speaker storytellers will share stories in Italian, French, Spanish and English before inviting children to take part in simple craft activities. Suitable for children aged 4-7. No Booking required. Delia Maianti, teacher (Italian Consulate in London-Manchester) Violaine Reinbold, teacher Magaly Flores, teacher Angela Rawcliffe, Manchester Central Library Event organised in collaboration with Alliance Francaise, Instituto Cervantes and Manchester’s Central Library. See you there! DESIGNING DANTE EXHIBITION,MRS RYLANDS AND THE DANTE SOCIETY Thursday 22 September 2022 – 5.15pm for 5.30pm start John Rylands Research Institute and Library, 150 Deansgate, Manchester M3 3EH A brief talk and examination of Dante objects specifically linked to Mrs Rylands and the early years of the Manchester Dante Society before a tour of the Designing Dante exhibition. Find more information on the exhibition here: https://www.library.manchester.ac.uk/rylands/visit/events/designing-dante/ Talk and guided tour by our Honorary President, Prof. Stephen J. Milner (Serena Professor of Italian Studies – The University of Manchester) You are welcome to arrive early to view the exhibition yourself before the event starts at 5.30pm. The event will end around 6.45pm as the library closes at 7.00pm Please book your place as soon as possible by emailing us at dante@newfuture.org – Places are available on a first come, first served basis. SNIPPETS OF HISTORY Saturday 25 June 2022 – 4.15pm for 4.30pm start Cross Street Chapel, Cross Street, Manchester M2 1NL Speaker: STEFANO FORCOLIN Stefano is an accomplished Philatelist and in his collections there are many documents dating back up to the 15th century. Some of them will be the subject of this presentation. Like in a jigsaw puzzle every piece contains a small piece of a large design, so each of the letters and documents that will be showcased gives a minute particular of the past history of Italy (but not only). The talk is in English and includes display of original documents and presentation of some historically related images, with particular emphasis to the Napoleonic period. Non mancate / Don’t miss it! The talk will be followed by a social gathering with a glass of wine and nibbles. Admission: members FREE / non-members £ 3. To better arrange seating and refreshments, it would be helpful if you could book in advance by emailing us at dante@newfuture.org BREAKING THE CELLULOID CEILING Women in European cinema From Mon. 9 May to Thurs. 12 May 2022 Instituto Cervantes (326-330 Deansgate, Manchester M3 4FN) Manchester’s Instituto Cervantes, Società Dante Alighieri and Alliance Française invite you for a 4-day celebration of European Cinema with a focus on women in the industry. These free events include an evening of discussion followed by 3 nights of film screenings. In collaboration with HOME. MONDAY 9 MAY: DISCUSSION + Q&A 6pm – Instituto Cervantes (M3 4FN) Join us as we discuss roles, specific works by women, and opportunities for women in the European film industry. Focusing on 4 countries (UK, Spain, Italy and France), our panel of experts will address what is unique in how women directors, screenwriters and/or producers approach film-making, and highlight the opportunities for and contributions of women in the industry. Discussion will be followed by a Q&A. In English – Free – Open to all Register here www.eventbrite.co.uk/e/breaking-the-celluloid-ceiling-women-in-european-cinema-day-1-discussion-tickets-30342874253 TUESDAY 10 MAY: NOTRE DAME FRANCE \| COMEDY \| 2020 \| 88 mins \| CERT. 15 Dir. Valérie Donzelli with Valérie Donzelli, Pierre Deladonchamps, Thomas Scimeca “A crackling and offbeat comedy that transforms sadness into shared joy”. Cineuropa Maud Crayon (Valérie Donzelli), a single mother and struggling architect, wins a competition to redesign the esplanade in front of Notre-Dame. What should be a career-defining opportunity, however, only brings more drama when the project becomes a media scandal. Juggling professional challenges with the complications presented by her ex-fiancé, Bacchus (Pierre Deladonchamps), Maud’s quest to find a sense of balance is easier said than done. Shot just before the shocking fire at Notre-Dame, this light-hearted comedy is also a love letter both to Paris and one of its most famous landmarks. In French with English subtitles Register here www.eventbrite.co.uk/e/breaking-the-celluloid-ceiling-women-in-european-cinema-day-2-screening-tickets-303474790267 WEDNESDAY 11 MAY: SE QUIEN ERES / I KNOW WHO YOU ARE SPAIN \| THRILLER \| 2000 \| 100 mins \| CERT. 13 Dir. Patricia Ferreira with Ana Fernández, Miguel Ángel Solá, Roberto Enríquez Paloma is a young psychiatrist, hired to work as a director of a clinic in Galicia, and is attracted to Mario, her very first patient. He suffers from a rare form of amnesia, commonly known as Korsakoff’s syndrome. As a result, both his short- and long-term memories are affected, and he has temporary lapses of perception. However, Paloma finds Mario to be a fascinating individual, not just a regular patient. Intrigued, she decides to explore Mario’s past, and, through their dialogues, their relationship takes an unexpected turn. (Filmaffinity) In Spanish with English subtitles Register here www.eventbrite.co.uk/e/breaking-the-celluloid-ceiling-women-in-european-cinema-day-3-screening-tickets-303504438947 THURSDAY 12 MAY: PASQUALINO SETTEBELLEZZE / SEVEN BEAUTIES ITALY\| COMEDY/DRAMA \| 1975 \| 115 mins \| CERT. 18 Dir. Lina Wertmüller with Giancarlo Giannini, Fernando Rey, Shirley Stoler This film is a journey into the moral awareness of an everyday Neapolitan man – Pasquale Frafuso – ironically nicknamed by local people as Pasqualino Sette Bellezze (seven beauties). In 1930s Fascist Italy, he makes a point of living a carefree life, steering clear of any socio-political discourse. Yet life and history have a different plan for him. So after a funny start, the story takes a dramatic twist, as Pasqualino’s attempt to escape from a mental hospital ends in his imprisonment in a Nazi concentration camp. Here he will be forced to face horrible and impossible choices in order to survive. For this film, Lina Wertmüller was the first female director to be nominated for the Academy Awards in 1977, together with nominations as best screenplay written directly for the screen; best actor in a leading role (Giancarlo Giannini) and best foreign language film. When she received an Honorary Academy Award in 2019, trailblazing Italian filmmaker Lina Wertmüller added another historic notch in her career belt. In Italian with English subtitles Register here www.eventbrite.co.uk/e/breaking-the-celluloid-ceiling-women-in-european-cinema-day-4-screening-tickets-303524258227 Dante, light and technology Saturday 2 April 2022 – 4.15pm for 4.30pm start Cross Street Chapel, Cross Street, Manchester M2 1NL A talk by Jim Howell and Angelo Cangelosi (Professor of Machine Learning and Robotics at the University of Manchester) with “special guest” the small robot Nao. Jim Howell – Dante was fascinated by light both poetically and scientifically. This is especially to be seen in ‘Paradiso’, the part of the Divine Comedy which is being more and more studied in our twenty first century. Jim will talk about his own exploration of this aspect of the poet’s philosophy and trace a possible source of some his ideas which may surprise you. Angelo Cangelosi – Robots have been used to recite poetry, such as Dante’s Commedia. This gives us a motivation to reflect on how robots and machines can use and understand language, by taking inspiration from child psychology and philosophy of language. The talk will be followed by a social gathering with a glass of wine and nibbles. Admission: members Free / non-members £ 3 To better arrange seating and refreshments, it would be helpful if you could book in advance by emailing us at dante@newfuture.org GRAZIE La Divina Commedia / The Divine Comedy INFERNO: First Political Pamphlet Saturday 29 January 2022 – 4.15pm for 4.30pm start Cross Street Chapel, Cross Street, Manchester M2 1NL A reading of the Inferno as a device Dante used to convey, in a constructive way, the anger and resentment harboured in his heart. Speaker: SILVANA SERRA The talk is in English and includes the reading of selected verses in Italian by Silvana and in English by Pauline and Jim Howell. Non mancate / Don’t miss it! The talk will be followed by a social gathering with a glass of wine and nibbles. Admission: members FREE / non-members £ 3 To better arrange seating and refreshments, it would be helpful if you could book in advance by emailing us at dante@newfuture.org. * 2021 Events Archive * European Day of Languages: celebrating linguistic diversity (In English – mainly – free and open to all) Monday 27th September 2021 – “Do you speak polyglot?” (6.00PM – 7.15PM) To mark the European Day of Languages organised by the Council of Europe, the Società Dante Alighieri, the Instituto Cervantes and the Alliance Française of Manchester invite you to celebrate language diversity, intercultural understanding and multilingualism through an online talk with two exceptional guests: Richard Simcott and Andreas G. Wolff. Taken together, Richard and Andreas can speak over 60 languages. They will share with us their experience and tips for language learning; they will discuss the challenges and advantages of polyglotism and how it can influence personal and professional life, and they will answer all your questions. Join us for this round table on Monday 27th September, from 6PM to 7:15PM. This event is organised by Alliance Française de Manchester, the Società Dante Alighieri Manchester and the Instituto Cervantes. Richard Simcott is a British polyglot, who has studied over 50 languages. HarperCollins described him as one of the most multilingual people in the United Kingdom, and the Goethe Institute gave him the title Ambassador for Multilingualism. He has many years of consulting experience using languages with diverse clients and offering his expertise on multilingual and multinational projects. He is the original founder of the Polyglot Conference and The Language Event and manages a popular Facebook page called Speaking Fluently. Andreas G. Wolff, originally German, holds a BA (Hons) in Gaelic Language and Culture and an MA in International Journalism. He is now a video journalist with the BBC in Scotland, working in English and Gaelic. At home he speaks Spanish and Italian, the native languages of his wife, Jessica. A self-confessed language junkie, he is also fully proficient in French and has colloquial proficiency in Russian and Portuguese. He has a basic knowledge of Mandarin, Irish and most recently Northern Frisian. Andreas has previously taught adult Gaelic language classes and is certified by the International Association of Hyperpolyglots: HYPIA (hyperpolyglots are fluent in more than six languages). He is president of the Taynuilt Gaelic Choir. –> Click here to register and get the ZOOM link to the event <– https://www.eventbrite.co.uk/e/do-you-speak-polyglot-tickets-169828855679 Divine Notes for a Divine Poet: Dante between Classical Music and Heavy Metal – Part 2: Purgatory Thursday 23rd September 2021 – 6.00PM (free event on Zoom) Speaker: Alessandra Pompili After journeying through Hell (Inferno) in company of some of the musicians who were inspired by Dante’s narrative of despair, we turn our attention to Purgatory. Purgatory is a strange realm: not full hopelessness neither full bliss, it is inhabited by souls who are on the way to Heaven but still barred from it. They voice their quiet expectation through singing, and this evening will look at both the music they produce and the music that has been written to depict their temporary state. –> Please register at dante@newfuture.org for the ZOOM link <– For more info, please visit https://www.alessandrapompili.com/projects KINOFILM FESTIVAL 2021 – 17th Edition Wednesday 20 October 2021, 18:00 – ITALIAN PROGRAMME (Doors open at 6.00PM – programme starts at 6.30PM) Venue: Instituto Cervantes, 326-330 Deansgate, Manchester M3 4FN FREE ENTRY Manchester International Short Film Festival was established in 1995 and its focus is primarily on UK and European shorts. KINOFILM™ will present its 17th short film festival, Manchester International Short Film and Animation Festival from 19th to 26th October 2021 Once again Società Dante Alighieri in Manchester and KinoFilm are proud to offer an evening of Italian shorts hosted by the Instituto Cervantes. Full details and tickets at the following link: https://www.eventbrite.co.uk/e/184925335657 Please note: due to Covid-19 restrictions, capacity is limited. Please book your ticket as soon as possible. Industrial Dante Thursday 10th June, 7 – 8PM UK Time On Zoom – FREE event – Early Registration is required The following event is hosted by the Public Programmes Team at the John Rylands Research Institute and Library in collaboration with the Manchester Branch of the Società Dante Alighieri and Manchester Art Gallery. On the 700th anniversary of his death, join us to explore how Victorian Manchester embraced medieval Italian poet, Dante Alighieri. Professor Stephen Milner of the University of Manchester, explores the city’s role in the emergence of the ‘Cult of Dante’ in nineteenth-century Britain and takes us behind the scenes to reveal the role of Library founder, Enriqueta Rylands as a Dante collector and first Vice-President of the Manchester Dante Society. We will be joined live from Rome by Simona Giordano, who has been working on the rediscovered archive of the Manchester Dante Society. Simona looks back to a fascinating programme of events organised in 1921. Manchester Art Gallery Curator, Hannah Williamson treats us to a look at Dante inspired collections, including a gift made to by an early member of the Manchester Dante Society. The event will include a 40 minute talk followed by 20-minute Q&A. Book your Free place: https://www.eventbrite.co.uk/e/online-event-industrial-dante-tickets-154077336461 The talk will take place on Zoom, the link will be sent to you on the morning of the event. …………………………………. Professor Stephen J. Milner is Serena Professor of Italian at the University of Manchester and Honorary President of Societa’ Dante Alighieri in Manchester (Twitter: @italprof) The Romans: a shared European cultural heritage Thursday 6th May 2021 – 6.00PM (free event on Zoom) Wednesday 12th May 2021 – 6.00PM (free event on Zoom) On 6 and 12 May 2021, the Società Dante Alighieri, the Instituto Cervantes and the Alliance Française of Manchester invite you to celebrate Europe’s shared cultural roots through a discovery of the Roman heritage of four countries: the United Kingdom, Italy, Spain and France. Join us for four online talks + Q&A over two evenings with renowned historians: on 6 May discover the secrets of Ancient London and explore Italian Paestum, a Greek colony conquered by Rome; on 12 May wander the streets of the dazzling Tarragona in Spain and learn why Nîmes and Autun are sometimes called the French sisters of Rome. Free – These events will be held in English Click here to book your place and receive automatically the Zoom link for 6 May and here for 12 May! Alternatively you can reserve your place at dante@newfuture.org and the Zoom link will be sent to you prior to the booked event. –> Please register at dante@newfuture.org for the ZOOM link <– FRANZ LISZT – VIA CRUCIS Franz Liszt’ Way of the Cross (members & SDA friends only) Friday 2nd April at 6 PM (on Zoom) Piano: Alessandra Pompili On Lents season, members and friends of our Society are invited to attend the piano concert by our talented friend, Alessandra Pompili. Franz Liszt wrote the Via Crucis between 1876 and 1879. Already a minister of the Catholic Church, Liszt had been progressively absorbed by the composition of sacred works and by a quest for daring experimentations in music writing. The Via Crucis was inspired by a series of paintings on the Stations of the Cross made by German artist Friedrich Overbeck, whom Liszt met when living in Rome. The composition is divided into the fourteen customary stations plus the introductory hymn “Vexilla Regis”: in many ways, it is the only reflection of the last hours of Jesus’ life on earth written for piano. Among the many performances of the Via Crucis by Alessandra are those at the Franz Liszt Museum and Academy in Budapest, the Musei Vaticani, Casa Verdi, the Philharmonia of Krakow, Villa d’Este in Tivoli, the Cathedrals of Sheffield, Lancaster, Glasgow and Wrexham. For more info, please visit https://www.alessandrapompili.com/projects “Ricomincio da tre / I am starting from three” (members only) Sunday 14th February at 4 PM (on Zoom) On St. Valentine’s Day, members of our Society are invited to watch together the lovely movie by Massimo Troisi, “I am starting from three”, a celebration of love and friendship. Both feelings that play an essential role in our need for Connection and Sharing, that the pandemic has so strongly enhanced. We will meet in the afternoon, so have your tea and cake ready! * Il giorno di S. Valentino, siamo lieti di invitare i nostri soci alla visione del bel film di Massimo Troisi, “Ricomincio da tre”, il quale celebra l’amore e l’amicizia, entrambi sentimenti essenziali per soddisfare il nostro bisogno di contatto umano e condivisione, che questa pandemia ha cosi’ fortemente amplificato. Ci incontreremo nel pomeriggio, pertanto siate pronti con te’ e pasticcini! * 2020 Events Archive * Sunday 19th January 2020 – 4.30pm for 4.45pm start Cross Street Chapel, Cross Street, Manchester M2 1NL Admission: £ 2.00 members – £ 3.50 non-members A tour around Milano discovering its monuments, its stories, its music and its soul Join this lecture to explore this fascinating and dynamic Italian city. Speaker: ANGELO FARNETANO Milano is the financial and industrial capital of Italy. It is a modern city with a vibrant and chaotic life where people from all over the world live and work. Although it is not usually considered as being an art city, Milano has lots of hidden monuments and lots of stories to tell. This lecture will take us for an imaginary tour around the city discovering its main treasures, its life and its secrets. Some songs will be played during this walk to add a bit of flavour to the visit. Some of the places which will be visited are: Piazza Duomo, piazza dei Mercanti, piazza S. Alessandro, Chiesa di San Satiro and Castello Sforzesco. Non mancate / Don’t miss it! The talk will be followed by a social gathering with a glass of wine and nibbles. To better arrange the necessary refreshments, it would be helpful if you could book in advance by emailing us at dante@newfuture.org Thursday 30th April 2020 – 6PM YouTube live event “Maria Malibran – by Marco Bellasi” in cooperation with Instituto Cervantes Manchester and Insitituto Cervantes Leeds. Please go to bit.ly/2Vx2UyV to attend the online event. Friday 25th September 2020 – from 5PM Società Dante Alighieri Manchester, Instituto Cervantes Manchester and Alliance Francaise Manchester present: EUROPEAN DAY OF LANGUAGES 2020 (Online event only) This is a day that represents more than 800 million citizens from 47 different countries and pays tribute to the linguistic diversity of the European continent, with more than 200 languages of its own. You are invited to take part in the rich Europe’s linguistic-cultural heritage, which is seeking to highlight the importance of learning foreign languages to spread their knowledge and increase their value. Last, but not least, also to motivate people to help their continuous learning throughout people’s life. In order to raise people’s awareness on the wide variety of languages that characterise Europe, the Instituto Cervantes in Manchester in collaboration with us, Alliance Française de Manchester and Europia will organise a series of “trial classes” of the different European languages, together with other activities that aim to value our native languages. To register to the online event, please go to: https://bit.ly/34bKLg2 Neapolitan Song and Life in Naples Saturday 14th November 2020 – 6.15PM (online event, see details below) Speaker: Angelo Farnetano Over the last 6 centuries thousands of songs have been written in Neapolitan dialect and some of them have become famous around the world. These songs are not just a combination of nice worlds and music but they offer an amazing picture of people’s life in Naples. Taking advantage of these extraordinary musical treasure, we will explore some of the deepest aspects of Neapolitan culture by listening some of the most famous songs written in Neapolitan dialect. The event will be free and it will be held on line over Zoom, please use the following link to join: Meeting ID: 923 0676 8954 Passcode: 029093 Registration is not required. Early log in is appreciated to allow the host to admit everyone in the room and start the presentation at 6.15PM prompt. Please be aware that the lecture may be recorded. * 2019 Events Archive * Wednesday 6th February 2019 – meeting at 6.15PM for 6.30PM start Manchester Art Gallery, Mosley Street, Manchester M2 3JL Leonardo da Vinci: A Life in Drawing Marking the 500th anniversary of the death of Leonardo da Vinci, an exhibition of some of Renaissance master’s greatest drawings in the Royal Collection will be on display at Manchester Art Gallery. Join us to see these unique masterpieces and discover more about the Maestro of the Italian Rinascimento. A member of our Committee will be waiting for you from 6.15PM in the Main Hall. To round off the evening we will go to DOM’S in Deansgate for a pizza and a chat – in Italian or English. Please confirm your attendance in the comment box at the bottom of this page by 3rd February latest. Thursday 7th March 2019 – meeting beside the ticket office at 7.15PM for 7.30PM start The Bridgewater Hall, Lower Mosley St, Manchester M2 3WS SERATA A CONCERTO – Hallé: Opera Gala Gianluca Marcianò conductor \| Anna Patalong soprano \| Jung Soo Yun tenor Great voices and a great orchestra come together in an evening filled with passion, imagination and unforgettable melodies. Acclaimed Italian conductor Gianluca Marcianò and the Hallé are joined by rising stars Anna Patalong and Jung Soo Yun to bring your favourite operas to life. The concert includes: Che gelida manina and Sì, mi chiamano Mimì from La Bohème; Don José’s deeply moving Flower Song from Carmen; the celebrated singer Floria Tosca’s impassioned plea for redemption in Vissi d’arte from Tosca.. and then arias and duets from the Turandot, Rigoletto, La traviata and many other masterpieces. Meeting details: A member of our Committee will meet you at 7.15PM beside the ticket office. During the interval we will gather at the same spot for greetings and a chat. Tickets: Tickets’ costs are between £14.20 and £44.50 – to be booked individually. Please add £2.00 fee for online or phone booking. Please contact directly The Bridgewater Hall on 0161 907 9000 or visit their website www.bridgewater-hall.co.uk to proceed with the booking. Attendance: Please confirm your attendance in the comment box at the bottom of this page by 1st March latest. We hope to see you there! SYLVIA & SILVIO: A meeting of minds A talk (in English) about Sylvia Pankhurst and Silvio Corio by Alfio Bernabei – curator of the exhibition ‘Sylvia and Silvio’ opening at the end of March at the Working Class Movement Library, Salford Saturday 6th April 2019 – 5.45PM Venue: Cross Street Chapel, Cross Street, Manchester M2 1NL Free admission – The evening will conclude with a glass of Italian wine and nibbles. To better arrange the necessary refreshments, it would be helpful if you could book in advance by emailing us at dante@newfuture.org Thanks to Elena Palladino, our Executive Committee member, for helping Alfio Bernabei in organising the exhibition and this talk. FILM: IL CONFORMISTA / THE CONFORMIST by Bernardo Bertolucci – 1970 (Movie is in Italian with English subtitles – Duration 112 min) Introduction by Silvana Serra – Q&A session to follow Il film sara` introdotto da Silvana Serra. Seguira’ una breve sessione di domane e risposte. SUNDAY 12 MAY 2019 – 4.00 PM for 4.15 PM start Venue: Cross Street Chapel – Cross Street Manchester M2 1NL Admission: £ 2.00 DA members – £ 3.50 non-members (drinks and nibbles included) Bertolucci’s Oscar nominated adaption of Alberto Moravia’s novel (a thriller set in the Fascist era), is the film which started his partnership with the great cinematographer Vittorio Storaro (award winner for Apocalypse Now and Last Emperor among others), and it is widely considered one of the most visually dazzling and intriguing film of all time. Among other prestigious awards, the film won the Sutherland Trophy (BFI Awards) that same year. Nibbles and drinks will follow. Non mancate / Don’t miss it! To help us better organise seats & nibbles, please book in advance by emailing us at dante@newfuture.org FROM THURSDAY 23 MAY to SATURDAY 25 MAY 2019 – 7.30 PM SERATA ALL’OPERA – City of Manchester Opera presents An opera double bill – CAVALLERIA RUSTICANA by Mascagni and PAGLIACCI by Leoncavallo Venue: Hope Mill Theatre, 113 Pollard Street, Ancoats, Manchester M4 7JA Two well-known operas, with stories set in this production in 1930 and 1950, with gorgeous music from the late 19th century, that will grip your interest and excite your emotions, as the central characters deal with central themes of love, passion and revenge! (Fully staged, with orchestra, and sung in Italian, with English subtitles.) “City of Manchester Opera was originally formed in 1998. Though based in Manchester, we draw our membership from a large area of the north of England. The Company is open to anyone wishing to gain experience of opera and currently we have around thirty singers. Our membership, aged from 17 to 60 plus, comes from a broad variety of backgrounds.” Meeting details: If you attend the show on Thursday 23rd May: Silvana will meet you at 7.15 PM beside the ticket office. During the interval we will gather at the bar for a get together, a drink and a chat. Tickets: Admission £20 / £18 (concessions for Senior Citizens, Students up to 18 & Carers) + £1.50 booking fee Please contact directly the Hope Mill Theatre on 0333 012 4963 (open Mon-Fri 9am-5pm) or visit their website https://hopemilltheatre.co.uk/ to proceed with the booking. The theatre has a bar and restaurant serving home-made pizza and bar snacks. Attendance: Please confirm your attendance by emailing us at dante@newfuture.org by 21st May 2019 latest ANNUAL PIZZA DI FERRAGOSTO Venue: DOM’S Tavola Calda/Pizzeria 40-42 Deansgate, Manchester M3 1RH In the past few years we have celebrated the ‘Ferragosto’ (Italian Summer bank holiday) with a ‘pizza evening’ and this year it won’t be any different! Join us at 6.45PM on Thursday 15th August at DOM’S Deansgate! Booking is essential at dante@newfuture.org by Monday 12th August latest. Afterwards we kindly ask you to book with the venue directly by calling them on 0161 834 2649 Food and drinks are to be paid individually. See you there! Origins of “Ferragosto” The term Ferragosto derives from the Latin feriae Augusti (Augustus’ rest) indicating a festivity set up by the emperor Augustus in 18 BC which was an addition to the existing Roman festivals celebrating the end of the main agricultural tasks. During the celebrations, horse races were organised and labour animals were dispensed from work and decorated with flowers. Such ancient traditions are still alive today, virtually unchanged in their form and participation, during the “Palio dell’Assunta” which takes place on 16 August in Siena. The popular tradition of the Ferragosto trip arises during Fascism. Starting from the second half of the 1920s, in the mid-August period, the regime organised hundreds of popular trips, due to the setting up of the “People’s Trains of Ferragosto”, at hard discounted prices. The initiative gave the opportunity also to the less well-off social classes to visit Italian cities or to reach seaside and mountain resorts. On SUNDAY 22nd SEPTEMBER 2019 – 4.30PM Societa’ Dante Alighieri and Comites Manchester are pleased to invite you to the following screening VISIONI SARDE A selection of shortfilms about the people of Sardinia – In Italian with English subtitles Venue: Cross Street Chapel – Cross Street Manchester M2 1NL The screening will be followed by a social gathering with Sardinian wine and nibbles. To allow us to organise the seats and nibbles please book in advance at dante@newfuture.org XIX Edizione della Settimana della Lingua Italiana nel mondo: “L’italiano sul palcoscenico” XIX Week of Italian Language in the World: “The Italian language on the stage” Sunday 3rd November 2019 – 4.30PM for 4.45PM start Venue: Cross Street Chapel, Cross Street, Manchester M2 1NL Introduzione all’uso della lingua nei libretti d’opera verdiani An Introduction to the use of language in Verdi’s opera librettos Speaker: Dr. ROBERTA COLLINGWOOD The talk will be a mix of English and Italian language, and will be followed by a social gathering accompained by wine & nibbles. Admission: £ 2.00 members – £ 3.50 non-members ITALIANO Il libretto come genere letterario non ha mai goduto di buona fama, più spesso è stato oggetto di aspre critiche. I poeti/librettisti, generalmente di modesto calibro, eccetto qualche rara eccezione, riflettevano il livello della poesia dei melodrammi nel XIX secolo, un periodo nel quale il rapporto tra parola e musica vedeva quest’ultima dominare. Ascolteremo una serie di esempi tratti da opere di Verdi, per evidenziare il peculiare uso della lingua italiana nei libretti d’opera verdiani e mostrare come Verdi abbia influenzato i suoi librettisti sulla base delle idee musicali che aveva in mente. Si cercherà inoltre di chiarire il concetto di “parola scenica” col quale si intende definire la qualità drammatica di un testo operistico. Questo è un concetto coniato da Verdi nel 1870 che si basa sull’idea che ciò che è rilevante in un libretto è l’efficacia drammaturgica delle parole e della trama, piuttosto che la sublimità e la qualità letteraria del linguaggio stesso. Roberta Collingwood è un Music Editor. Ha lavorato per 9 anni per Casa Ricordi (l’editore, tra gli altri, di Verdi e Puccini). È attualmente il Redattore Coordinatore della nuova Edizione Critica delle Opere di Antonio Vivaldi, pubblicata dall’Istituto Italiano Antonio Vivaldi di Venezia, in collaborazione con Casa Ricordi. Ha conseguito il dottorato di ricerca in musicologia al King’s College London (University of London), sotto la guida del Professor Roger Parker. Il suo ambito di ricerca è la filologia della musica applicata al repertorio operistico italiano di Ottocento e primo Novecento. …………… ENGLISH The libretto as a literary genre has never enjoyed praise, more often has been the object of harsh criticism. Poets/librettists were generally of modest stature, with a few exceptions, and reflected the level of the poetry for librettos in the 19th century, a period in which the relationship between word and music saw the latter as dominant. We will listen to a series of examples from Verdi’s work, in order to highlight the peculiar use of Italian language in the librettos for his operas, and see how he influenced librettists’ writing on the basis of the musical ideas he had in mind. We will try to clarify the concept “parola scenica” (theatrical word) meant to describe the dramatic quality of an opera text. This is a key concept coined by Verdi in 1870 based on the idea that what is relevant in a libretto is the dramaturgical effectiveness of words and storyline, rather than the sublimity and literary quality of the language itself. Roberta Collingwood is a Music Editor. She worked for 9 years for Casa Ricordi (the Italian publisher of Verdi and Puccini, amongst others). She is currently the Managing Editor of the new Critical Edition of the Works of Antonio Vivaldi, published by the Istituto Italiano Antonio Vivaldi in Venice, in partnership with Ricordi. She undertook a PhD in Music Research at King’s College London (University of London), under the supervision of Professor Roger Parker. Her research interests are philology of music and 19th-century and early 20th-century Italian opera studies. …………… To allow us to organise the seats and nibbles please book in advance at dante@newfuture.org We are also pleased to inform you that the opera Don Pasquale performed in London on Thursday 24th October will be screened live at Vue Manchester Printworks, Manchester M4 2BS, and replicated the following Sunday. CONCERTO DI NATALE – CHRISTMAS RECITAL SUNDAY 8th December 2019 – 4.30PM for 5.00PM start Venue: Cross Street Chapel, Cross Street, Manchester M2 1NL (Download the leaflet: Music Recital – Natale 2019) The recital will include works by Puccini, Rossini, Bellini, Leoncavallo, Tosti and more… Isla MacEwan Soprano Tim Kennedy Piano Come along for a special gathering to exchange the Season’s greetings over a glass (or two, why not?) of Prosecco and a slice of panettone or pandoro! Admission: members £ 2.00 / non-members £ 4.00 Advanced booking is appreciated in order for us to get enough panettone and (above all!) Prosecco. Please contact dante@newfuture.org to book yourself and your friends / family in! FILM – Ladri di biciclette / Bicycle Thieves (movie will be in Italian with English subtitles) – Running time: approx. 1hr and 35′ THURSDAY 19th December 2019 from 20:10-22:15 UTC Venue: St Clement’s Church, Edge Lane, Chorlton-cum-Hardy, M21 9AE Tickets: £5 on the door only (no pre-booking nor reservations, just show up and join) Refreshments available – including Panettone! Movie hosted by Chorlton Film Institute www.chorltonfilminstitute.co.uk Doors will open at 20:10 – Introduction & Film start at 20:30; film certificate is U. The movie is presented in association with Società Dante Alighieri Manchester, with a short introduction in English by Dr Silvana Serra (PhD in Cinema, Event Organiser for Società Dante Alighieri and Member of the Selection Committee for the International Short Film Festivals). This landmark 1948 Italian film is widely regarded as among the best films of all time. In 1950 it won a special Academy Honorary Award as “most outstanding foreign language film” six years before the category was added to the Awards. Ricci, an unemployed man in post-WWII Italy, finally gets a good job – for which he needs a bicycle. But soon his bicycle is stolen… For additional info: www.facebook.com/events/2461662947243690/ * 2018 Events Archive *** (Information on parking with evening/weekend rates: www.ncp.co.uk/find-a-car-park) Thursday 18th January 2018, 6.30 pm – 8.30 pm The Portico Library, 57 Mosley Street, Manchester M2 3FF Societa’ Dante Alighieri and The Portico Library invite you to an evening with Christina Rossetti All the heaven is blasing – Tutto il cielo e’ splendente Parallel Poems Translated in Italian by Franca Maria Ferraris Illustrated by Maria Teresa di Tanna “Tutto il cielo e’ splendente” is the first Italian translation of her work. The Italian poet-translator and the illustrator will present their new book with readings in both languages and a musical interlude. Poetry reading Franca Maria Ferraris Italian poet translator Maria Teresa Di Tanna Italian illustrator Kate Fuggle musical interlude Presentation by Anna Maria Forti Sheikh. Christina Rossetti, one of the most original voices of her century: 1830-1894. An English poet born in 1830 to Gabriele Rossetti, a poet and a political exile from Vasto, Abruzzo – Italy and Frances Polidori, the sister of Lord Byron’s friend and physician, John William Polidori. Christina wrote a variety of romantic, devotional and children’s poems including ballads, love lyrics, and sonnets. Best known for her long poem Goblin Market, her love poem Remember, and for the words of the Christmas carol In the Bleak Midwinter. Her brother Dante Gabriel Rossetti became an influential Pre-Raphaelite artist and poet. Christina’s writing was influenced by the work of Dante Alighieri, Petrarch and other Italian writers. Her home was open to visiting Italian scholars, artists and revolutionaries. The evening will conclude with a glass of Italian wine and nibbles. Tickets: £ 5 members of Portico / Dante and students; £ 6 non-members Booking required: T. 0161 236 6785 or email dante@newfuture.org or book online at www.eventbrite.co.uk/e/christina-rossetti-presented-by-the-societa-dante-alighieri-tickets-40548931947 Sunday 4 February 2018 – doors open at 1.00 pm for the reception and the concert will follow at 2.00 pm Lunchtime concert with ‘Aperitif’ buffet and glass of wine St Ann’s Church, St Ann Sq, Manchester M2 7LF Tickets £7 / £ 5 Dante members and concessions Clarinet: Einar Jóhannesson Piano: Alessandra Pompili Einar Jóhannesson studied the clarinet at the Reykjavík College of Music with Gunnar Egilson and continued his studies at The Royal College of Music in London, where he won the coveted Frederick Thurston prize. He has appeared as a soloist and chamber music player throughout Europe, Asia, America and Australia. He is principal clarinet of the Iceland Symphony Orchestra, solo clarinettist of the Reykjavík Chamber Orchestra, and a founding member of the Reykjavík Wind Quintet. Alessandra Pompili is a classical pianist with a focus on presenting original and creative programmes to audiences. She has performed for years as a soloist to critical public acclaim in Italy, England, Hungary and the U.S.A. She lives in Manchester and is an active member of our Society. The event is jointly organised by St Ann’s Church and Societa’ Dante Alighieri in Manchester. WEDNESDAY 21 MARCH 2018 – 6.00pm for 6.15pm FILM: LA GIUSTA DISTANZA / THE RIGHT DISTANCE by Carlo Mazzacurati (2007) In Italian with English subtitles – Duration 106 min Introduction by Silvana Serra – Q&A session to follow Il film sara` introdotto da Silvana Serra e seguirà un breve dibattito Venue: The Town Hall Tavern, 20 Tib Lane (off Cross Street), Manchester M2 4JA Admission FREE – drinks and/or snacks can be ordered and paid for at the bar A fine film depicting themes, with much foresight, that have nowadays become prominent in daily life. The film was awarded with a ‘Nastro d’argento’ for best script, and nominated for several ‘David di Donatello’ awards, including categories for best film and best actress. WEDNESDAY 2nd MAY 2018 – 6.15pm for 6.30pm start ITALY 1929-1945: WHAT DID REALLY HAPPEN? Speaker: Silvana Serra The first of two talks will aim to broaden the knowledge of – and provide some clarifications on – the dramatic events of the Fascism and the role of Italy in World War II. Events sadly often perceived too simplistically. A glass of wine and Italian nibbles will follow. During the social gathering you will have the opportunity to discuss the presentation. Venue: Cross Street Chapel, Cross Street, Manchester M2 1NL Admission: members £ 2.00 / non-members £ 3.00 It would be helpful if you could confirm your presence to dante@newfuture.org WEDNESDAY 3rd JUNE 2018 – 6.15PM for 6.30PM start ITALY 1929-1945: WHAT DID REALLY HAPPEN? ( 2ND AND FINAL PART ) Speaker: Silvana Serra The last of two talks will aim to broaden the knowledge of – and provide some clarifications on – the dramatic events of the Fascism and the role of Italy in World War II. Events sadly often perceived too simplistically. A glass of wine and Italian nibbles will follow. During the social gathering you will have the opportunity to discuss the presentation. Venue: Cross Street Chapel, Cross Street, Manchester M2 1NL Admission: members £ 2.00 / non-members £ 3.00 It would be helpful if you could confirm your presence to dante@newfuture.org SATURDAY 16th – FRIDAY 29th JUNE Saturday 16 June (11.00pm to 4.30pm) Cross Street Chapel, Cross Street, Manchester M2 1NL FREE admission Il mercatino del libro – Italian book market Browse for those special second hand and rare one off books for adults and children. * * * Garofalo pasta tasting (12.30pm to 1.30pm) Pop-in to taste this exceptional Italian pasta which may have only arrived in the UK recently but in Italy it’s existed since 1789. * * * Sunday 17th June Manchester Day with Al Bacio and Dom’s Join us for mouth-watering Italian food and drink throughout the day. Al Bacio Restaurant, 10-14 South King Street, Deansgate, Manchester M2 6DW Dom’s Tavola calda, 40-42 Deansgate, Manchester M3 1RH * * * Wednesday 20th June (6.30pm) Divine Monsters: From Past to Present The Portico Library, 57 Mosley Street, Manchester Art Historian Sara Riccardi will explore the historical representation of ‘bestiari’, which belonged to the wider collective Medieval imagination, of which Dante and Gessner were part. Sara will also present and explore the beautiful facsimiles of some illuminated early manuscripts of the Divina Commedia on display at the Library. Barbara Bertoni of Imago, the Italian publishers of the facsimiles, will be on hand after the talk to discuss the manuscripts with you. Drinks and Italian snacks will follow: £5 members of Portico and Dante £6 non-members / £4 students and unemployed Booking required: Library tel. 0161 2366785 events@theportico.org.uk or dante@newfuture.org * * * 20th – 22nd June (9.30am – 4.30pm) The Divine Comedy: Early Manuscripts The Portico Library, 57 Mosley Street, Manchester FREE admission Over just three days facsimiles of six of Dante’s early illuminated manuscripts will be shown at The Portico Library. You will be able to view these stunning reproductions of the “Divina Commedia” up-close and discover some of the history of these amazing books. * * * Thursday 21st June To learn more about the technical details of the manuscripts, drop in to the library at 3.00pm on 21 June to talk to Elena Palladino, Rare Books and Special Collections Librarian – member of Societa’ Dante Alighieri. * * * Friday 29th June (1.00pm) Cross Street Chapel, Cross Street, Manchester Lunchtime Concert Pianist: Alessandra Pompili Followed by complimentary Garofalo pasta salad, Italian cheese and drinks FREE admission – Donations to the Cross Street Chapel are appreciated * * * Monday 18th to Friday 22nd June Al Bacio Restaurant and Dom’s Tavola Calda 10-14 South King Street, Deansgate, Manchester M2 6DW 40-42 Deansgate, Manchester M3 1RH A main dish of Garofalo pasta with a soft drink at £10.00 * * * Monday 25th to Friday 29th June Al Bacio Restaurant and Dom’s Tavola Calda 10-14 South King Street, Deansgate, Manchester M2 6DW 40-42 Deansgate, Manchester M3 1RH A main dish of Garofalo pasta with a soft drink at £10.00 –> DOWNLOAD OUR FESTA ITALIA 2018 LEAFLET HERE! <– PIZZA DI FERRAGOSTO 15th August 2018 6.45PM for 7PM start Venue: DOM’S Tavola Calda/Pizzeria, 40-42 Deansgate, Manchester M3 (corner Blackfriars St) In the past few years we have celebrated the ‘Ferragosto’ (15th August) with a ‘pizza evening’ and also this year Silvana and Manuela will meet at DOM’s in Deansgate. If you like to join us please contact dante@newfuture.org BEFORE Monday 13th August and we will book a table accordingly. Each of us will pay separately for his/her own pizza and drink. Buone vacanze a tutti! E buon Ferragosto! Origin of “Ferragosto” – The term Ferragosto derives from the Latin feriae Augusti (Augustus’ rest) indicating a festivity set up by the emperor Augustus in 18 BC which was an addition to the existing Roman festivals celebrating the end of the main agricultural tasks. During the celebrations, horse races were organised and labour animals were dispensed from work and decorated with flowers. Such ancient traditions are still alive today, virtually unchanged in their form and participation, during the “Palio dell’Assunta” which takes place on 16 August in Siena. The popular tradition of the Ferragosto trip arises during Fascism. Starting from the second half of the 1920s, in the mid-August period, the regime organised hundreds of popular trips, due to the setting up of the “People’s Trains of Ferragosto”, at hard discounted prices. The initiative gave the opportunity also to the less well-off social classes to visit Italian cities or to reach seaside and mountain resorts. EUROPEAN DAY OF LANGUAGES Wednesday 26 September 2018 5.30pm to approx. 8.30pm The Instituto Cervantes, 326/330 Deansgate, Manchester M3 4FN The European Day of Languages is celebrated on September 26. This day represents 800 million citizens of 47 countries and honors the linguistic diversity of the continent of Europe, with more than 200 languages of its own. Instituto Cervantes is once again participating in this welcome initiative and invites everyone to join this celebration of the linguistic and cultural diversity in Europe, which seeks to underline the importance of learning languages; increase knowledge and awareness of the value of languages, and encourages the continued learning of languages throughout life. In order to raise awareness about the great variety of languages that characterises Europe, Instituto Cervantes in Manchester, in collaboration with the Europia, Alliance Française and Societa’ Dante Alighieri, is organizing a series of activities at its headquarters including taster classes of different European languages. The taster class for Italian will be run by Silvana Serra. The event is aimed at prospective students. It is free, but booking is required. Please register at: www.eventbrite.co.uk/e/european-day-of-languages-tickets-48478645935 Event schedule will be as follows: ………………………………………………………………………… 17:30 – 18:15 German Language Class Taster 17:30 – 18:15 French Language Class Taster 18:15 – 19:00 Spanish Language Class Taster 18:15 – 19:00 Basque Language Class Taster 19:00 – 19:45 Polish Language Class Taster 19:00 – 19:45 Italian Language Class Taster 19:45 – 20:30 International Music & Food …………………………………………………………………………. The Victorians and the Reinvention of the Italian Renaissance Thursday 27 September 2018 6:30pm – 8:30pm The Portico Library, 57 Mosley Street, Manchester Speaker: Emma Marigliano From Giotto to Michelangelo, Dante to Petrarca, Firenze to Roma, Italy’s Renaissance left an indelible mark on the Victorians. Former special collections librarian, Emma Marigliano, explores how British artists and poets reinterpreted and mythologised Italian culture for the British public. Italian nibbles and wine will be offered after the talk. £5 members of Portico and Dante £6 non-members / £4 students and unemployed Booking required: dante@newfuture.org OR with the Portico Library tel. 0161 2366785 – events@theportico.org.uk Booking also possible with Eventbrite: www.eventbrite.co.uk/e/the-victorians-the-reinvention-of-the-italian-renaissance-tickets-47419604313 Saturday 8 December 2018 – open from 1.00pm to 6.00pm Venue: Victek, 52 Ardwick Green South, Manchester M13 9XF (near the Apollo theatre roundabout and ESSO petrol station) SALVIAMO I LIBRI! SAVE THE BOOKS (and get the publications you like as a present for Christmas from Dante!) Join us to open the boxes of Italian books donated to our Society, which are stored in the basement of Victek’s building. Also take a browse at the books on the shelves upstairs and help us to find a “good home” for them! You can spend between 1 and 5 hours practising your Italian (or not) and have a break with a slice of panettone and a glass of prosecco. You will also find ‘pasta GAROFALO’ to buy at £1/packet to stock for the coming Holidays. A hamper of pasta can be a great idea for a present to family and friends! Don’t forget to bring few carrying bags! LOCATION: Victek’s building is located just before Tesco/Esso petrol station and the Apollo theatre roundabout. There is parking space inside the petrol station and in the streets around the garden/park. On foot from Piccadilly station: approx. 10 min. Buses: there are frequent buses from the city centre: 192 / 201 / 203 / 204 / 205 Wed 7 November 2018, 13:30 – 14:00 GMT Manchester Art Gallery, Mosley Street, Manchester M2 3JL Curator’s talk: Annie Swynnerton Join exhibition co-curator, Rebecca Milner for a fascinating talk on the Manchester-born artist Annie Swynnerton. Take a closer look at some of Swynnerton’s paintings and discover how she captured the unique qualities of light in the Italian countryside. Explore how the artist’s passion for the sun and its visual and sensory effects shaped the way she represented joy, hope and female empowerment. Swynnerton first visited Rome in 1874, living for extended periods there between 1883 and 1910. The talk will take place in gallery 1 – FREE – open to the public. The first retrospective for nearly a century of the Manchester born painter Annie Swynnerton, a pioneering professional artist who challenged convention in art and life. Portraits showing the artist’s Manchester connections open the exhibition including Susan Dacre, with whom she co-founded the Manchester Society of Women Painters, and the Reverend William Gaskell, husband of novelist Elizabeth Gaskell. The exhibition also brings together landscapes, allegorical works and later portraits revealing her as a continually inventive artist who engaged with current art movements and forged her own independent style shaped by her experience of light and colour in Italy. The impact of Italy comes through in the vibrant colours and gestural paint of her portrayals of women that are a highlight of this exhibition. She represented women of all ages and walks of life, challenging conventions of beauty and capturing female power, strength, hope and potential at a time when women’s roles and opportunities were changing. The exhibition Annie Swynnerton: Painting Light and Hopeis open until Sunday 6 January 2019 – FREE KINOFILM FESTIVAL 15th Edition www.kinofilm.org.uk (24th November – 2nd December 2018) https://www.facebook.com/pg/kinofilmfest/events/ Manchester International Short Film Festival was established in 1995 and its focus is primarily on UK and European shorts. This year Instituto Cervantes and Societa’ Dante Alighieri, in collaboration with KinoFilm, are proud to offer an evening of Spanish and Italian shorts. Wednesday 28 November 2018 Venue: Instituto Cervantes, 326/330 Deansgate, Manchester M3 4FN 5.00pm to 6.30pm – SPANISH Shorts programme 7.00pm to 8.30pm – ITALIAN Shorts programme Free admission for both programmes. Reservation required. Reservation for Italian programme: please contact dante@newfuture.org The Italian screening will be followed by a glass of Italian wine and a tasting of different chilled ‘pasta salads’ prepared with pasta GAROFALO. www.pastagarofalo.it/uk_en/garofalo-firma-il-cinema/ – GAROFALO shorts are found in their website and in YouTube. The evening will finish at 9.30pm (doors closed). * 2017 Events Archive * Friday 20th January 2017 – meeting 6PM for 6.15PM start AGM (Riunione Annuale Soci) and ‘Apericena’ – members only Venue: Cross Street Chapel, Cross Street, Manchester – Treasurer’s report 2016 – New Executive Committee to be appointed – Overview of the activities carried out in 2016 – Discussion and proposal for future events and activities The AGM (approx. 1 hour – Free admission) will be followed by a social APERICENA (glass of wine or fruit juice with buffet of Italian appetisers). Children are welcome. In order to organize the catering, members are kindly requested to book for the Apericena by the 18th of January, at the latest. No booking will be taken after that date. For full details and cost please contact us as soon as possible: dante@newfuture.org Thursday 16 March 2017 – 5.30pm to 7.00pm Members and Friends of our Society are invited to attend this seminar in the Department of Arts & Visual Culture at the University of Manchester Michelangelo’s Ignudi: from Florentine Tradition to Roman Subversion Speaker: Prof. Bette Talvacchia (University of Oklahoma) Venue: Room A 113 Samuel Alexander Building, Oxford Road, The University of Manchester FREE admission. No need to pre-book. SEE YOU THERE! Bette Talvacchia is Director of the OU School of Visual Arts at the University of Oklahoma. She holds a Ph.D. in Art History from Stanford University. Her work as a scholar focuses on the art and culture of the Italian Renaissance, and on issues of sexuality and gender. Talvacchia was awarded a Fellowship from the National Endowment for the Humanities as part of its inaugural Public Scholars Program in 2015-16. The fellowship project will lead to a book entitled “The Two Michelangelos.” Details can be found here: http://events.manchester.ac.uk/event/event:y3p-iyofmaxp-l6am2v/art-history-seminar-prof-bette-talvacchia-michelangelos-ignudi Friday 24 March 2017 – 6.45PM for 7.00PM prompt FILM: I soliti ignoti / Big Deal on Madonna Street (1958) by Mario Monicelli – In Italian with English subtitles – Duration 102 min Introduction by Silvana Serra – Q&A session to follow Il film sara` introdotto da Silvana Serra e seguira` un breve dibattito Venue: The Town Hall Tavern, 20 Tib Lane (off Cross Street), Manchester M2 4JA Let’s celebrate the anniversaries for Marcello Mastroianni and Toto’ with a film included in the list “100 film italiani da salvare”. With a witty humour and a refreshing artlessness, the film brings us a flavour of a world long gone. Non mancate / Don’t miss it! Admission FREE – drinks can be ordered and paid for at the bar. If you wish to have a snack/dinner before or after the screening, food is available through a pre-order, mentioning “Film Dante”. Please contact The Town Hall Tavern – 0161 8321961. Friday 7 April 2017 – 6.45PM for 7.00PM start La Canzone Italiana e il Festival di Sanremo / The Italian Song and Sanremo Festival Venue: Cross Street Chapel, Cross Street, Manchester M2 1NL Full details TBA soon Following the 67th ‘Festival di Sanremo’, the Societa’ Dante Alighieri in Rome and the University Ca’ Foscari in Venice have awarded the prize for best text/wording to the song ‘Che sia benedetta’. The singer Fiorella Mannoia is “ambasciatrice della canzone italiana nel mondo”. Alida, Liliana, Rita and Stefano will present us with some ‘Hits’ from the Festival’s history. Thursday 27 April 2017, 6:30 – 8.30PM Byron’s Venice: The revel of the earth, the masque of Italy Members and friends of our Society are invited to attend this lecture at The Portico Library & Gallery, 57 Mosley Street, Manchester M2 3HY This talk celebrates the 200th anniversary of the composition of the final canto of Childe Harold’s Pilgrimage and Beppo, in which Byron redefined and reinvented Venice for the rest of the nineteenth century and beyond. A host of writers, artists and tourists flooded into Venice in the wake of these publications, looking for the Byron’s ‘Sea Cybele, fresh from ocean’, but what was so new about Byron’s Venice? This talk by Dr Alan Rawes (Lecturer in Romanticism at the University of Manchester and Joint President of the International Association of Byron Societies) seeks to offer an answer to that question. This event is sponsored by The Byron Society. The lecture will be followed by a drinks reception with complimentary Italian wine. SEE YOU THERE! TICKETS £6.82 – £8.93 Book online through Eventbrite: www.eventbrite.co.uk/e/byrons-venice-the-revel-of-the-earth-the-masque-of-italy-tickets-31535360111 Eventbrite charges a booking fee. If you would like to avoid this, please contact the library directly to make your booking on 0161 236 6785. Friday 7 April 2017 – 6.45pm for 7.00pm start La Canzone Italiana e il Festival di Sanremo / The Italian Song and Sanremo Festival VENUE: Cross Street Chapel, Cross Street, Manchester M2 1NL Following the 67th ‘Festival di Sanremo’ last February, the Societa’ Dante Alighieri in Rome, teaming up with the University Ca’ Foscari in Venice, has awarded the prize for this year’s best lyrics to the song ‘Che sia benedetta’. The singer Fiorella Mannoia, therefore, has been appointed “Ambasciatrice della canzone italiana nel mondo”. Further to this initiative, an event has been organized on Friday 7th April in which Alida, Liliana, Rita and Stefano will present us with some ‘Hits’ from the Festival’s history, which is the most popular Italian song contest and awards, held annually in the city of Sanremo, in Italy, and which launched the careers of some of Italy’s most successful singers, including Andrea Bocelli, Giorgia, Laura Pausini, Eros Ramazzotti, and Gigliola Cinquetti. A glass of wine with cantuccini and some Italian conversation will follow. Admission: £ 2.00 members £ 3.00 non-members WE WAIT FOR YOU! FESTA ITALIA 2017 13th – 18th June (scroll down to see the full list of events or download the leaflet here) Tuesday 13 June (6.30pm) Divorzio all’italiana / Divorce Italian Style (1961 – B&W – 108’) The Portico Library, 57 Mosley Street, Manchester Film in Italian with English subtitles (rare edition) Introduction in English by Dr Silvana Serra – Q&A session to follow As part of the Italian celebrations for Marcello Mastroianni, the protagonist of “La Dolce Vita”, this funny and intelligent satire portrays the hypocritical view of the Italian society of the time towards rejecting divorce as illegal while accepting “honour killing” as a minor transgression. This is a cinematic journey into the “Commedia all’italiana”. The movie won the Oscar/Academy Award for Best Writing, Story and Screenplay. Drinks and nibbles to follow. £4 members of Portico and Dante £5 non-members / £3 students and unemployed For more information, please visit https://www.eventbrite.co.uk/e/divorzio-allitaliana-divorce-italian-style-tickets-34967944062 Booking required: Library tel. 0161 2366785 events@theportico.org.uk or dante@newfuture.org *** Thursday 15 June (6.45 for 7.00pm start) The GIRO D’ITALIA 2017 celebrates its 100th edition Cross Street Chapel, Cross Street, Manchester M2 1NL Stefano Forcolin gives his impressions on one of the oldest Italian cycling events, from the heroic times up to the present days, speaking about more and less famous protagonists and the impact they had on the Italian sport (and not only). A glass of wine with pasta Garofalo will follow this interesting event. Admission £5 Booking: dante@newfuture.org * Saturday 17 June (11.00am to 5.00pm) Il mercatino del libro – Italian book market Cross Street Chapel, Cross Street, Manchester M2 1NL Browse for second hand and rare one off Italian books for adults and children. FREE admission PLUS!! Enjoy Garofalo pasta tasting (3 shows: 12 noon – 2.00pm – 4.00pm) Pasta Garofalo is the Italian pasta synonymous with Italian film After browsing the book stalls you can watch these two short films in Italian with English subtitles: ‘Caserta Palace Dream’ and ‘The Wholly Family’ (12.30pm – 2.30pm). Duration approx. 40 minutes for both, screened at 12.30 and 2.30PM. * Sunday 18 June MANCHESTER DAY – ABRACADABRA! Don’t’ miss our Magic Pasta shows in St. Ann’s Square www.manchesterday.co.uk Sunday 18 June – all day Does Garofalo pasta taste as good as it looks? Try the TRIO of pasta during the Manchester Day at AL BACIO Restaurant 10-14 South King Street, off Deansgate, Manchester M2 6DW A main course dish with 3 pasta and different sauces (suitable for vegetarians) for only £ 6.50 www.al-bacio.co.uk 13 to 18 June at AL BACIO Restaurant 10-14 South King Street, Deansgate, Manchester M2 6DW Get a free glass of Prosecco before lunch and dinner. * FESTA ITALIA ‘FRINGE EVENT’ in Hebden Bridge Saturday 24 June PASTA FUN Fresh pasta-making with the Societa’ Dante Alighieri at the STREET SATURDAY in Hebden Bridge for their annual Arts Festival. 12 – 4pm at the Marina Don’t miss us if you are in the area! Full programme on http://hebdenbridgeartsfestival.co.uk On the occasion of Manchester Food & Drink Festival 2017 (Festival dates 28th September – 9th October 2017) Wednesday 4th October 2017 (only) – any time between 6.00PM and 10.00PM ( Dante’s table is booked at 7.00PM ) TRIO OF PASTA GAROFALO Venue: Al Bacio Restaurant, 10-14 South King Street, Deansgate, Manchester M2 6DW A main course dish with 3 types of pasta topped with different sauces (also suitable for vegetarians) for only £ 9.95 !! Our Society is organising a table for our group at 7.00pm – Booking: dante@newfuture.org Alternatively you can book directly with the restaurant for you and your family/friends – Booking: 0161 8327669 – info@al-bacio.co.uk XVII SETTIMANA DELLA LINGUA ITALIANA NEL MONDO (16-22 ottobre 2017) “L’italiano al cinema, l’italiano nel cinema” Sunday 22 October 2017 – 3.45pm for 4.00pm prompt FILM: Johnny Stecchino (1991) by Roberto Benigni (also starring in the role of the protagonist “Dante”!) In Italian with English subtitles – Duration 112 min Introduction by Silvana Serra – Q&A session to follow This witty, highly entertaining, and clever film remains the best attempt so far to ridicule the Mafia. Venue: The Town Hall Tavern, 20 Tib Lane (off Cross Street), Manchester M2 4JA Admission FREE – drinks and/or snacks can be ordered and paid for at the bar. Due to limited availability of seats, please confirm your attendance by Friday 20th October latest. KINOFILM FESTIVAL 14th Edition www.kinofilm.org.uk 18th-26th November 2017 Manchester International Short Film Festival was established in 1995 and its focus is primarily on UK and European shorts. This year Instituto Cervantes and Societa’ Dante Alighieri, in collaboration with KinoFilm, are proud to offer an evening of Spanish and Italian shorts. Friday 24th November 2017 The Instituto Cervantes and Societa’ Dante Alighieri invite you to an evening of Spanish and Italian short films. Venue: Instituto Cervantes, 326/330 Deansgate, Manchester M3 4FN 5.00pm to 6.30pm – SPANISH Shorts programme 7.00pm – ITALIAN Shorts programme Free admission for both programmes. Reservation required. Reservation for the Italian programme: www.eventbrite.co.uk/e/italian-shorts-programme-drinks-reception-kinofilm-festival-2017-tickets-39515777755 Reservation for the Spanish programme: www.eventbrite.co.uk/e/spanish-shorts-programme-kinofilm-festival-tickets-39515702530 The Italian screening will be followed by a glass of Italian wine and a tasting of different chilled ‘pasta salads’ prepared with pasta GAROFALO, the Italian pasta synonymous with Italian film – www.pastagarofalo.it/uk_en/garofalo-firma-il-cinema/ A short film produced by GAROFALO, The Wholly Family (in Italian with English subtitles), will be screened in the background while you mingle eating the pasta. This and other GAROFALO shorts are found in their website and in YouTube. The evening will finish at 9.30pm (doors closed). CELEBRATING LUCIANO PAVAROTTI Saturday 2nd December 2017 – 6.00PM to 8.00PM Venue: Cross Street Chapel, Cross Street, Manchester M2 1NL Admission: members £ 1.00 non-members £ 3.00 On 6th September 2007 Pavarotti lost his battle against cancer and died in his home in Modena. After 10 years of his passing, he’s still remembered and still loved as he was when he was alive. Today Roberto Mobili e Liliana Foligno-Smith will help us to remember the voice that for many is the voice of the greatest tenor in the history of opera. Come along for a special gathering to celebrate the ‘Maestro’ and to exchange the Season’s greetings over a glass (or two) of prosecco and a slice of panettone or pandoro. It would be helpful if you could confirm your presence to dante@newfuture.org * 2016 Events Archive * Sunday 4th December 2016 – meeting 5.30PM for 6.00PM start Let’s throw a party! Al Bacio Restaurant, 10-14 South King Street, Deansgate, Manchester M2 6DW 2016 is the 20th anniversary of Societa’ Dante Alighieri in Manchester and it would be great if members and friends of the society would get together to celebrate the occasion. We will meet at the AL BACIO Restaurant for a social early dinner and to exchange the Season’s Greetings. The price for the 3 course meal (starter, main course, pandoro) will be £15.90 per person. Drinks have to be ordered and paid for (separately) at the bar. Your booking and relevant payment must be received by Wednesday 30 November AT THE LATEST. For booking and payment, please contact: dante@newfuture.org Monday 14th November 2016 – from 6.30 PM to 9 PM Dante in Europa 2016 Dante’s Literary Landscapes “Parco Letterario Terre di Dante” comes to Manchester! Introduction by Serena Prof. Stephen Milner – The University of Manchester (This event is in English with some Italian) Venue: The Portico Library & Gallery, 57 Mosley Street, Manchester M2 3HY The vast territory between Florence and Ravenna is still imbued with the presence of Dante Alighieri. This is where he lived, suffered and was inspired to compose his immortal works. Today, seven hundred and fifty years after his birth (Florence 1265) and seven hundred years after his death (Ravenna 1321), the “Parco Letterario le terre di Dante” gives a presentation for us to discover or get a different perspective of such territory, now called “Dante’s Lands” – Lands of Art and Culture, and guides us along the path taken by the Poet, so that we can feast our eyes on the extraordinary places the father of the Italian language immortalised. The event includes: Presentation of the book “L’Italia con gli occhi di Dante” (Italy through Dante’s eyes) by the author, Raffaella Cavalieri Itineraries and tourism opportunities presented by Attilio Moroni (Parco le terre di Dante) Dante’s events at the “Ravenna Festival 2017” by Anna Bonazza Screening of the short film “Inferno” (1911) inspired by the Divina Commedia/Divine Comedy and Gustave Dore’s illustrations A complimentary glass of wine and cantuccini will be offered during the interval. We do hope you will be able to join us for this special evening! Free admission – as seats are limited booking is required! Please book yourself in on www.eventbrite.co.uk/e/dantes-literary-landscapes-tickets-27941036392 or via email dante@newfuture.org Thursday 27th October 2016 – 6.30 PM for 7 PM start Marcantonio Raimondi and Raphael Join us for a unique opportunity to visit this exhibition by David Morris, Head of Collections (to register, please send us an email to dante@newfuture.org. The event will be held in English, with occasional Italian) Venue: Whitworth Art Gallery, Oxford Road, Manchester M15 6ER This exhibition features the work of one of the radical originators and innovators of the European tradition of printmaking, Marcantonio Raimondi (c. 1480-c. 1534). Marcantonio was one of the leading printmakers of the Italian Renaissance and is best known for his groundbreaking collaboration with the Renaissance artist Raphael. This is the first Marcantonio Raimondi exhibition for thirty-five years and the first ever in the UK. Showcasing the world-class collections of Marcantonio’s work at The University of Manchester, housed both at the Whitworth and The John Rylands Library, the exhibition will also feature loans of outstanding prints by Marcantonio and unique drawings by Raphael from major collections. Friday 23 September 2016 – 6.30pm for 6.45pm start FILM: Smetto Quando Voglio / I Can Quit Whenever I Want (2014) by Sydney Sibilia – In Italian with English subtitles – Duration 95 minutes Introduction by Silvana Serra – Q&A session to follow Venue: Cross Street Chapel, Cross Street, Manchester M2 1NL Admission: £ 2.50 members – £ 3.50 non-members (drinks and nibbles included) Sibilia deals with the drama of unemployment for the Italian young generation, despite their academic high skills, in an amusing yet effective way by adopting a comic style, punctuated by surreal paradoxes. Nibbles and drinks will follow. Non mancate / Don’t miss it! Monday 15 August 2016 – 6.30pm for 7.00pm start GIROPIZZA DI FERRAGOSTO Venue: DOM’S Tavola Calda/Pizzeria, 40-42 Deansgate, Manchester M3 1RH Cost: £ 10 per person (excluding drinks/coffee) As we did in the past, our Society will celebrate Ferragosto with a GiroPizza. The ‘pizzaiolo’ will prepare several kinds of pizza – no need to order – and will serve them in slices, one after the other, until everyone has enough of it! When we stop he will prepare the pizza with Nutella as dessert. PLEASE NOTE: should you have allergies or be vegetarian you can order and pay separately for a pizza of your choice without being part of the GiroPizza. Kindly advise when booking. 1st rule: all people around the table must eat pizza. No other dish is allowed. 2nd rule: it has to be an evening of ‘parliamo italiano’…. even ‘poco’…. Places are limited to 24 people. Please book as soon as possible by sending us an email to dante@newfuture.org Origin of “Ferragosto” – The term Ferragosto derives from the Latin feriae Augusti (Augustus’ rest) indicating a festivity set up by the emperor Augustus in 18 BC which was an addition to the existing Roman festivals celebrating the end of the main agricultural tasks. During the celebrations, horse races were organised and labour animals were dispensed from work and decorated with flowers. Such ancient traditions are still alive today, virtually unchanged in their form and participation, during the “Palio dell’Assunta” which takes place on 16 August in Siena. The popular tradition of the Ferragosto trip arises during Fascism. Starting from the second half of the 1920s, in the mid-August period, the regime organised hundreds of popular trips, due to the setting up of the “People’s Trains of Ferragosto”, at hard discounted prices. The initiative gave the opportunity also to the less well-off social classes to visit Italian cities or to reach seaside and mountain resorts. Friday 20 May 2016 – 6.45 pm for 7.00 pm start Of Publishers, Poets, and Politicians: the story of the 1911 ‘Edizione Monumentale’ of the Divine Comedy‘ (the talk will be in English) This paper will tell the extraordinary story of a major initiative to produce a deluxe edition of Dante’ s Divina commedia in 1911 under the patronage of KIng Vittorio Emanuele III. The tale involves a cast of the great and good of Italian literature, scholarship, and publishing in the early 1900s and an expected connection with the ‘Manchester Dante Society’ which was founded in 1906. Involving rare books, court cases, and battleships, this talk will tell the story for the first time of how this famous landmark edition of Dante’s classic poem came into being. Speaker: Stephen Milner, Serena Professor of Italian, The University of Manchester Venue: Cross Street Chapel, Cross Street, Manchester M2 1NL The evening will close with a social gathering and some conversation in Italian over a glass of wine and nibbles. Admission: FREE for members and students – £ 3.00 for non-members * Sunday 22 May 2016 from 16:00 to 18:30 EMERGENCY EXIT – Young Italians Abroad Members and Friends of our Society are invited to attend the following film/documentary screening: Venue: RNCM Stage Door – Rosamond Street West, Manchester, M13 9RD Tickets £3.52 – Available from www.eventbrite.co.uk www.eventbrite.co.uk/e/emergency-exit-young-italians-abroad-film-screening–tickets-22493627044?utm_campaign=201308&ref=esfb&utm_source=Facebookenivtefor001 COM.IT.ES (Comitato degli Italiani all’Estero) Manchester presents ‘Emergency Exit’, a documentary project about Italy and the consequences of the last 20 years of politics on the young generation. A lot of young Italians leave their country every year and more than 90% of them are graduated and professionally skilled. They move away because of a lot of reason, but nobody in Italy seems to have the desire to listen or care for them. The director decided to start a trip: she travelled around six (and more) European countries, from Paris to London, Berlin, Wien, Bergen and Tenerife, finding young Italians who left Italy, looking for better opportunities of life and career. Six stories of ordinary separation, one question: what happened to Italy? The young director Brunella Filì will be present at the screening. The project has been officially selected to the VII Edition of Italian Doc Screenings, the most important documentary showcase in Italy. Other Official selections are: Festival del Cinema Europeo 2014, Madrid International Film Festival 2014 (Best Foreign Language Documentary Award), South Easter Film Festival 2015 (USA), Scarborough Film Festival – with the support of HotDocs (Toronto, Canada) and many more. * 19-26 JUNE 2016 MANCHESTER DAY AND FESTA ITALIA 2016 Keep your diary free from 19 to 26 June when Societa’ Dante Alighieri in Manchester will celebrate Italy with several events starting with the Manchester Day/Parade on Sunday 19 June when we will welcome back the SBANDIERATORI from Corinaldo (Marche). Check your mail near to the time! * Thursday 21 April 2016 – 5.00 to 7.00pm Members and Friends of our Society are invited to attend the Annual Herford Memorial Lecture in Italian Studies at the University of Manchester “Italy, Islam and the Islamic World from 9/11 to the Arab Uprisings” Speaker: Professor Charles Burdett (University of Bristol) Charles Burdett is Professor of Italian at the University of Bristol, and he is the Principal Investigator on the large grant, ‘Transnationalizing Modern Languages: Mobility, Identity and Translation in Modern Italian Cultures’ that is a beacon project for the AHRC’s ‘Translating Cultures’ theme. Venue: A7 Samuel Alexander Building, The University of Manchester Free admission. No need to pre-book. Further details can be found here: http://events.manchester.ac.uk/event/event:a1hd-ilnrsb8i-ze8bzk * Thursday 14 April at 6:30pm – Instituto Cervantes (326-330 Deansgate, Campfield Avenue Arcade, Manchester M3 4FN) Manchester European City of Science 2016 – European Round Table on Climate Change ‘The Paris Climate Talks: from commitments to action’ The Instituto Cervantes, the Societa’ Dante Alighieri and the Alliance Française are hosting a Round table on Climate Change. Experts from Italy, Spain and France will meet up to debate the contributions brought about by the COP21. What agreements were made? Which ones can truly be followed? Which ones are the most crucial? How will the transition from talks to actions occur? All these questions will be touched upon by our European experts: Isabel Douterelo – Isabel Douterelo is the Spanish guest speaker, invited by the Instituto Cervantes. She is a professor and researcher at Manchester Metropolitan University in the Department of Science and Environment. Her work focuses, among other things, on the microbial ecology of drinking water distribution systems. Monica Di Gregorio – Monica Di Gregorio will also attend the round table as the guest speaker for the Società Dante Alighieri. She is a Lecturer in Environmental Politics and Governance at the School of Earth and Environment, The University of Leeds. Her current research examines climate change politics and policy at the global and national level, with particular attention to the developing world. Cyril Caminade – Cyril Caminade will be the guest speaker for the Alliance Française. Cyril has obtained his PhD in climatology (climate change in sub-Saharan Africa) at CERFACS and at the Université Paul Sabatier in Toulouse in 2006. He joined a post-doctoral position at the University of Liverpool in 2008 and focused on modelling and mapping the risk of several key vector-borne diseases over Europe and Africa under climate change scenarios. Join us on 14 April for the debate and interact with our experts! Throughout the evening, you will also be invited to take a look at the “Climate, State of Emergency” photography exhibition. The Alliance Française Foundation organised a photography contest and the winning photographs will be displayed in several countries. These photographs will be exhibited at Instituto Cervantes. Wine and nibbles will be served after the round table discussion. For further information and bookings: prenman@cervantes.es or 0161 661 4201/02 Further details about the Round Table are available also on the following websites: http://manchestersciencecity.com/visit/event/round-table-discussion-on-climate-change/ http://www.afmanchester.org/Table-Ronde-Europeenne-sur-le-Climat?lang=en http://manchester.cervantes.es/FichasCultura/Ficha106009_44_2.htm Sunday 13 March 2016 – 3.00pm RNCM Theatre INSIEME ALL’OPERA: Cosi fan tutte – W A Mozart (This production will be performed in Italian with subtitles) Meeting point at the entrance, near the ticket office, at 2.30pm After the performance we can get together for a cappuccino or a glass of wine Tickets from £21 – Please contact Royal Northern College of Music – 0161 907 5200 – www.rncm.ac.uk ———- Roger Hamilton, conductor Thomas Guthris, director Antonio Tilli, Italian Language Coach “The bay of Naples. Sisters Fiordiligi and Dorabella are engaged to Guglielmo and Ferrando. The men trust their fiancées’ faithfulness implicitly but when their friend Don Alfonso tells them a woman’s fidelity is never guaranteed, he is challenged to prove his theory. So a wager is made. Don Alfonso tells the sisters that their sweethearts are to be sent away with their regiment. A tearful farewell follows. Then things really start to get complicated… Mozart’s opera is the great composer’s most divisive and controversial work. Deep down, Cosí provides a sharp reminder of how personal choice plays as important a part as fate in our relationships. It underlines how relationships can so often be fragile and tenuous, and in doing so, highlights our true human vulnerability.” ————————- Other performances’ dates: Wed 09, Fri 11, Tue 15 and Thu 17 March 2016 – 7.00pm RNCM Theatre Sat 19 March 2016 – 3.00pm RNCM Theatre LEARN MORE: Pre-opera talk Roger Hamilton offers a closer insight into the music and historical context of Mozart’s opera. Sun 13 Mar – 12pm, RNCM Theatre * Friday 11th March 2016 – 6.45pm for 7.00pm start SALENTO: TERRA DI SOLE, DI MARE E DI VENTO SALENTO: LAND OF SUN, SEA AND WIND A talk in English by Anna Maria Pisanelli – born in Specchia (Lecce) she’s a biologist who moved to UK in 1989 and worked at Manchester University as research associate The Salento is sun-kissed year round. Alongside art, excellent Mediterranean cuisine, and genuine hospitality, the area boasts a fabulous landscape, ranging from the Adriatic coast and the marinas of Melendugno, Santa Cesarea Terme and Otranto, to the Ionian Sea and towns like Porto Cesareo, Portoselvaggio and Gallipoli. A glass of Primitivo wine and nibbles will follow. Venue: Cross Street Chapel, Cross Street, Manchester M2 1NL Admission: £ 2.00 members £ 3.00 non-members *** *** KINOFILM FESTIVAL 22-28 FEBRUARY 2016 www.kinofilm.org.uk Manchester International Short Film Festival was established in 1995 and its focus is primarily on UK and European shorts. This year Societa’ Dante Alighieri, Instituto Cervantes and Alliance Francaise, in collaboration with KinoFilm, are proud to offer 3 evenings of Spanish, French and Italian shorts (24-26 February) Thursday 25 February 2016 – 6.00pm for 6.30PM start Venue: Instituto Cervantes, 326/330 Deansgate, Manchester M3 4FN Our society is delighted to have the director Marinos Kallikourdis as a special guest from Italy. Free admission. Reservation required: prenman@cervantes.es or 0161 6614201/6614212 The Alliance Française de Manchester and Societa’ Dante Alighieri Manchester invite you to an evening of French and Italian short films (with English subtitles). Q&A with Marinos Kallikourdis, director of two of the Italian shorts, will follow. The screening will be followed by a social gathering with French and Italian wines and nibbles. Join us at Cervantes also on Wednesday 24 February for an evening of Spanish short films. And on Friday 26 February don’t miss “Crossing borders”, a snapshot of Europe – Greek, Portuguese, Irish, Danish films! You can enjoy these short movies, with English subtitles, at the Cervantes. Booking required. ******* Friday 19 February 2016 – 7.30pm SERATA A CONCERTO – La Serenissima: The Four Seasons Join us for this unique chance to hear Vivaldi’s The Four Seasons, played on period instruments from the original manuscript of the music. 7.00pm: meeting point near the ticket office. Tickets: £25, £20, £15 – £7 student standby tickets available on the day (add £2 fee for online or phone booking) Please contact directly The Bridgewater Hall – 0161 907 9000 – www.bridgewater-hall.co.uk Vivaldi Concertos for Violin ‘in tromba marina’ in D & G (20’) Vivaldi Concertos for Bassoon in G & B-flat (20’) Vivaldi ‘Four Seasons’ (Manchester version) Concertos for Violin and Strings (40’) Adrian Chandler, violin/director – Peter Whelan, bassoon “The only surviving manuscript of these famed works is part of a collection of 95 Italian concertos held by Manchester’s Henry Watson Music Librar
5438	dbpedia	1	32	https://www.wikidata.org/wiki/Q1225121	en	Speriamo che sia femmina	https://www.wikidata.org/static/favicon/wikidata.ico	https://www.wikidata.org/static/favicon/wikidata.ico	[ "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://www.wikidata.org/static/images/footer/wikimedia-button.svg", "https://www.wikidata.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[]	null	1986 film by Mario Monicelli	en	/static/apple-touch/wikidata.png		https://www.wikidata.org/wiki/Q1225121	1986 film by Mario Monicelli Let's Hope It's a Girl
5438	dbpedia	3	11	https://www.britannica.com/biography/Nino-Benvenuti	en	Nino Benvenuti \| Biography & Boxing Career Highlights	https://cdn.britannica.c…e.jpg?v=3.124.12	https://cdn.britannica.c…e.jpg?v=3.124.12	[ "https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png", "https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png", "https://cdn.britannica.com/74/234474-131-7CBD1A96/Serena-Williams-womens-single-trophy-Australian-Open-Januray-28-2017.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/44/190944-131-7D082864/Silhouette-hand-sport-torch-flag-rings-Olympic-February-3-2015.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/47/148847-131-607DD61C/Cricket-bat-ball.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/55/235355-131-5EA8CFD4/Usain-Bolt-Jamaica-gold-medal-breaking-world-record-200m-Beijing-Summer-Olympics-August-20-2008.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/52/139052-131-7A7975D1/Balls-shapes-colors-sizes-sports.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/44/190944-131-7D082864/Silhouette-hand-sport-torch-flag-rings-Olympic-February-3-2015.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/90/198290-131-7A21237A/Alberto-Tomba-gold-medal-way-Mens-Giant-1992.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/94/190894-131-5E162809/cyclists-Pack-light-leg-Tour-Down-Under-20th-January-2008.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/18/190818-131-3AD7A2A2/man-tennis.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/28/191028-131-A05F430F/competitor-horse-OTP-Equitation-World-Cup-Budapest-December-2-2011.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/01/190901-131-2048BEEC/vector-illustration-sport-pentathlon-competition-series-Fencing.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/01/150801-131-8C186ACE/Louvre-Museum-pyramid-Paris-Pei-IM.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/51/190751-131-B431C216/soccer-ball-goal.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/35/146135-131-BC5E7D00/Baseball-grass-arts-Homepage-blog-entertainment-sports-2010.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/91/223091-131-A986B08A/relief-Zoroastrian-god-Ahura-Mazda-Persepolis-Iran.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/94/159994-131-8E828D22/Battle-of-New-Orleans-oil-painting-E-1910.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/45/209245-131-C6D09B32/gray-squirrel-acorn.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/44/190944-131-7D082864/Silhouette-hand-sport-torch-flag-rings-Olympic-February-3-2015.jpg" ]	[]	[]	[ "Nino Benvenuti", "encyclopedia", "encyclopeadia", "britannica", "article" ]	null	[ "The Editors of Encyclopaedia Britannica" ]	2002-01-11T00:00:00+00:00	Nino Benvenuti is an Italian professional boxer, Olympic welterweight and world middleweight champion. (Read Gene Tunney’s 1929 Britannica essay on boxing.) Benvenuti won the Olympic welterweight title in 1960. He turned professional the following year and won his first 65 matches and the Italian	en	/favicon.png	Encyclopedia Britannica	https://www.britannica.com/biography/Nino-Benvenuti	Nino Benvenuti (born April 26, 1938, Trieste, Italy) is an Italian professional boxer, Olympic welterweight and world middleweight champion. (Read Gene Tunney’s 1929 Britannica essay on boxing.) Britannica Quiz The Olympics Quiz Benvenuti won the Olympic welterweight title in 1960. He turned professional the following year and won his first 65 matches and the Italian middleweight championship. In 1965 he claimed both the world junior-middleweight title and the European middleweight title. The next year he boxed outside Italy for the first time, retaining his European title in a bout in Berlin but losing his world junior-middleweight title to Ki-Soo Kim in a 15-round decision in Seoul, South Korea. Benvenuti went to the United States in 1967 and took the world middleweight title on April 17 by defeating Emile Griffith in a 15-round decision. They met again on September 28, 1967, and in the rematch Griffith regained the title by prevailing in a 15-round decision. On March 4, 1968, they fought a third time, and Benvenuti took the title back by winning a 15-round decision. Benvenuti then successfully defended his championship by outpointing Don Fullmer in 15 rounds on December 14, 1968. He made two more successful defenses in 1969, winning on the 7th-round disqualification of Fraser Scott on October 4 and knocking out Luis Rodriguez in the 11th round on November 22.
5438	dbpedia	2	0	https://en.wikipedia.org/wiki/David_di_Donatello_for_Best_Actor	en	David di Donatello for Best Actor	https://upload.wikimedia…28cropped%29.jpg	https://upload.wikimedia…28cropped%29.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Fabrizio_Gifuni_%28cropped%29.jpg/220px-Fabrizio_Gifuni_%28cropped%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/Vittorio_De_Sica_%281962%29.jpg/150px-Vittorio_De_Sica_%281962%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/7/7e/Doris_Dowling_e_Vittorio_Gassman.jpg/150px-Doris_Dowling_e_Vittorio_Gassman.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/fb/Alberto_Sordi_%281962%29.tif/lossy-page1-150px-Alberto_Sordi_%281962%29.tif.jpg", 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"https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2007-09-17T17:39:08+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/David_di_Donatello_for_Best_Actor	Award David di Donatello Award for Best ActorCountryItalyPresented byAccademia del Cinema ItalianoFirst awarded1956 (for lead acting in films released during the 1955/1956 film season)Currently held byFabrizio Gifuni — Exterior Night (2023)Websitedaviddidonatello .it The David di Donatello Award for Best Actor (Italian: David di Donatello per il miglior attore protagonista) is a film award presented annually by the Accademia del Cinema Italiano (ACI, Academy of Italian Cinema) to recognize the outstanding performance in a leading role of a male actor in an Italian film released during the year preceding the ceremony.[1] The award was first given in 1956, and became competitive in 1981.[2] Vittorio Gassman and Alberto Sordi are the record holders in this category with seven awards each, followed by Marcello Mastroianni with five.[2][3] Nominees and winners are selected via runoff voting by all the members of the Accademia.[4][5] Winners and nominees [edit] Below, winners are listed first in the colored row, followed by other nominees.[1] 1950s [edit] Year Actor Role(s) Film Ref. 1955/56 (1st) Vittorio De Sica Antonio Carotenuto Scandal in Sorrento 1956/57 (2nd) 1957/58 (3rd) 1958/59 (4th) 1960s [edit] Year Actor Role(s) Film Ref. 1959/60 (5th) Vittorio Gassman Private Giovanni Busacca The Great War Alberto Sordi Private Oreste Jacovacci The Great War 1960/61 (6th) Alberto Sordi Second lieutenant Alberto Innocenzi Everybody Go Home 1961/62 (7th) Raf Vallone Edoardo "Eddie" Carbone A View from the Bridge 1962/63 (8th) Vittorio Gassmann Bruno Cortona Il Sorpasso 1963/64 (9th) Marcello Mastroianni Carmine Sbaratti / Renzo / Augusto Rusconi Yesterday, Today and Tomorrow 1964/65 (10th) Vittorio Gassmann Giuliano Maria Hard Time for Princes Marcello Mastroianni Domenico Soriano Marriage Italian-Style 1965/66 (11th) Alberto Sordi Dante Fontana Fumo di Londra 1966/67 (12th) Vittorio Gassmann Francesco Vincenzini The Tiger and the Pussycat Ugo Tognazzi Sergio Masini L'immorale 1967/68 (13th) Franco Nero Captain Bellodi The Day of the Owl 1968/69 (14th) Nino Manfredi Cacopardo / Angelo Perfili / Ercole / Voyeur / Telephone operator / Maurizio / Nanni I See Naked Alberto Sordi Dr. Guido Tersilli Be Sick... It's Free 1970s [edit] Year Actor Role(s) Film Ref. 1969/70 (15th) Nino Manfredi Cornacchia / Pasquino The Conspirators Gian Maria Volonté Il Dottore, Former Head of Homicide Squad Investigation of a Citizen Above Suspicion 1970/71 (16th) Ugo Tognazzi Annibale Doberdò La califfa 1971/72 (17th) Giancarlo Giannini Carmelo 'Mimì' Mardocheo The Seduction of Mimi Alberto Sordi Giuseppe Di Noi In Prison Awaiting Trial 1972/73 (18th) Alberto Sordi Peppino The Scientific Cardplayer 1973/74 (19th) Nino Manfredi Giovanni 'Nino' Garofoli Bread and Chocolate 1974/75 (20th) Vittorio Gassmann Captain Fausto Consolo Scent of a Woman 1975/76 (21st) Adriano Celentano Felice 'Felix' Brianza The Con Artists Ugo Tognazzi Raffaello Mascetti My Friends 1976/77 (22nd) Alberto Sordi Giovanni Vivaldi An Average Little Man 1977/78 (23rd) Nino Manfredi Monsignor Colombo da Priverno In the Name of the Pope King 1978/79 (24th) Vittorio Gassman Albino Millozzi Dear Father 1980s [edit] Year Actor Role(s) Film Ref. 1979/80 (25th) Adriano Celentano Guido Quiller Velvet Hands 1980/81 (26th) Massimo Troisi Gaetano I'm Starting from Three Michele Placido Berardo Viola Fontamara Carlo Verdone Pasquale Amitrano / Furio Zoccano / Mimmo Bianco, rosso e Verdone 1981/82 (27th) Carlo Verdone Sergio Benvenuti Talcum Powder Beppe Grillo Giovanni Looking for Jesus Alberto Sordi Marquess Onofrio del Grillo / Gasperino Il marchese del Grillo 1982/83 (28th) Francesco Nuti Francesco 'Toscano' Piccioli The Pool Hustlers Johnny Dorelli Philip Neri State buoni se potete Marcello Mastroianni Giacomo Casanova That Night in Varennes 1983/84 (29th) Giancarlo Giannini Salvatore Cannavacciuolo Where's Picone? Francesco Nuti Francesco Son contento Nanni Moretti Michele Apicella Sweet Body of Bianca 1984/85 (30th) Francesco Nuti Francesco 'Toscano' Piccioli Casablanca, Casablanca Ben Gazzara The forgetful man A Proper Scandal Michele Placido Mario Vialone Pizza Connection 1985/86 (31st) Marcello Mastroianni Pippo Botticella / Fred Ginger and Fred Nanni Moretti Father Giulio The Mass Is Ended Francesco Nuti Romeo Casamonica All the Fault of Paradise 1986/87 (32nd) Vittorio Gassman Adult Carlo / Carlo's grandfather The Family Diego Abatantuono Franco Mattioli Christmas Present Gian Maria Volonté Aldo Moro The Moro Affair 1987/88 (33rd) Marcello Mastroianni† Romano Dark Eyes Philippe Noiret Dr. Athos Fadigati The Gold Rimmed Glasses Carlo Verdone Carlo Piergentili Io e mia sorella 1988/89 (34th) Roberto Benigni Giuditta The Little Devil Giancarlo Giannini Francis II of the Two Sicilies 'O Re Carlo Verdone Piero Ruffolo Compagni di scuola 1990s [edit] Year Actor Role(s) Film Ref. 1989/90 (35th) Paolo Villaggio Prefect Gonnella The Voice of the Moon Gian Maria Volonté Judge Vito Di Francesco Open Doors Sergio Castellitto Paolo Little Misunderstandings Giancarlo Giannini Giuseppe Marchi Dark Illness Nanni Moretti Michele Apicella Red Wood Pigeon Massimo Troisi Michele What Time Is It? 1990/91 (36th) Nanni Moretti Cesare Botero The Yes Man Diego Abatantuono Sergeant major Nicola Lorusso Mediterraneo Claudio Amendola Principe Ultrà Silvio Orlando Luciano Sandulli The Yes Man Sergio Rubini Domenico The Station 1991/92 (37th) Carlo Verdone Bernardo Arbusti Maledetto il giorno che t'ho incontrato Enrico Lo Verso Officer Antonio The Stolen Children Gian Maria Volonté Roberto Franzò Una storia semplice 1992/93 (38th) Sergio Castellitto Dr. Arturo The Great Pumpkin Carlo Cecchi Renato Caccioppoli Death of a Neapolitan Mathematician Silvio Orlando Saverio Un'altra vita 1993/94 (39th) Giulio Scarpati Judge Rosario Livatino Law of Courage Diego Abatantuono Saint Joseph For Love, Only for Love Nanni Moretti Nanni Caro diario Silvio Orlando Ciro Ascarone Sud 1994/95 (40th) Marcello Mastroianni Pereira Sostiene Pereira Fabrizio Bentivoglio Giorgio Ambrosoli Un eroe borghese Massimo Troisi† Mario Ruoppolo Il Postino: The Postman 1995/96 (41st) Giancarlo Giannini Sergio Amidei Celluloide Sergio Castellitto Giuseppe 'Joe Morelli' Romolo The Star Maker Ennio Fantastichini Ruggero Mazzalupi August Vacation Giancarlo Giannini Turi Arcangelo Leofonte Palermo - Milan One Way 1996/97 (42nd) Fabrizio Bentivoglio Pietro Nava An Eyewitness Account Claudio Amendola Claudio Braccio My Generation Leonardo Pieraccioni Levante Quarini The Cyclone Sergio Rubini Joystick Nirvana Carlo Verdone Romeo Spera I'm Crazy for Iris Blond 1997/98 (43rd) Roberto Benigni‡ Guido Orefice Life Is Beautiful Nanni Moretti Himself April Silvio Orlando Vincenzo Lipari Auguri professore 1998/99 (44th) Stefano Accorsi Freccia Radiofreccia Antonio Albanese Alex Drastico / Ivo Perego / Pacifico La fame e la sete Silvio Orlando Ernesto Fuori dal mondo 2000s [edit] Year Actor Role(s) Film Ref. 1999/00 (45th) Bruno Ganz Fernando Girasole Bread and Tulips Stefano Accorsi Horst Fantazzini Outlaw Fabrizio Gifuni Marco A Love Carlo Verdone Ercole Preziosi A Chinese in a Coma 2000/01 (46th) Luigi Lo Cascio Peppino Impastato One Hundred Steps Stefano Accorsi Carlo The Last Kiss Nanni Moretti Giovanni The Son's Room 2001/02 (47th) Giancarlo Giannini Eugenio I Love You Eugenio Luigi Lo Cascio Antonio Light of My Eyes Toni Servillo Antonio 'Tony' Pisapia L'uomo in più 2002/03 (48th) Massimo Girotti Davide Veroli Facing Windows Roberto Benigni Pinocchio Pinocchio Fabrizio Bentivoglio Carlo Ristuccia Remember Me, My Love Sergio Castellitto Ernesto Picciafuoco My Mother's Smile Neri Marcorè Nello Balocchi Incantato Fabio Volo Tommaso Casomai 2003/04 (49th) Sergio Castellitto Timoteo Don't Move Giuseppe Battiston Romeo D'Avanzo Agata and the Storm Luigi Lo Cascio Nicola Carati The Best of Youth Silvio Muccino Matteo What Will Happen to Us Carlo Verdone Gilberto Mercuri Love Is Eternal While It Lasts 2004/05 (50th) Toni Servillo Titta Di Girolamo The Consequences of Love Stefano Accorsi Marco Battaglia Smalltown, Italy Giorgio Pasotti Martino After Midnight Kim Rossi Stuart Gianni The Keys to the House Luca Zingaretti Father Pino Puglisi Alla luce del sole 2005/06 (51st) Silvio Orlando Bruno Bonomo The Caiman Antonio Albanese Giordano Ricci The Second Wedding Night Fabrizio Bentivoglio Luigi Di Santo Our Land Kim Rossi Stuart Freddo Romanzo Criminale Carlo Verdone Achille De Bellis My Best Enemy 2006/07 (52nd) Elio Germano Antonio 'Accio' Benassi My Brother is an Only Child Vincenzo Amato Salvatore Mancuso Nuovomondo Michele Placido Muffa The Unknown Woman Giacomo Rizzo Geremia de' Geremei The Family Friend Kim Rossi Stuart Renato Benetti Along the Ridge 2007/08 (53rd) Toni Servillo Commissioner Giovanni Sanzio The Girl by the Lake Antonio Albanese Michele Days and Clouds Lando Buzzanca Prince Giacomo Uzeda di Francalanza I Viceré Nanni Moretti Pietro Paladini Quiet Chaos Kim Rossi Stuart Luca Flores Piano, solo 2008/09 (54th) Toni Servillo Giulio Andreotti Il Divo Luca Argentero Piero Different from Whom? Claudio Bisio Nello We Can Do That Valerio Mastandrea Stefano Nardin Don't Think About It Silvio Orlando Michele Casali Giovanna's Father 2010s [edit] Year Actor Role(s) Film Ref. 2009/10 (55th) Valerio Mastandrea Bruno Michelucci The First Beautiful Thing Antonio Albanese Alberto A Question of the Heart Libero De Rienzo Giancarlo Siani Fort Apache Napoli Kim Rossi Stuart Angelo A Question of the Heart Filippo Timi Benito Mussolini / Benito Albino Dalser Vincere 2010/11 (56th) Elio Germano Claudio La nostra vita Antonio Albanese Cetto La Qualunque Qualunquemente Claudio Bisio Alberto Colombo Benvenuti al Sud Vinicio Marchioni Aureliano Amadei 20 Cigarettes Kim Rossi Stuart Renato Vallanzasca Angel of Evil 2011/12 (57th) Michel Piccoli Pope Melville We Have a Pope Fabrizio Bentivoglio Bruno Easy! Elio Germano Pietro Potenchiavelli Magnificent Presence Marco Giallini Domenico Segato A Flat for Three Valerio Mastandrea Commissioner Luigi Calabresi Piazza Fontana: The Italian Conspiracy 2012/13 (58th) Valerio Mastandrea Giulio Balancing Act Aniello Arena Luciano Reality Sergio Castellitto Leone A Perfect Family Roberto Herlitzka Professor Fiorito The Red and the Blue Luca Marinelli Guido Every Blessed Day Toni Servillo Enrico Oliveri / Giovanni Ernani Long Live Freedom 2013/14 (59th) Toni Servillo Jep Gambardella The Great Beauty Giuseppe Battiston Paolo Bressan Zoran, My Nephew the Idiot Fabrizio Bentivoglio Dino Ossola Human Capital Carlo Cecchi Carlo Grimaldi Miele Edoardo Leo Pietro Zinni I Can Quit Whenever I Want 2014/15 (60th) Elio Germano Giacomo Leopardi Leopardi Fabrizio Ferracane Luciano Black Souls Alessandro Gassmann Paolo Pontecorvo An Italian Name Marco Giallini Tommaso De Luca God Willing Riccardo Scamarcio Gaetano You Can't Save Yourself Alone 2015/16 (61st) Claudio Santamaria Enzo Ceccotti They Call Me Jeeg Alessandro Borghi Vittorio Don't Be Bad Marco Giallini Rocco Perfect Strangers Luca Marinelli Cesare Don't Be Bad Valerio Mastandrea Lele Perfect Strangers 2016/17 (62nd) Stefano Accorsi Loris De Martino Italian Race Valerio Mastandrea Massimo Sweet Dreams Michele Riondino Libero Worldly Girl Sergio Rubini Oreste Campese La stoffa dei sogni Toni Servillo Father Roberto Salus The Confessions 2017/18 (63rd) Renato Carpentieri Lorenzo Tenderness Antonio Albanese Giovanni Come un gatto in tangenziale Alessandro Borghi Andrea Galderisi / Luca Napoli velata Valerio Mastandrea The Man The Place Nicola Nocella Isidoro 'Easy' Easy 2018/19 (64th) Alessandro Borghi Stefano Cucchi On My Skin Marcello Fonte Marcello Dogman Luca Marinelli Fabrizio De André Fabrizio De André - Principe libero Riccardo Scamarcio Matteo Euphoria Toni Servillo Silvio Berlusconi Loro 2020s [edit] Year Actor Role(s) Film Ref. 2019/20 (65th) Pierfrancesco Favino Tommaso Buscetta The Traitor Toni Servillo Peppino Lo Cicero 5 Is the Perfect Number Alesandro Borghi Remo The First King: Birth of an Empire Francesco Di Leva Antonio Barracano The Mayor of Rione Sanità Luca Marinelli Martin Eden Martin Eden 2020/21 (66th) Elio Germano Antonio Ligabue Hidden Away Kim Rossi Stuart Bruno Salvati Cosa sarà Valerio Mastandrea Nicola Figli Pierfrancesco Favino Bettino Craxi Hammamet Renato Pozzetto Giuseppe "Nino" Sgarbi We Still Talk 2021/22 (67th) Silvio Orlando Carmine Lagioia The Inner Cage Elio Germano Massimo Sisti America Latina Filippo Scotti Fabietto Schisa The Hand of God Franz Rogowski Franz Freaks Out Toni Servillo Eduardo Scarpetta The King of Laughter 2022/23 (68th) Fabrizio Gifuni Aldo Moro Exterior Night Alessandro Borghi Bruno Guglielmina The Eight Mountains Ficarra e Picone Bastiano and Nofrio Strangeness Luigi Lo Cascio Aldo Braibanti Lord of the Ants Luca Marinelli Pietro Guasti The Eight Mountains Multiple wins and nominations [edit] See also [edit] Nastro d'Argento for Best Actor Cinema of Italy References [edit]
5438	dbpedia	3	31	https://www.amazon.com/prime-video/actor/Valerio-Zurlini/amzn1.dv.gti.e6c172b4-0d4b-4b80-b366-ed8f398ac0fd/	en	Valerio Zurlini: Movies, TV, and Bio	https://m.media-amazon.c…CB587940754_.png		[ "https://fls-na.amazon.com/1/batch/1/OP/ATVPDKIKX0DER:131-4462999-2731821:Z1AX8MZMDXQ731QVZJRV$uedata=s:%2Frd%2Fuedata%3Fstaticb%26id%3DZ1AX8MZMDXQ731QVZJRV:0", "https://m.media-amazon.com/images/G/01/gno/sprites/nav-sprite-global-1x-reorg-privacy._CB587940754_.png", "https://m.media-amazon.com/images/G/01/digital/video/web/logo-min-remaster.png", "https://m.media-amazon.com/images/G/01/digital/video/web/logo-min-remaster.png", "https://m.media-amazon.com/images/S/pv-target-images/325a5ecff7c86b933490bb39da4979acc0aafd5f6f2b5a7285d2583858023332._SX300_.jpg", "https://m.media-amazon.com/images/S/pv-target-images/47e97287b3f5d36db639ca89452b6bdfcbab0400e77e3d3b082fa05fcf12e5fa._SX329_.png", "https://m.media-amazon.com/images/S/pv-target-images/1146ce075a16e1007eaf3ee0831a6d222843cfdcfaa113c4dcfa7a042919867a._SX329_.jpg", "https://m.media-amazon.com/images/S/pv-target-images/5ef4b19f727b572641b88a89ce4e86155321a5fac9bd1aeb6b0bcf90dec1597f._SX329_.jpg", "https://m.media-amazon.com/images/M/MV5BMTMwMzMzNDA3Nl5BMl5BanBnXkFtZTYwMzMwODc1._V1_SX300_.jpg", "https://m.media-amazon.com/images/M/MV5BMTkwMTk0MTA4M15BMl5BanBnXkFtZTcwNzc4NDM4Nw@@._V1_SX300_.jpg", "https://m.media-amazon.com/images/M/MV5BMjEzNDY4NzIwNl5BMl5BanBnXkFtZTcwNDMxNTUzOA@@._V1_SX300_.jpg", "https://m.media-amazon.com/images/M/MV5BOTdiMTRiZjItNmJjZS00NmQ0LThjN2MtZDhmMjBmYmY5NzhmXkEyXkFqcGdeQXVyMTI3MDk3MzQ@._V1_SX300_.jpg", "https://m.media-amazon.com/images/M/MV5BNjBiOGFkNjItN2ZmZi00Nzk1LWFlYTMtNjllZjI5ZjA3NDJkXkEyXkFqcGdeQXVyNTUyMTMyMDg@._V1_SX300_.jpg", "https://m.media-amazon.com/images/M/MV5BMTQxMjI1NzAxNl5BMl5BanBnXkFtZTgwNjQxMDAwMjE@._V1_SX300_.jpg", "https://m.media-amazon.com/images/M/MV5BMTA0ZjZhYjgtODUzZC00MWYwLWIyODYtM2I5YTYwNmJhNDlmXkEyXkFqcGc@._V1_SX300_.jpg", "https://m.media-amazon.com/images/M/MV5BMTU2MzE2OTE0N15BMl5BanBnXkFtZTcwNTg2NzIwNw@@._V1_SX300_.jpg", "https://m.media-amazon.com/images/M/MV5BMzAyOTRjMjYtMmFlMi00NGEyLTlhMDMtMzU2MDJkOGUyNzdmXkEyXkFqcGdeQXVyMzI5NDcxNzI@._V1_SX300_.jpg", "https://m.media-amazon.com/images/G/01/digital/video/sonata/SVOD_MV_MAW/16f97c9a-ffa7-4008-bd37-1bb06494b0e1._SX300_.jpg", "https://m.media-amazon.com/images/G/01/digital/video/sonata/SVOD_MV_DRAMA/ff08f33b-26bd-42eb-b24f-36a3854e1bc4._SX300_.jpg", "https://m.media-amazon.com/images/G/01/digital/video/sonata/SVOD_MV_ROMANCE/a913ed77-a328-4136-bd01-ed8f1b37235f._SX300_.jpg", "https://fls-na.amazon.com/1/batch/1/OP/ATVPDKIKX0DER:131-4462999-2731821:Z1AX8MZMDXQ731QVZJRV$uedata=s:%2Frd%2Fuedata%3Fnoscript%26id%3DZ1AX8MZMDXQ731QVZJRV:0" ]	[]	[]	[ "" ]	null	[]	null	Browse Valerio Zurlini movies and TV shows available on Prime Video and begin streaming right away to your favorite device.	en			https://www.amazon.com/prime-video/actor/Valerio-Zurlini/amzn1.dv.gti.e6c172b4-0d4b-4b80-b366-ed8f398ac0fd/	Valerio Zurlini was born on March 19, 1926. During his law studies in Rome, he started working in the theatre. In 1943, he joined the Italian resistance. Zurlini became a member of the Italian Communist Party. He filmed short documentaries in the immediate post-war period and in 1954 directed his first feature film, Le ragazze di San Frediano (1955), his only comedy. In 1958, together with Leonardo Benvenuti, Piero De Bernardi and Alberto Lattuada, he won the Silver Ribbon for Best Script for Lattuada's Guendalina (1957). Zurlini made his name as a director with his second feature film, Violent Summer (1959), starring Eleonora Rossi Drago and Jean-Louis Trintignant. In 1961 Zurlini filmed Girl with a Suitcase (1961), a successful drama, starring Claudia Cardinale and Jacques Perrin, who would become Zurlini's favorite actor. In 1962 Zurlini's film Family Diary (1962) earned him the Golden Lion at the Venice Film Festival (it tied with Andrei Tarkovsky's Ivan's Childhood (1962)). Zurlini had a masterful skill for screen adaptations Both Le ragazze di San Frediano (1955) and Family Diary (1962) were based on Vasco Pratolini's work. Zurlini admired the work of Italian novelist Giorgio Bassani and hoped to adapt his novel "The Garden of the Finzi-Continis," which was subsequently directed by Vittorio De Sica (see The Garden of the Finzi-Continis (1970)). His 1965 film The Camp Followers (1965) was entered into the 4th Moscow International Film Festival where it won the Special Silver Prize. Zurlini's last film, The Desert of the Tartars (1976), produced by Jacques Perrin and featuring an all-star ensemble, was based on Dino Buzzati's novel of the same name. The movie won both the David di Donatello for Best Director and the Silver Ribbon for Best Director. The visual style of Zurlini's adaptations was informed by artists Giorgio De Chirico, Giorgio Morandi and Ottone Rosai. During the last years of his life, Zurlini taught at the Centro Sperimentale di Cinematografia in Rome and worked as a dubbing director for the Italian versions for such movies as The Deer Hunter (1978) and My American Uncle (1980). He died of stomach hemorrhage in Verona on October 27, 1982.
5438	dbpedia	1	86	https://www.gettyimages.com/photos/marco-bergamasco	en	Getty Images			[ "https://www.gettyimages.com/sign-in/assets/static/white-f114c2d21e50f9b239ac.svg", "https://www.gettyimages.com/sign-in/assets/static/black-dd9588e3db810afab0eb.svg" ]	[]	[]	[ "" ]	null	[]	null	Getty Images Deutschland. Finden Sie hochauflösende lizenzfreie Bilder, Bilder zur redaktionellen Verwendung, Vektorgrafiken, Videoclips und Musik zur Lizenzierung in der umfangreichsten Fotobibliothek online.	de			null
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"https://www.facebook.com/tr?id=214888273667964&ev=PageView&noscript=1&cd%5Bpage_title%5D=%3Cspan%3EDocenti%3C%2Fspan%3E&cd%5Bpost_type%5D=archive&cd%5Bplugin%5D=PixelYourSite&cd%5Buser_role%5D=guest&cd%5Bevent_url%5D=www.unirufa.it%2Fen%2Fdocenti%2F" ]	[ "//cdn.iubenda.com/cookie_solution/empty.html", "//cdn.iubenda.com/cookie_solution/empty.html", "//cdn.iubenda.com/cookie_solution/empty.html", "//cdn.iubenda.com/cookie_solution/empty.html", "//cdn.iubenda.com/cookie_solution/empty.html", "https://www.youtube-nocookie.com/embed/aI4awj2lmUE", "//cdn.iubenda.com/cookie_solution/empty.html", "//cdn.iubenda.com/cookie_solution/empty.html" ]	[]	[ "" ]	null	[]	null		en	https://www.unirufa.it/w…e-touch-icon.png	RUFA - Rome University of Fine Arts	https://www.unirufa.it/docenti/	A Bianca Alessandra Ara Tecniche performative per le arti visive Biancaara.alessandra@unirufa.it Discover more Italian and English actress/singer, former student of Gigi Proietti, specialised in physical, emotional, improvisational and clowning. As a Performer, she ranges through various artistic genres: opera, prose, musical comedy, light theatre, clowning and cinema. She made her debut in Cyrano de Bergerac with Gigi Proietti, was then one of the three witches in Macbeth directed by Franca Valeri, then Ismene in Phèdre with Mariangela Melato, Charlotte in Anni Felici directed by Daniele Luchetti and Frà Bernardo in De Serpentis Munere directed by Roberto Leoni. She has performed in International productions in London and New York. She is a renowned Acting coach of Acting in English in prestigious Art Academies throughout Italy. She also runs professional and non-professional intensive acting work-shops. She is a voice talent, dubber and speaker in commercials and documentaries of major National and foreign networks/radios and has created her own bilingual podcast in 2021 “on air” on all digital platforms, “Acting & Co”. Alterazioni Video I docufilm fotografici Discover more Lecturers of the module Photographic docufilms in the RUFA x Leica Akademie advanced training course: Immagine fotografica per il cinema e i nuovi media. Alterazioni Video is an art collective founded in 2004, consisting of artists of different nationalities. The group is known for its projects spanning various media, including video, installations, performances and interventions in public space. Their work is characterised by a critical and often ironic approach to social, political and cultural issues. The work of Alterazioni Video has been exhibited in numerous international exhibitions, art biennials and festivals, testifying to their relevance in the contemporary art scene. Alterazioni Video Website Christian Angeli Audiovisual and show documentation techniques christian.angeli@unirufa.it Discover more He graduated in Humanities (with a focus on Italian Literature) and has directed several art documentaries for the Italian State broadcaster RAI, including: “Mendini: il Teatro degli Oggetti” (winner of the Best Film On Art Award at the Iffest Document.Art.XXI in Bucharest), “Suite per Palma”, “Nunzio, senza titolo”, “Gilberto Zorio, il viaggio di una canoa”, “Ettore Spalletti: lo spazio che accoglie lo sguardo”, “Le città invisibili di Grazia Toderi”, all of which were written with the art critic Raffaele Simongini. He has also directed documentaries on social issues aired by Rai Tre channel: “Diritto ai diritti” (Spotlight Gold Award), “Lavoratori in corso”, “Ragazzi in gamba” (Special Jury Award at the Libero Bizzarri Documentary Film Festival), “Donne al centro di una periferia”, the latter in collaboration with Stefano Mignucci. He has made over seventy episodes of “Prima della Prima”, a programme on opera that aired first on Rai Tre and then Rai 5. For the theatre he has directed “Il Gioco” by Franca De Angelis, “Doppelganger. Chi cammina al tuo fianco”, a tribute to American noir films, “Gli amici degli amici” by Franca De Angelis, based on the short story by Henry James “The Friends of the Friends”, “Millennium Bug” by Sergio Gallozzi on the political battle by Luca Coscioni, “Il sole di chi è?”, a musical by Silvia Colasanti, “Il club delle piccole morti”, co-directed with Tommaso Capolicchio, who is also the author of the piece. For cinema he has directed the feature film “In Carne e Ossa” (Award for Best Actress to Alba Rohrwacher at the Lecce European Film Festival) and the short film “Fare bene Mikles” (winner of the Italian Golden Globe Award by the Italian Foreign Press Association). Agnese Angelini Graphic design 1 - Visual Design 1 agnese.angelini@unirufa.it Discover more Agnese Angelini is a brand designer and consultant for branding and communication strategy services. Her professional experience as a Brand Designer has included collaborations with some of Europe’s leading Brand Agencies, such as FutureBrand of Milan and Paris, Landor of Milan and Paris, Carrè Noir of Turin, Cb’a of Paris Saatchi & Saatchi of Rome, Strategic Design of Rome and JWT. Agnese has designed graphic identities for many Brand Agencies for a wide range of clients including: Original Marines – Fashion Brand, Yas Island at Abu Dhabi, Juventus Team, Artesia – French railways, Angelini Pharmaceutical, Zucchi Bassetti, Coop Supermarché, ABI – Italian Banking Association, Inda, Palatium, Laura Tonatto Parfum, Mazda, Toyota, Agrifood of Verona, Rome Film Festival – first edition, Poste italiane, Enav – National Flight Assistance Agency , IP – Gruppo Api, Ansaldo – Finmeccanica Group. Some of her projects are featured in international awards such as American Graphic Design Awards 2018 and International Design Awards 2016. Agnese has worked in Brand Identity or more than 3 decade. Since 2005 she has been living and working between Paris and Rome. Today she works as a freelancer and collaborates with important Brand Agencies in Paris, Geneva, Milan and Rome. Since 2012, she teaches at the MA Visual and Innovation Design Course and also in the Graphic Design BA at RUFA. www.agneseangelini.com LinkedIn Simona Antonacci Analisi di una mostra: il percorso, il colophon e le dida. Scrivere per immagini Discover more Lecturer of the module Analysing an exhibition: the route, the colophon and captions. Writing in images in the RUFA x Leica Akademie advanced training course: Immagine fotografica per il cinema e i nuovi media. After graduating in Contemporary Art History at ‘La Sapienza’ University, he attended the Specialisation School at the University of Siena with Prof. Enrico Crispolti. He is an expert in the subject at the University of Tuscia, where he obtained his PhD in Conservation of Cultural Heritage with a thesis on the activity of exhibition spaces and magazines in Rome in the 1980s and 1990s. She collaborated with the Wunderkammern gallery in Rome from 2008 to 2013, curated events and projects dedicated to contemporary art and photography and published articles in specialised magazines. Trained in museology and didactics, she worked in the Education Department of MAXXI, Museum of XXI Century Arts, from 2005 to 2012. From 2012 she began her collaboration with the MAXXI Architettura Photography Collection, of which she is currently Head. In the context of the museum’s activities, he has collaborated as coordinator or co-curator on exhibitions dedicated to Luigi Ghirri, Gabriele Basilico, Letizia Battaglia, Olivo Barbieri, Paolo Di Paolo, Paolo Pellegrin, Gianni Berengo Gardin and Premio Graziadei for Photography. B Mariangela Barbanente AUDIOVISUAL DOCUMENTATION TECHNIQUES mariangela.barbanente@unirufa.it Discover more Filmmaker and screenwriter. She started working in Documentary as production assistant and assistant director with the company Les Films d’Ici (France). Assistant director and second camera in Di Costanzo’s documentaries Prove di Stato (1998) and A scuola (2003), in 2000 she completed her first documentary, “Sole”, which received several awards such as a special mention at the Turin Film Festival the same year and it has been shown on TV in 15 countries. In 2005 she shot the docu-series “Il trasloco del bar di Vezio” broadcasted on the cable channel Planet. In 2006 she collaborated on the screenplay of “The Orchestra Of Piazza Vittorio” by Agostino Ferrente. In 2011, her documentary “Ferrhotel” received the prize UCCA–100 Città at the Turin Film Festival 2011 and the Amnesty International Award at Pesaro Film Festival. In 2013 she co-authored “In Viaggio Con Cecilia” with the Italian famed documentary director dean Cecilia Mangini and in 2015 “Varichina” co-directed with Antonio Palumbo which has been nominated for the Nastri d’Argento 2016. She was the first woman to be president of Doc/it – Documentaristi Italiani (2011-13). Livia Barbieri VIDEO PRODUCTION livia.barbieri@unirufa.it Discover more Livia Barbieri was born in Rome, in 1983, and graduated in Economics from La Sapienza University, Rome (2006), going on to gain a diploma from the Experimental Centre of Cinematography (Centro Sperimentale di Cinematografia) in Rome, after attending the Film Production course (2006-2008). Her first job as an organiser, in 2009, was in “Brothers of Italy”, a documentary directed by Claudio Giovannesi, with whom she has since worked in other projects, “Ali Blue Eyes” (2012) and “Flower” (2016) (as production supervisor and production coordinator, respectively). Throughout 2010 and part of 2011 she worked at a number of different low-budget projects: fashion commercials (“She wolf” and “Passe-partout” by Debora Vrizzi), shorts (“Al servizio del cliente” by Beppe Tufarulo and “Sottocasa” by Alessio Lauria, both of which won the respective editions of the best shorts section of the Solinas Award, “Cargo” by Carlo Sironi, screened in competition at the ’69th Venice Film Festival), music videos (“Under the sun” by Lorenzo Vignolo). In 2012, she returned to making documentaries with “La Carrera” by Francesco Costabile and Assunta Nugnes, and with “It’s Gonna Take a Miracle” by Davide Minnella, winner at the 2014 RIFF. That same year she collaborated in the preparation, shooting and post-production with Jean Denis Le Dinahet, the producer of the debut film by Fabio Mollo “South is Nothing”, which won the Taodue Golden Camera Award for Best First and Second Film, which recognises the best emerging director and producer, at the 8th edition of the Rome Film Festival. In 2013 and 2014, she participated in various films as supervisor or coordinator, including the debut film by Claudio Amendola “The Move of the Penguin” and “Me, Myself and Her” by Maria Sole Tognazzi. As organiser, the documentary by Lorenzo D’amico de Carvalho “Terra de Fraternidade” and Gianclaudio Cappai’s debut film “Leaving No Trace”. In 2015 and 2016, as an organiser: the 5-part web series “AUS – Adopt a Student” by Antonio Marzotto, winner of the Solinas Award in the Bottega del Web contest, screened on the Rai website; the short “Le futur” by J.P.Baumerder, featuring Jacques Perrin; the feature film “L’indomptee” by Caroline Deruas, in competition in the Filmmakers of the Present section at the 2016 Locarno Film Festival. Meanwhile, she continued to work in the coordination of the film “Banat” by Adriano Valerio, Claudio Amendola’s second film “Il permesso”, and “Looking for Oum Kulthum” by Shirin Neshat (previously winner of the Silver Lion at the 66th Venice International Film Festival for “Women Without Men”). Currently she is working with Giovanni Pompili of Kino Productions on two projects for documentaries (co-productions with Switzerland, namely “Devil’s Gold”, directed by Michele Pennetta, and France “Women Photographie” directed by Esther Sparatore) and a feature film (a Belgian co-production “Coureur”, directed by Kenneth Mercken). Chiara Bardelli Nonino Foto Editing: le immagini e la sequenza Discover more Lecturer of the module Photo Editing: the images and the sequence in the RUFA x Leica Akademie advanced training course: Immagine fotografica per il cinema e i nuovi media. Chiara Bardelli Nonino graduated with a master’s degree in Philosophy with a thesis on post-mortem photography. È Visual Senior Editor of Vogue Italia e L’Uomo Vogue, editor of the Vogue.it photography section and curator of the Photo Vogue Festival, where fashion is explored from a socio-political point of view in exhibitions such as Reframing History, All That Man Is – Fashion and Masculinity Now, Italian Panorama, Fashion & Politics in Vogue Italia, The Female Gaze. With a focus on contemporary photography, she also works on independent editorial and curatorial projects and juries. Recent projects include the exhibition The Edge Effect at Marselleria, the project My Queer Blackness My Black Queerness and the co-curation of Aperture Summer Open: Delirious Cities. She served on the jury of the 2020 edition of the Hyères Festival and curated the largest monographic exhibition on Paolo Roversi’s work entitled “Paolo Roversi – Studio Luce” and the art book of the same name designed by M/M Paris.She has collaborated with, among others, wtih Foam Magazine, Aperture, The British Journal of Photography, PHmuseum, The Photocaptionist, Flash Art Italia, Looking on, Canon Student Development Programme, Metronom Gallery, Red Hook Labs, Marsell Paradise, Creative Review. Chiara Bardelli Nonino for Vogue Sergio Basso Film-making 1; Cinematografia 1; sergio.basso@unirufa.it Discover more Sergio Basso is a movie and theatre director, a screenwriter and game design consultant. He was Gianni Amelio’s assistant director on his last production in China, “The missing star”. His films – e.g., Elementary love (2014), Sarita (2020) – got selected and won awarded in many major international festivals (e.g. Locarno, Nyon, Annecy, Beijing, Turin). He is the author of several TV series (“Marta&Eva” and “POV2”). He co-worked with UN, OSCE, NOKIA, SONY, RAI & RAICinema, TELECOM Italy, Save the Children, Oxford University, the MAAXI Museum in Rome. More recently he devoted himself to developing crossmedia platforms for the Italian newspaper Il Corriere della Sera and to experimenting the contribution of animation in documentary film-making, winning Annecy International Film Festival. In 2014 and 2016 he shot documentaries for the prime time of the Chinese state TV, CCTV 6, and won the China Award 2016. He is script-doctoring the next videogame by 101 Percento company, Aftermath, for PS4. Mario Bellina HISTORY OF ANIMATED FILM mario.bellina@unirufa.it Discover more Mario Bellina is a specialized television writer and screenwriter for cartoons (Super SpikeBall, Arctic Friends, Nefertina sul Nilo), sit-coms (Meg & Bianca Fashion Friends, Sara & Marti), Children TV shows (Rob-O-Cod, Albero Azzurro, Selfie Show) and family movies (Christmas Thieves). He has worked on various TV shows (Sconosciuti, Ci vediamo in tribunale, Fratelli d’Italia) as an author, screenwriter and director. He is a consultant for the major Italian animation and cross-media festivals including Cartoons on the bay (of which he is part of the scientific committee) and Romics. For some time he has been involved as a game writer in the conception and design of apps and interactive products for children. He has written various books including humorous, for children, and essays on cinema and animation, the latest of which: Scrivere per l’animazione published by Dino Audino. Linkedin, Facebook Alessandro Bencivenni SCRIPT WRITING, CINEMA alessandro.bencivenni@unirufa.it Discover more He begins his career in writing in the field of comics with Topolino, he then goes on to write for the movie industry with the director Neri Parenti alongside Domenico Saverni (with which he establishes a long professional collaboration) and the couple Benvenuti-De Bernardi: it is the group with which he created various films starring Paolo Villaggio. In 1991 he contributes to Lina Wertmuller’s Io speriamo che me la cavo. With Saverni and Oldoini he conceives the successfull TV series Don Matteo. Since 2006 he dedicates himself to the so called saga of cinepanettoni and participated in Mario Monicelli’s Le rose del deserto, nominated as best screenplay at the Nastri D’Argento. Since 2000 he also began to teach as a professor at Accedemia dell’Aquila, Università di Terni-Perugia, LUISS’s Writing School and Scuola Volontè. He is the author of several monographies on Luchino Visconti, Peter Greenaway and Hayao Miyazaki and the book Ricordare, sognare, sceneggiare. He won for ten times the Chiavi d’Oro: prize awarded to the best successes of the year. He has also published the story in rhymes L’amore non è incluso. Maria Pina Bentivenga PRINT MAKING; ENGRAVING TECHNIQUES 1; ENGRAVING TECHNIQUES 2; SPECIAL GRAPHIC TECHNIQUES maria.bentivenga@unirufa.it Discover more She moved to Rome in 1991 , graduated from the Fine Arts Academy of Rome in 1995 when she also started researching engraving techniques and participating in several important exhibitions in Italy and abroad. In 2000 she started teaching Special Graphic Techniques and Print Making at RUFA – Rome University of Fine Arts. In 2002, she received an honourable mention at the 7th International Engraving Biennial of Ourense, Spain. In 2003, she joined the Association of Veneto Engravers. In 2008, she edited Cammini Inquieti, with a text by Rainer Maria Rilke, for the Trieste publisher Trart Edizioni. In 2008, she edited Specchi, with a poem by Rainer Maria Rilke, for the publisher Pulcinoelefante based in Osnago. Since 2010 she teaches Engraving Techniques at the S. Giacomo School of Ornamental Arts (Scuola d’Arti Ornamentali) run by the local authority of Rome. In 2011, she was awarded the Graphic Designers Prize at the 15th Massenzio Arte Awards in Rome; she worked on Sovenir, an artists’ book with a text by Fabrizio Napoli, for the Rome publisher InSigna. In 2012, she held a workshop for engraving and book arts at the EASD in Zamora (Spain); that same year she developed a project as a resident artist in Romagna, at Montefiore Conca (Rimini) – Un Castello per le Arti (A Castle for the Arts). In 2013, she joined the Association of Contemporary Engravers, sitting on the board, and is a founding member of Associazione InSigna of Rome, an organisation engaged in the creation and dissemination of Artists’ Books and Print Making; she participated in the Divertissement project/residence, organised by Maison 22 of Bologna, in collaboration with Opificio della Rosa and Atelier della Luna at Montefiore Conca (Rimini); she made the artists’ book Fragili Orizzonti (Fragile Horizons), published by InSigna – Rome. In 2014, she held numerous workshops on letterpress and artists’ books, in collaboration with other artists and illustrators, edited the artists’ book Buchi, with a text by Fabio Palombo, published by InSigna – Rome. In 2014, the Albertina in Vienna purchased her graphic work Deux, while the Istituto Nazionale per la Grafica of Rome purchased 7 prints, 4 drawings and an artists’ book. Her works can be found in numerous public collections in Italy and abroad: the Istituto Nazionale per la Grafica of Rome; the Collections of the Albertina Gallery in Vienna; the Cabinet of Ancient and Modern Prints of the Commune of Bagnacavallo (Ravenna); the Alberto Sartori Print Collection – Mantova; the Contemporary Art Museum of Villa Croce – Genoa; the Museum of the Pellicano Trasanni CXultural Foundation – Urbino; the Bertarelli Civic Collection of Milan; the Municipal Collection of Modern Prints of the Commune of Cavaion Veronese; the Caixanova Collection of Prints in Ourense – Spain; the Collection of Prints of Acqui Terme (AL). www.mariapinabentivenga.com Gianna Bentivenga EXPERIMENTAL PLATE ENGRAVING TECHNIQUES gianna.bentivenga@unirufa.it Discover more In 1995 she moved to Rome and enrolled in the Fine Arts Academy there, graduating in Painting in 1999. In the 1998/99 academic year she won an Erasmus scholarship to study at the Academie voor Schone Kunsten of Antwerp, in Belgium, where she had the opportunity to further her studies in engraving techniques. During the same period, she was admitted as a guest student at the Frans Masereel Centrum for the graphic arts in Kasterlee (Belgium). In 2006, she won a residency at the Kunsthaus Tacheles in Berlin. Since 2000, she has participated in numerous exhibitions in Italy and abroad. In 2000, she won the second prize and, in 2004, an honourable mention at the 6th International Engraving Biennial of Ourense, Spain. In 2007, she published an engraving in the Icons folder of the series “AMICI”, as a tribute to Alexsander Solzhenitsyn, which was later purchased by the Albertina in Vienna; in 2013, she received the Alvaro Becattini Award at the 18th edition of the “VACA libri mai mai visti” competition in Ravenna. Since 2012, she has has regularly carried out projects as artist-in-residence: 2012, Un Castello per le Arti, Montefiore Conca (Rimini); 2013, Divertissement, Montefiore Conca (Rimini); 2015, Atelier Empriente, Luxembourg; 2016, Zagorie ob Savi, Slovenia. Since 2013, she is a founding member and President of Associazione InSigna of Rome, an organisation engaged in the creation and dissemination of Artists’ Books and Print Making. Since 2016, she coordinates international projects for the Renate Herold Czaschka Foundation. Her works can be found in numerous public collections in Italy and abroad. www.giannabentivenga.com Massimo Berruti Documentazione fotografica massimo.berruti@unirufa.it Discover more Professional since 2005 he was invited to become a member of AgenceVU in 2008. He works as a photojournalist for the most prestigious international media, such as National Geographic Magazine, TIME and the New York Times. Many of his recognitions are the result of his long work from Pakistan, during its involvement in the War on Terrorism. It was here that, thanks to the support of the Carmignac Foundation, he worked on the subject of his first monographic book, The Lashkars. Berruti has won numerous awards including 2 WORLD PRESS PHOTO and 3 POYi, a Visa d’Or Award, the Magnum Foundation EF, the Carmignac Photojournalism Award and the Fellowship de W. Eugene Smith Award, among many others. His images are part of the Carmignac collection, the MAXXI museum in Rome and the Farnesina Collection. In 2017, he left AgenceVU to participate in the foundation of MAPS, a collective that brings together a leading internationally renowned photographers and creatives. Maurizio Beucci RUFA x Leica Akademie - Immagine fotografica per il cinema e i nuovi media Discover more Lecturer of the RUFA x Leica Akademie advanced training course: Immagine fotografica per il cinema e i nuovi media. Maurizio Beucci is a photographer, curator, photography teacher. He is Head of Leica Akademie Italy, the training school dedicated to Leica Camera photography. For Leica Galerie Milano he curated, among others, the exhibitions of Araki (2019), Joel Meyerowitz (2021), Bryan Adams (2022) and Piero Percoco (2023). In March 2023, he curated ANFM’s first national exhibition ‘Nuovi Matrimoni, 2023’ at Palazzo Malvinni Malvezzi in Matera. He was a portfolio reader for VoiesOFF at the Arles Festival “Les Rencontres de la Photographie” in 2018 and 2019 and has been a juror and portfolio reader for Phest in Monopoli since 2020. He is the author of all the photographs in the book “Impossible Langhe” written by Pietro Giovannini and published by the Radical Design Foundation in 2021. Stefano Bianchi Il libro fotografico: creare il libro Discover more Lecturer of the module The photo book: creating the book in the RUFA x Leica Akademie advanced training course: Immagine fotografica per il cinema e i nuovi media. Founder and CEO of Crowdbooks.com with over 20 years of experience as an editorial graphic designer and Art Director, Stefano specialises in the publication and production of photo books. Lorenzo Bolzoni Graphic Design - COMIC BOOK ART lorenzo.bolzoni@unirufa.it Discover more Lorenzo Bolzoni (1981) graduated in Industrial Design at Politecnico University of Milan and attended training courses of comics, typography and type design. Since 2009 he is Senior Designer for the comic book publisher BAO Publishing. He teaches graphic design at the RUFA University of Rome and at the International School of Comics in Milan. In 2020 he was part of the project team for the reprint of the book Alfa-Beta, by Aldo Novarese, entirely financed with a successful crowdfunding campaign. He signs all his works with the pseudonym Officine Bolzoni. Daniele Bonomo COMIC BOOK ART daniele.bonomo@unirufa.it Discover more An author of humorous stories, cartoons, strips, short stories and graphic novels. He works at SkeletonMonster and is one of the five creators of ARF! a Comics Festival in Rome . To date, he has published the following books: Tutti possono fare fumetti, La notte dei giocattoli (based on texts by Dacia Maraini) and the children’s comic series Timothy Top, all published by Tunué. Since 2001, he teaches comic book art in schools. Beatrice Bulla Art Printmaking beatrice.bulla@unirufa.it Discover more She was born in Rome in 1994 from a long generation of art printers, whose roots go back to Paris in 1818. From a young age she assisted her father Romolo and aunt Rosalba in the family print shop, helping them in the production of lithographic and woodcut limited editions of contemporary artists. In 2013 she moved to London where she graduated from Middlesex University in the Media and Performing Arts department. In 2017 she returned to Rome to manage the family archive and co-curate the exhibition ‘Litografia Bulla. A two-hundred-year journey between art and technique presented in the rooms of Palazzo Poli of the Central Institute for Graphics in Rome in 2018. In the same year, together with her sister Flaminia and Alessandro Cucchi, she opened ‘O’, a residency project within Litografia Bulla aimed at emerging artists called upon to produce a limited edition artist’s book. In 2020 he takes the reins of the printworks together with her sister Flaminia with whom, in addition to producing commissioned editions for artists, galleries, foundations and museums, she opens the second residency project ‘Passaggi’ where she co-curates exhibitions in the first rooms of Litografia Bulla of national and international artists, invited to produce graphics and multiples within the printworks. In the same year Litografia Bulla works together with the main artist-run spaces in Rome for sponsorships and commissions. In 2021 Beatrice became co-president of Club Taverna, an initiative of Spazio Taverna by Ludovico Pratesi and Marco Bassan. Paolo Buonaiuto Graphic Design 2 paolo.buonaiuto@unirufa.it Discover more Paolo B. has been working as an art director and visual designer for over 25 years. His projects are signed art-bit.design&c., a visual design and communications studio dealing with the visual communication production process, from the brand design to the coordinated image, throughout the promotion of identity values within institutional, museum, cultural and product communications, in particular signage & wayfinding. Coordinator of the Bachelor of Arts in “Design for Humans” and Professor of Graphic Design and Color at RUFA (Rome University of Fine Arts). Professor of Design and Tourism at Roma Tre University in the Master in Tourism Languages and Intercultural Communication. He collaborated with Villa Médicis – Académie de France à Rome for the exhibition “Thursdays at Villa Medici” within the program “Graphic Lessons”. He held colour lectures at LUISS – Free International University of Social Studies “Guido Carli”, Rome. As a trainer, Paolo taught in the Perception, Light and Matter course and the Colour Design course for Cosmob S.p.a., Pesaro, Italy. He has been a lecturer in the “Visual Communication for Companies” course organized by the Rome Institute for Entrepreneurial Training in collaboration with the CNA – the Italian Confederation of Crafts and Small-medium enterprises based in Rome. Regarding institutional positions, he has been Director of the Lazio Delegation of AIAP – the Italian Association of Visual Communication Design, from 2010 to 2012, then Secretary from 2013 to 2015. In 2016 he started his career at AIAP in Lazio, and eventually became Advisor of the AIAP board for 2019- 2021 biennium. Responsible as designer of the visual communication between Aiap and Confcommercio – Businesses for Italy – Professions. Sito web, Linkedin, Facebook, Instagram C Emanuela Camacci Visual Art Techniques and Technologies; Sculpture Techniques emanuela.camacci@unirufa.it Discover more Emanuela Camacci was born in Rome, she graduated in sculpture at the Academy of Fine Arts in Rome. Once she graduated she attended a specialization in mosaic art at the studio of Costantino Buccolieri. She has participated in numerous temporary exhibitions and land art interventions in Italy and around the world, including GNAP Italy – Global Nomedic Art Project, 2019. She has undertaken many international residencies, such as the Sculpture Symposium in Santiago de Chile in 2017 and the Yatoo International Artist in Residence in South Korea in 2018. In Italy she has won several awards and competitions for works of art in public spaces, such as the Montesacro East Fire Station in Rome, with the work “Mani” in Roman travertine, or such as the sculpture “Bubbles of air” at the permanent collection of the Cantina Producers Cormòns of Gorizia. A determining factor in her research has been the collaboration with artists and professionals from various backgrounds, experiences that offered her the opportunity to live life with a different perspective from an artistic-intellectual and human point of view. Her evocative language is rooted in representations of emotional life, in the link between sculpture, architecture and the environment, in the exploration of the limits and possibilities of various materials. Ideas are only fully realized in an appropriate context. “the work changes meaning in relation to place and space.” Sito web, Instagram, Facebook Simone Cametti PERFORMATIVE TECHNIQUES simone.cametti@unirufa.it Discover more Sculpture and installations are a key part of his poetics, alongside other media, such as photography, audio and video art. Simone Cametti begins by observing materials and their physical characteristics: marble, iron, organic elements. He investigates their colour, mechanical properties, brightness, form, with the precise will to disguise the original material and change it completely. A subtle game used by the artist to silently, and almost invisibly, tell unheard of stories, little fragments of daily life preserving the memory of the functional past of the objects they once were. Recently, he has turned his interest to the study of landscapes and performance, keeping the material transformation of space at the core of his investigation. Literally shifting the focus on the change of perception resulting from the physical transformation of the context by the artist himself. Cinzia Capparelli Fotografia cinzia.capparelli@unirufa.it Discover more Cinzia Capparelli is a photographer specialising in fashion, portraiture and advertising. She works with a continuous tension for experimentation, attention to light and vision, in search of a meditative empathy with the subject. She has published her photo shoots in magazines such as Vogue, L’Officiel, Elle, Vanity Fair, Skira and Manfredi Editore. She produces advertising campaigns and portraits for celebrities. She shot the pride 2021 campaign for H&M and collaborated with brands such as Fendi, Bulgari, Emporio Armani, Laura Biagiotti, 20th Century Fox, Mercedes-Benz, De Agostini Editore, Sky, Enel, Dolce & Gabbana, Veja, Pftizer, Intersport, Kiko, Crodino, Campari, Foreo. In 2022 she founded Moonel, a production and representation agency for artists, models and talent. In her professional experience she has also focused on the photography of luxury events, perfecting her propensity for reportage and listening to the relationship between space and body. She is an academic teacher of design photography and advertising photography. Emanuele Cappelli Brand Design; Graphic Design 3 emanuele.cappelli@unirufa.it Discover more Emanuele Cappelli is the creative director and founder of Cappelli Identity Design. He has been teaching Visual Communication since 2004, at Sapienza University in Rome, and since 2011 at RUFA, Rome University of Fine Arts. After graduating with honours in Industrial Design and serving as creative director in a number of companies, he founded Cappelli Identity Design, a design firm that provides branding and communication strategy services to important Italian and international companies. Acknowledged as one of the best pioneers of the concept of dynamic branding, his experimental approach has earned him 35 international publications and prestigious positions, such as artistic director of international cultural events. Marianna Cappi TELEVISION SCRIPT-WRITING; CREATIVE WRITING marianna.cappi@unirufa.it Discover more Afters studying Communication Sciences in Bologna and journalism in Brussels, she graduated in History of Cinema in Bologna (Alma Mater Studiorum) and in screenwriting at the National Film School (Centro Sperimentale di Cinematografia) in Rome (2001-2003). She has written short films with and for Susanna Nicchiarelli (“La Madonna nel frigorifero”), Francesco Lagi (“Passatempo”, Selection Corto Cortissimo Venice International Film Festival, 2004), Stefano Accorsi (“Io non ti conosco”, David di Donatello 2014). In 2007 she wrote and shot the documentary “Tomaso Monicelli. Un intellettuale in Penombra”. She has worked as a screenwriter for RAI, Mediaset and Discovery Channel (“Il Commissario De Luca”, “Gente di Mare”, “Vivere”, “Love Dilemma”). She has held scriptwriting courses and workshops in Gorizia, Mantua, Bologna, Ramallah, Bellinzona, Pistoia, Rome (CSC). She has written the feature film “Amori Elementari” directed by Sergio Basso (CSC Production, Rai Cinema, Zori Film, 2014). For theater she has made the Italian adaptation of the Broadway musical “Priscilla – Queen of the desert” and Alil Vardal’s “Clan des Divorcées”. She’s a film critic for the newspaper Voce di Mantova, the web portal MyMovies.it and the weekly magazine Film TV. In 2020 she was selected and appointed by MiBact as Expert Trainer of the National Cinema and Images Plan for School. Aureliano Capri Information Design aureliano.capri@unirufa.it Discover more Roman by birth and cosmopolitan by adoption, Aureliano Capri is a multidisciplinary designer and reality observer. Graduated in Systemic and Communication Design at ISIA Rome. he actively collaborates with Studio Azzurro to design interactive narrative multimedia environments and with Iperdesign to design and product digital systems. He carries out didactic activities at the ISIA in Rome, and educational and creative workshops for high school students in the PCTO of the MAXXI Museum. In his developing design philosophy, he queries the roles of design and communication as methods for promoting culture and participation. Constantly looking for the right tone of voice to spread content, his main inspiration comes from J.M. Basquiat’s “Boom For Real” to catch insights from reality and rub off on it with original syntheses and mixed languages. Alessandro Carpentieri Digital Video and Video Editing; Photography (for Visual Arts); Photography 1 alessandro.carpentieri@unirufa.it Discover more Alessandro Carpentieri was born in Rome in 1965. After graduating from secondary school in Aeronautical Engineering, in 1983, he dedicated himself to photography and cinematography working as a cameraman for a small Rome-based agency. In 1989, he followed a course of advertising photography, but it was street photography that kept him away from the film studios. Between 1990 and 1999 he travelled in Europe and the United States, collaborating as a freelance photographer with important Italian daily newspapers (La Repubblica, L’Unità, Il Manifesto, Il Messaggero) and making several documentaries. In the same period, he worked as assistant photographer in 3 feature films and 2 RAI programmes by Silvano Agosti (“The Bullet Man” 1993, “The Second Shadow” 1998, “Pure Reason” 2000 – “Thirty Years of Forgetfulness” 1995, and “Nobel sarà lei” 1999 featuring Dario Fò). Since 1999, he has collaborated with several music magazines and publishers (Musica Jazz, The WIre, Rai Trade, Rudi Rec), which published his photographs. Since 2004, he teaches at RUFA in the academic courses of Photography, Digital Video and Video Editing and Cinematography. In 2009, he curated the photo-story in the book “Quelle voci dal vuoto “by Guido Tassinari, published by Iacobelli. He has founded the photography group “Benaco12”. Vincenzo Caruso COSTUMES FOR PERFORMING ARTS; HISTORY OF COSTUME vincenzo.caruso@unirufa.it Discover more Costume and fashion designer, he now lives and works and in Rome. He has been cultivating his passion for costumes and fashion for twenty-five years. He is a pupil of the master Gaetano Castelli and graduated in Set Design from the Fine Arts Academy in Rome, and in Fashion and Costume Design from the Koefia Academy of High Fashion and Costume Design in Rome. He started to work in the world of entertainment aged sixteen, at the Biondo Repertory Theatre in Palermo. After this debut in the theatre, he moved on to the worlds of cinema and fashion, working in Italy and abroad, where he created set designs, costumes and garment and accessory collections. He also worked on the set designs and costumes for various theatrical productions, working with directors such as Maurizio Scaparro, Franco Zeffirelli, Ilaria Drago, Pino Ferrara, Roberto Gandini, Sharoo Kharadmand, and many more moving from drama to opera, from ballet and dancing to the cinema. He has created fashion and accessory collections for his own line called Atelier Baalbek, but also collaborates with many fashion houses, such as Valentino, D&G, Christofer Chronis, etc.. He has also worked for companies, such as “Mazzini Eventi”, organising fashion shows for the designers Brioni, Corneliani, Furstenberg, Gai Mattiolo etc.. He has also been invited to sit on juries for fashion competitions in Italy and abroad. Today he works primarily in producing art creations and installations for costumes and high fashion garments. He currently teaches “Costumes for Performing Arts” at RUFA Rome University of Fine Arts, at the Fine Arts Academy, where he has published a study on costumes for performing arts called “La Magia del Costume” (Magical Costumes). He organises art and cultural events on fashion and costumes, has held a number of meetings and conferences on costumes for performing arts, also working with Gabriella Pescucci, Lina Nerli Taviani, Giancarlo Nanni, Ilaria Drago etc.. He is an eclectic professional and artist who has always found himself at ease in the magical world of fashion and costumes. Silvia Cassetta Storia del Design 1 silvia.cassetta@unirufa.it Discover more Architect, after having worked in Milan and London, is based in Rome, where she opens her office as a designer and performer. She is focused on the relationship between dance and architecture, and she attends the 2nd Biennium in Composition at the National Academy of Dance in Rome. In 2022 she was a guest performer at the “KM278 Demanio Marittimo” Festival, curated by P.Ciorra / C. Colli. In 2020 she collaborated with Prof. L. Prestinenza Puglisi at RUFA, for the History of design course. Among her most important projects: a show room in Abu Dhabi for the Brand Bespoke Italia, interiors for private clients and in 2014 she patented an innovative tool for food design: “Pipoliva”. This project was selected for the “ROMA DESIGN LAB 2014”. In 2013 she was selected for the “FUORISALONE” with the “Dancing Shape” project. In 2008 she obtained a Master in Interior Design at the Polytechnic School of Design in Milan. From 2008-2009 she worked in Design International in London, a company that carries out large retail design projects. In 2005 she graduated with 110 cum laude at the Faculty of Architecture of Ascoli Piceno. Since 2007 she has been enrolled in the Order of Architects of the Province of Bari and she also has designed various projects in Puglia, her homeland. Maria Chiara Castelli SET DESIGN chiara.castelli@unirufa.it Discover more Since 1997 Maria Chiara Castelli, graduated with honours in set design from the Academy of Fine Arts in Rome, began her career by passing a selection of Rai as an assistant set designers. After a series of collaborations with some set designers she joined the Castelli studio, where she still works today. Since 2010 she went from being an assistant to a set designer. Among the customers: Rai uno, Mediaset, Sky, Tv2000, Arcobaleno tre, Stand by me. From 2000 she started her teaching career; she collaborated with other institutes such as the Academy of Costume and Fashion and IL CSC (experimental centre of cinematography). In addition to her interest in TV set design, she is always strongly involved in painting and drawing, especially in the creation of her portraits. In recent years she has been working in teams for the realization of projects both for TV and private companies, such as restyling the restaurant “Il Lanificio” with her colleague Alessia Petrangeli. The team with which she collaborates is made up of set designers and designers. The coordinator of the group is: Manuel Bellucci. Andrea Cavallari Web Design 1; Web Design 2 andrea.cavallari@unirufa.it Discover more Andrea Cavallari, a partner of Iperdesign since 2008, works in the fields of development, analysis and programming. Over the years he has developed websites using WordPress CMS, for clients such as the Evangelical Lutheran Churc, Enel Rete Gas, LifeShield, and applications for iOS and Android smartphones, for clientssuch as DaleCarnegie, Hausmann&Co, Rezza Immobiliare, WWF, Abbott, Bracco, Cangene and PaesiOnLine. He is an expert programmer in various languages, including iOS, Android, C#, Pascal, Java, PL/SQL, Oracle, TomCat, XML, HTML, Javascript, VB.NET 2.0, Visual Basic 6.0, ASP 3.0, and ASP.NET. His achievements include a workflow system for Johnson&Johnson, the development of a CRM for Sistemia, of a Project Management System, and a software for managing shares, bonds and securities for Cedacri, as well as a participation in the Pegasus Project (a software for managing auction, seizure, mortgage and certification services). Alice Cellupica APP DESIGN alice.cellupica@unirufa.it Discover more I graduated right here at Rufa in Visual and Innovation Design. Shortly before obtaining my Master’s degree, I joined PwC’s Experience Centre in Rome. Now I’m a designer with 7 years of experience working on Visual Design, User Experience, User Interface, Motion Graphic, Motion UI and Illustration across different industries such as Retail, Energy & e-Mobility, Transportation and Financial Services. I collaborate with clients designing new digital user experiences, co-creating customer journeys with different stakeholders, facilitating workshop sessions, creating digital video material, creating Design Systems and visual guidelines and finally managing the art direction of websites and mobile apps used by millions of users every day. Guenda Cermel SUSTAINABLE FASHION DESIGN guenda.cermel@unirufa.it Discover more Head of Fashion with significant experience in the retail sector at an omnichannel level. Guenda Cermel is a 360-degree professional who blends creativity and strategy, from design (collection design) to operations (buying and merchandising), negotiation (worldwide sourcing), and numbers (budget, purchase, and sales). She has eventually grown a wide and solid managerial experience in leading fashion companies. Guenda graduated in Art history, then she began working in the fashion industry as an Assistant Designer at Stefanel, and later as an Assistant Buyer and Brand Manager in the Coin Group, becoming responsible for the design, development, buying, and sales of three Coin-owned brands. Afterward, she became Category Manager for 3 Fashion categories, assuming a key managerial and strategic role supervising the Group’s 50 department stores. In 2018, she joined as Head of Fashion HSE24 TV, the Italian branch of a German ‘shoppertainment’ company among the leaders in the sector with branches in five countries. She has recently earned a Master’s in Philosophy, and she is now undertaking her MA degree in Integral Ecology. Guenda has been appointed as the Academic Coordinator of the BA in Sustainable Fashion Design at RUFA – Rome University of Fine Arts. Irene Cerrati MODELLISTICA PER LA MODA irene.cerrati@unirufa.it Discover more Irene Cerrati was born in 1965 and, after graduating from high school, she trained as a model maker at the Ida Ferri school, graduating in ’89 with top marks. She began her professional training at the Gattinoni atelier and then continued working as an external workshop for several years. At the same time, she began teaching in the technical sector of Fashion, i.e. modelling and tailoring, at various Design and Fine Arts Academies based in Rome. She collaborates as a model maker for several fashion houses and as a teacher with the Italian Institute of Fashion in Rome from 2000 to 2019 and with the Academy of Fine Arts in Rome from 2012 to the present. She has modelling skills both in the industrial sector using cad systems and in tailoring using moulage and TR method techniques, skills that she tries to pass on to her students in the courses she teaches. Anna Cianca PERFORMATIVE TECHNIQUES anna.cianca@unirufa.it Discover more Trained at the Laboratory of Performative techniques in Rome, directed by Gigi Proietti (academic year 1983/85) and under the direction of Proietti himself, she made her debut in the theater with the show “Cirano” by E. Rostand. Later she worked in the companies of Paolo Ferrari, Lando Buzzanca, Giuseppe Pambieri and Lia Tanzi, Flavio Bucci, Anna Mazzamauro and with directors such as Coltorti, Lucchesi, Carafoli, Frattaroli and Scaccia, dealing with texts from both the classical and contemporary repertoire. She alternates the theatrical activity with radio: “Il Consiglio Teatrale” (Rai3) “A doctor in the family”, “Maria Montessori” (awarded as best TV film in the first edition del RomaFictionFest). From 2003 to 2005 she was an acting lecturer at the “Cinema Profession” school in Rome, founded by Giulio Scarpati. In 2013 she participates as a teacher of text analysis at the “Stage al Castello”, an event promoted by the Piedmont region and which offered seminars and workshops held by nationally and internationally renowned teachers such as Bruce Myers, Michael Margotta, Danny Lemmo. Since 2018 she has been collaborating with RUFA, Rome University of Fine Arts, holding acting and text analysis workshops for the Cinema courses. Alessandro Ciancio EXHIBIT DESIGN alessandro.ciancio@unirufa.it Discover more Graduated in design at ISIA in Rome and with a diploma in graphic design at the “Scuola DI Arti Ornamentali di Roma”, he worked for eight years in the studio of architect Michele De Lucchi where he completed his training in exhibit design. He supervised various exhibition projects at the Scuderie del Quirinale in Rome (Burri e i maestri della materia, Dürer e l’Italia, Filippino Lippi e Sandro Botticelli nella Firenze del ‘400, Tintoretto) and the layout of museum structures such as the Palazzo delle Esposizioni (Rome), Palazzo Barberini (Rome), the Roberto Capucci’s Foundation (Florence) and the Gallerie d’Italia (Milan). He collaborated on the design of the Italian pavilion at the International Expo in Zaragoza and supervised the new layout of the Central Archaeological Area in Rome (Colosseum, Palatine and Roman Forum). Since 2013 he’s a freelance professional and he designs booths and scenography, continuing to design exhibitions and museums, such as the series of contemporary art exhibitions “The Making Of” or the setting up of the museum structure “Interpretation Center of Erbil Citadel” (Iraq) on behalf of UNESCO. He collaborates with the most important Italian communication companies designing layouts for events of international companies such as BNL, Assicurazioni Generali, ENEL, Poste Italiane, FCA, Audi, Renault, TIM, and many others. Since 2015, he has been teaching at the Rufa Academy holding an Exhibit Design course in the second and third year of design courses, a subject where he combines students’ experiences in both interior and product design. Anne-Riitta Ciccone FILM DIRECTOR AND AUTHOR anneriitta.ciccone@unirufa.it Discover more Anne-Riitta Ciccone, Film Director and Writer. Born in Helsinki (Finnish mother and Sicilian father) she lives now in Rome. Graduated in Philosophy, during the University years she also carried out a long and patient apprenticeship in Theater and Cinema, then attended the Course RAI / Script training and specialization for screenwriters. At the same time she continued to deepen her preparation in writing and shooting techniques (two MEDIA program screenwriting development workshops held in collaboration with Columbia University in New York, an intensive Mentoring as Script Doctor held by Sources2; in the meantime she attended workshops on the use of new technologies, digital and stereoscopic 3D). She debuted as Director in 2000 with her first feature film “Le Sciamane” (“The Witch Doctors); “L’amore di Màrja”(“Marja) released in 2004 was the first independent-movie box office of the year and won numerous awards including the Golden Globe of the Foreign Press as “Outstandig Director”; “Il Prossimo tuo” (“Thy Neighbour”) released in 2009 was selected at “Rome Film Festival – Extra l’Altro Cinema”. Since 2010 she has specialized in 3D, making the first Italian 3D short film, “Victims”, selected for the European Prize “Mèlies d’or” for the best fantasy short film. She made the first feature-length film in 3D live action directed by a woman, “I’M endless like the space”, selected as Special Event during the “Venice Days” of the 2017 Venice Film Festival, later released in Italy with the title “I’M infinita come lo spazio” acclaimed by the Press, she won the “Best Director” Award at “Festival dei due mondi” in Spoleto in 2018. “I’M infinita come lo spazio” is also a novel, published in Italy by the Publishing House Il Foglio Letterario, book which Anne-Riitta wrote as a spin-off during the multiple drafts of the film’s script. The novel was selected for “Premio Strega” Award. In 2020 the Publishing House “Resh Stories”published her Handbook “The Director’s Journey”. Over the years, she has worked as Script Doctor for screenplays and as Tutor for young directors, the last experience in September ’19, at the Cinecampus Terre di Cinema, international cinematographers days. Currently the film “Gli Anni belli” by Lorenzo d’Amico de Carvalho (written by Anne-Riitta Ciccone and Lorenzo d’Amico de Carvalho) is in post production. Sito web, IMDb, Linkedin, Instagram, Facebook Pietro Ciccotti ANIMATION 1 pietro.ciccotti@unirufa.it Discover more Pietro Ciccotti was born in Rome in 1976. After some rather erratic educational career choices, which took him from the faculty of communication sciences to a school of comic drawing, from the study of graphics to film-making, in 2005 he ended up in Turin, at the Experimental Centre of Cinematography (Centro Sperimentale di Cinematografia). There he learnt new skills and especially the focal point of it all: animation. He graduated in 2006 and returned to Rome, where he founded mBanga Studio, with Harald Pizzinini. The studio’s mission is to create and design animations and animated graphics from a blank sheet of paper to the final rendering, ranging from intros and title sequences to animated logos, video clips, series, shorts or feature-length films. Clients include: Cartoon network, Boing, Rai, la7, Venice Biennale, Colorado film, Fao. Sito web, Instagram Alessio Cimato Light design 2 alessio.cimato@unirufa.it Discover more “Light connects us with the outside world more directly than any other vehicle of information. It is our richest and most complete research and knowledge tool“. Cit. by Andrea Frova Design is the perfect union of various consequential themes, form – light – perception. In 2020 he obtained the 1st Level Master in Lighting Design at the “La Sapienza” University of Rome. In 2018 he was the tutor of the Master in Lighting Design at the “La Sapienza” University of Rome; activity that allowed him to interact with prominent professionals in the field of Lighting Design. In 2017 he obtained a 1st Level Diploma in Design at RUFA – Rome University of Fine Arts. Since 2017 he has been collaborating with several Roman studios. This allows him to deal with different design realities and to grow professionally by fully living the profession of Interior and Lighting Designer, contributing to architectural and lighting design. Since 2019 he has been responsible for the communication activities of the Master in Lighting Design MLD, starting and curating the cultural column “High Light In”. In 2017 he participated in the design workshop with the international light artist Yann Kersalé. In 2010 he collaborated in the realization of the sets for the opera “Terzo Tempo” at the Sala Uno Theater in Rome and in the realization of the “Group Therapy” sets at the Trastevere theater in Rome. Stefano Cipolla Visual Design 2; Visual and Innovation Design 2 B stefano.cipolla@unirufa.it Discover more Stefano Cipolla is an Italian art director, graphic designer and journalist. He always worked in the editorial field: in the 90’s he started collaborating with magazines as a freelance and in 2001 he lands at the daily “Il Manifesto”, a newspaper with an important graphic design tradition. There, in the year of the terrorist attacks at New York’s twin towers and of the Genova G8, he realises that news and their visualization will become his professional future. In 2004 he arrives at the daily newspaper “La Repubblica”, being in charge of designing sections and special projects of the paper (La Domenica di Repubblica, R2, libri di Repubblica) and two graphic restylings (2007 and 2014). From February 2018 he’s the Art Director of the weekly “L’Espresso”. He teaches Editorial Graphic Desgin, Infographic and History of Communication Design. He taught for 15 years at the roman Istituto Europeo di Design. Now he is at the Scuola di Giornalismo di Urbino, MiMaster in Milano and he holds conferences and workshops. He is also a Domestika teacher and his course “Foundamentals of Editorial Graphic Desgin for Magazines” is online since May 2022. His job is his passion: he believes working with images is the greatest luck you can have, and that is what he tries to convey to his students. Emiliano Coletta TECHNIQUES FOR SCULPTURE/MOLDING; DECORATING; CONTEMPORARY SCULPTURE TECHNIQUES emiliano.coletta@unirufa.it Discover more Emiliano Coletta is a sculptor, specialised in modelling and casting, as well as the use of rubber and plastic resins, and a skilled ceramist. He was one of the founding members, in 1999, of Mazzone Srl, associated painters and sculptors, an artistic firm specialising in the production and implementation of works and projects using visual arts techniques and technologies. Since 2000 he is a member of the group of independent artists com.plot S.YS.tem. He teaches Plastic Decorating at the School of Ornamental Arts of Rome, where he also teaches Plastic Techniques and Modelling. Since 2010, he teaches various sculpting techniques – modelling, technology and typology of materials – at RUFA – Rome University of Fine Arts. Stefano Compagnucci PHOTOGRAPHY (FOR CINEMA); PHOTOGRAPHY 2 (Fine ArtS); PHOTOGRAPHY 3 stefano.compagnucci@unirufa.it Discover more He was born in Rome in 1975. In 1999 he graduated in photography from the Higher Institute of Photography and Integrated Communication, and embarked on a professional career, initially conducting research work in the field of portraiture and specialising in the field of advertising photography. He has collaborated in various national and international campaigns, working with a number of advertising agencies, including McCann Erickson, Young&Rubicam, J.W.Thompson, Ogilvy&Mather, Saatchi&Saatchi, Leo Burnett, Armando Testa. He has exhibited his works in Italian and foreign galleries, as follows: 2007 Galleria Social Gallery (Florence), 2008 Galleria Minima (Rome), 2009 Wine Museum (Monte Porzio Catone), 2010 Fototeca de Veracruz (Mexico), 2010 Scuderie Aldobrandini (Frascati), 2011 Scuderie Aldobrandini (Frascati), 2012 Ethnographic Museum (Belgrade). In 2008, he published the photographic book “75 cl” dedicated to the world of wine and wine-making in the area of the Castelli Romani. In 2008, he was designated as a member of the jury for reading portfolios, at the Festival of Travel Literature open to photographers and held at the Palazzo delle Esposizioni in Rome. In the 2008-2009 academic year, he served as Deputy Director of the Rome School of Photography. www.stefanocompagnucci.com Stefania Conti SET DESIGN 3; SET CONSTRUCTION 1-2 stefania.conti@unirufa.it Discover more After secondary school, in 1980 Stefania Conti graduated in Set Design, from the Rome Fine Arts Academy (Accademia di Belle Arti) and from the Hotech Academy. She has also participated in the activities and attended the courses in Engraving and Graphics at the National Graphics Institute (Istituto Nazionale della Grafica) in Rome. During the same period, she started collaborating as an assistant set designer, with the studio of the Art Director Misha Scandella, developing fundamental knowledge and experience in the opera theatre sector. She then built up a long experience in television set design and, in 1989, designed the sets for a number of TV programmes in Italy and abroad. She has also designed trade fair and convention spaces and collaborated with the Italian Institute for Foreign Trade (Istituto Italiano del Commercio Estero), as well as sets for theatrical productions and concerts, and designs for the refurbishment of public and private venues and spaces. www.stefaniaconti.it Riccardo Corbò HISTORY OF PRINTING AND PUBLISHING riccardo.corbo@unirufa.it Discover more Journalist, expert in youth culture and curator of exhibitions on pop icons from the world of comics. After a few years as an editor and translator for comic publisher and as a press office for Comics festivals, in 1997 he began collaborating with the Radio Rai programs as an expert in comics, video games and cartoons. In 2001 he started his work with Rai Net, where he is responsible for the Portal and the Community until 2007. For Rai Net he curated the Italian edition of “Food Force”, a video game created by the United Nations WFP. He is the editor of Vincenzo Mollica’s book of interviews “DoReCiakGulp” (2006) for the Eri Rai editions. Since 2011 he has been working on Tg3, his TV reports are for the “Tg3 Agenda del Mondo”, “Tg3 Mondo” and “Tg3 People” programs. For Rai Isoradio, from 2014 to 2017 he conceived and conducted the programs “Comics with wheels” and “The night, a video game? “. He is the curator, together with Vincenzo Mollica, of the exhibition “Spider-Man, the most human of super-heroes” at the Museo del Vittoriano in Rome; of the exhibition at Palazzo Bufalini, in Città di Castello, “Batman, Darkness and Light”; of the exhibition “Batman, 80 years of Technology” at the National Museum of Science and Technology in Milan and of the tifernate exhibition “Simone Bianchi: Amazing Talent” at Palazzo Vitelli. Since 2007 he is a professor in the “Master in Journalistic Criticism for Theater, Cinema, Television and Music” of the National Academy of Dramatic Art “Silvio d’Amico”, for “Morphology and criticism of paraliterature (comics, videogames and cartoons). Andrea Costantini DIRECTION - BA cinema andrea.costantini@unirufa.it Discover more He started his production career at a very young age, working on the production of feature films and TV series, collaborating with many Italian and foreign directors. He later founded his production company with which he produced and co-produced several films in Italy. (nominated for the David di Donatello as Best Producer 2008). Since 2009 he has been primarily focused on his direction work for tv series and feature films for cinema. He published his first novel with Edizioni Robin . He regulary holds acting classes for professional actors. Daniela Cotimbo Teoria e metodo dei mass media daniela.cotimbo@unirufa.it Discover more Daniela Cotimbo is an art historian and independent curator based in Rome. Her research is focused on problematic issues of the present, investigated through different expressive means, in particular new technologies. She recently founded and curated the Re: Humanism Art Prize dedicated to the relationship between Art and Artificial Intelligence, later becoming a cultural association of which she is president. Daniela has curated exhibitions in various galleries, museums and festivals, including MAXXI – National Museum of 21st Century Arts, AlbumArte, Colli Independent, Operativa Arte Contemporanea and Romaeuropa Festival. She writes for numerous contemporary art magazines such as Inside Art, Flash Art, NERO and has curated or taken part in a series of panels for institutions such as Palazzo Te (Mantua), Cubo Unipol (Bologna), Manifattura Tabacchi (Florence), Maker art (Rome), Brera Academy of Fine Arts (Milan), Ca ‘Foscari University (Venice), John Cabot University (Rome). Since 2021 she is co-founder of Erinni, a curatorial collective that combines transfemism and media languages. Alessio Cremisini VIRTUAL ARCHITECTURE; DIGITAL 3D MODELLING 1; DIGITAL 3D MODELLING 2 alessio.cremisini@unirufa.it Discover more He graduated in 2004 in Product Design from I.S.I.A., in Rome, with an experimental thesis on Photovoltaic Bus Shelters, in collaboration with the Design Office of A.T.A.C. S.p.a., the public transport operator of Rome. He then went on to collaborate with various design, architecture, multimedia and set design firms, furthering his knowledge of and experience in 2D/3D modelling software and graphics and compositing techniques for the realistic rendering of projects. In 2011, he curated the development of the Great Theatre at the “Magicland” theme park in Valmontone. He has a passion for Fantasy, Sci-Fi, Horror, Comics, Design, Modelling and Videogames, and, since November 2011, teaches “Virtual Architecture” and “3D Digital Modelling Techniques” at RUFA in Rome. Rosella Cuppone BASICS OF COMPUTER DESIGN rosella.cuppone@unirufa.it Discover more She was born in 1963, in Neviano (Lecce), but moved to live in Rome after secondary school, where she graduated in architecture from Sapienza University, specialising in the protection and recovery of heritage-classified buildings. After graduating from university she worked for several architecture and engineering firms, while studying to become a practising architect, eventually qualifying from the Faculty of Architecture of Sapienza University in Rome. At present, she works as a professional architect, in the private building sector, and teaches at Rufa Rome University of Fine Arts. Dario Curatolo VISUAL DESIGN 2 dario.curatolo@unirufa.it Discover more Dario Curatolo, architect, graduated at the Sapienza University of Rome, where he specialized in Theory of Architecture. He works with architecture, design and visual communication. He was a member of the Scientific Committee of the Triennale Design Museum, member of the ADI national steering committee as the Aiap Lazio Delegate. He was Art Director of the Italian Pavilion at the 13th Venice Architecture Biennale and is currently Creative Director of Four in the Morning and art director for a number of companies and institutions. From 2018 to 2022 he’s appointed as “Italian Design Ambassador” for the Italian Design Day organized by the Italian Ministry of Foreign Affairs. D Bruno D’Annunzio FILM SHOOTING TECHNIQUES; EDITING TECHNIQUES; Sound Design bruno.dannunzio@unirufa.it Discover more In the first years of his activity he collaborated in theoretical-practical seminars related to the History and Criticism of the film of the University of Rome “La Sapienza”. Subsequently he made short films of various types: industrial, scientific, educational, etc. The anthropological and ethnographic documentaries, which he shot in different parts of the world, have ensured that his name was mentioned in the “History of Italian Cinema” (Mario Verdone, Tascabili Economici Newton, Rome 1995). From 1999 to 2018 he taught Editing with Digital Techniques and Direct Sound at the “Nuova University of Cinema and Television ”of Rome. Since 2000 he has collaborated with the Rossellini family and the Maiori Film Festival Association in the creation of the Roberto Rossellini Film Festival @ Maiori. In 2008 he taught “Image and Sound Analysis” to a select group of police officers State, Postal and Communications Police Service of the Department of Public Security, collaborating with the C.N.C.P.O. (National Center for the Fight against On-line Child Pornography). In 2008 he was commissioned by CANON Italia, with which he has been collaborating for years on the occasion of the Roberto Rossellini Film Festival @ Maiori, as head of the Video Portfolio within the event PHOTOGRAPHY ’08 in Milan. Since 2008 he has been a lecturer at the “Rome University of Fine Arts” in Rome and, as part of the Diploma course in Cinematography, teaches the following disciplines: Editing Techniques, Shooting Techniques, Sound Design, Audiovisual Documentation Techniques, Digital Video and Video Editing. In 2011 he was commissioned by the Ministry of Foreign Affairs to receive and optimize the art videos of the 89 Institutes Italians of Culture (IIC) in the world, to be included in an installation of the Italian Pavilion at the Biennale of Venice. With his students of the Audiovisual Documentation Techniques course of the RUFA School of Cinema makes a film, addressed to all IICs in the world, on the inauguration of the Italian Pavilion and the Venice Biennale. In 2012, with his students of the RUFA he created a commercial for the State Police-Police Railway. In the following years, in addition to the normal teaching and always for the RUFA, he leads Shooting and Editing workshops in the context of PCTO training projects. Veronica D’Auria Cultura visiva e media Discover more Veronica D’Auria graduated with honors in Historical and Artistic Sciences, address Curator of artistic and cultural events, at the University of Rome Sapienza. In 2009 she co-founded C.A.R.M.A. – Center for Applied Multimedia Arts and Research – in which she is the coordinator of the curatorial group. In this context she organizes exhibitions and events of contemporary arts, dedicating particular attention to video art, computer art, multimedia installations, experimental music and intermediate theater in prestigious spaces in Italy and abroad (M.A.C.RO., MAXXI, mu .B.A., White Box Museum of Art, M.L.A.C., Centrale Montemartini-Musei Capitolini, G.A.M.C.). In 2018 she co-founded the record label Handmade Supernova and from 2020 she is Communication Manager for Strangis Realities, a software house of games and applications in virtual reality. She collaborated with institutions, festivals, associations, non-profit organizations, foundations. Sergio D’Innocenzo ANIMATION 1; Character Animation sergio.dinnocenzo@unirufa.it Discover more Afterart high school his first work experiences began, especially in the field of comics and illustration. He created, among other things, a 25-page color story of “Radar”, a superhero of the “Phoenix” universe written by Giorgio Lavagna, and a complete cycle of illustrations for the role-playing game “Lex Arcana” published by Dal Negro. Immediately after he began working in the field of graphics and advertising communication, an experience that he developed between the late 80s and 2006 when he became the art director of the studio he co-founded “Plan B Communication”, working for clients such as CAPITALIA, POSTE ITALIANE, ANSA, CONFITARMA. In the early 2000s he discovered 3D graphics and attended courses both in Italy and in the UK, that allowed him to integrate more and more CGI in his work. In 2008 he attended a character animation course at Escape Studios in London. From here his passion for animation exploded. Soon he began his collaboration with the animation studio TeamTO (France), which lasted 4 years. He initially worked on television productions, some of which were very successful, such as PJMasks (Superpigiamini), Angelo Rules, The new adventures of Babar, and then also feature films (Yellowbird). Other studios and other productions have followed since then including: Gladiators of Rome (Rainbow CGI); Jungle book (MPC); Zombillenium (Pipangai); Trash (AL/1); Ricky Zoom (Maga Animation). D Lorenzo d’Amico de Carvalho DIRECTOR lorenzo.damico@unirufa.it Discover more Born in Rome in 1981, his work ranges between screenwriting (I’M endless like the space 74° Mostra d’arte Cinematografica di Venezia – Venice Days) documentaries (Terra da Fraternidade; Sulle tracce del mito; L’Aquila: la cultura rinascente), and short film (Pausa Pranzo, 2005 Centenario CGIL Cinema e Lavoro award, 4FilmFestival oficial selection; Nouvelle Vague, 2004 DAMS film festival Roma award, Milano Film Festival oficial selection) . He also works as a theatre director (A bright room called day 53° Festival dei Due Mondi, Spoleto; Partita spagnola, Quartieri dell’Arte, Viterbo). D Franca De Angelis CREATIVE WRITING franca.deangelis@unirufa.it Discover more Since 1995 Franca has written for both cinema and television. She has collaborated with directors such as Carlo Lizzani and Giuliano Montaldo. Her short film Senza Parole (Without Words) was nominated for an Oscar in 1997 and won the David prize at the Donatello Awards, Italy’s BAFTA’s. She also wrote the film La Vespa E La Regina (The Wasp And The Queen) with Claudia Gerini. For television she has written numerous miniseries including Nobody Excluded (Italy Award); Maria José – The Last Queen (Grolla D’Oro); The Five Days of Milan; Of War Friendship; Handsome Antonio; Exodus – The Dream Of Ada (nominated for Best Screenplay at the Magnolia Festival Shanghai); Don Zeno – The Man From Nomadelfia (Signis award) and Sissi. She was co-creator and head writer for four seasons of the popular series A Doctor In The Family. For theatre she has written about ten plays that have been successfully represented in Italy and abroad. Massimiliano De Blasi Elementi di produzione video:Cinema massimiliano.deblasi@unirufa.it Discover more For 20 years in Sales & Marketing for several multinational companies, since 2021 I have been following and implementing marketing strategies and tactics for many different industries as a consultant at Publicis Sapient. My passion and study of marketing, combined with my daily, hands-on experience in campaigns for prospects and clients, has led me, for many years now, on a path as a trainer in the automotive, pharmaceutical, retail, electronics and film industries. I firmly believe that what can make the difference today in customer relationship management is continuous innovation; being able to combine data and heart, technology and creativity, so as to transform traditional funnels into individual, seamless journeys; all based on a data-driven approach aimed at designing authentic CRM experiences… guided by heart and emotions, because the brand remains as the memory of the emotion and experience we bring to our customer. Francesco Del Grosso Direction of Photography francesco.delgrosso@unirufa.it Discover more Francesco Del Grosso was born in Rome in 1982. After graduating from DAMS he began his career as a director directing commercials, short films, TV series and documentaries, the latter selected in numerous international festivals and winners of various awards, including “Stretti al vento ”,“ In the Eyes”, “The Penalty”,“ Friendly Fire”, “Never Look Back” and “On the Front Line”. Parallel to the work behind the camera he works as a film critic, collaborating with magazines and sites in the sector. Fabrizio Dell’Arno PAINTING 1; PAINTING 2-3; TECHNIQUES AND TECHNOLOGIES FOR PAINTING; PAINTING TECHNIQUES fabrizio.dellarno@unirufa.it Discover more Fabrizio Dell’Arno was born in Sào Gaetano do Sul (Sào Paulo, Brazil) in 1977. He graduated in “Advertising and Communication” at IMES University (SCSul) in 1999, he attended the postgraduate course in art history at the FAAP (SP) faculty. He began his teaching career in the teaching staff of the “Pueri Domus Un.Jardim” Lyceum in Santo Andre (SP) as a professor of history of art and painting. He worked as a professor of artistic drawing at the IMES-SP University, Brazil. He obtained the specialization in scenography in the “cenographic espago, J.C.Serroni”, working in the scenographic sector in theater, cinema and TV projects. In 2003 he moved to New York, where he studied painting and drawing at the SVA (School Visual Arts), returning to Brazil he attended the painting studio of Master Rubens Matuck, in Sao Paulo. In 2005 he obtained his master’s degree in Sculpture from RUFA, where he currently works as a professor of painting technology in the academic course and professor of the free course of painting and drawing. Personal website Fabrizio Des Dorides ARTISTIC ANATOMY fabrizio.desdorides@unirufa.it Discover more Fabrizio des Dorides was born in Rome in 1987. He began working as a cartoonist in 2012, drawing the number 17 of the last season of John Doe (‘Questa lunga storia d’amore’). Afterwards he collaborated with: Aurea Editoriale (Lanciostory and Skorpio); Villain Comics (Brutti Sporchi e Cattivi); Cosmo Editoriale (Battaglia-La Figlia del Capo, John Hays-Brutti Sporchi e Cattivi); Edizioni Starcomics (I Maestri dell’Orrore-Dracula); Sergio Bonelli Editore (Dylan Dog, Orfani- Nuovo Mondo; Orfani-Sam). He currently works for Sergio Bonelli Editore and Editions Soleil. Facebook, Instagram Genny Di Bert HISTORY OF ART AND OF COSTUMES; PHENOMENOLOGY OF CONTEMPORARY ART ; CONTEMPORARY ART HISTORY genny.dibert@unirufa.it Discover more Art historian and critic. Her activities include journalism, criticism, curating and research, which focuses on the interdisciplinary nature of different art forms as well as their relationship to society and new philosophical and scientific developments. She is on the roll of the National Order of Journalists and Court Art Experts. She publishes catalogues and monographs of artists, articles and essays; she edits art video-documentaries, and collaborates with art foundations, organisations and institutions. She is a lecturer at RUFA, having taught at NABA, Università Cattolica, Università di Bologna, Accademia di Brera and Accademia Palermo. Luca Di Cecca Tecniche di modellazione digitale - computer 3D 1 luca.dicecca@unirufa.it Discover more Luca Di Cecca is a director, screenwriter, 3D artist, animator. He studied in Rome where he graduated in Industrial Design and in Historical-Artistic Studies at the Sapienza University with top marks. He studied animation, drawing and anatomical studies for artists. Since 2010 he has been working at Light & Color in Rome as a director and CG supervisor, where he participated in the realisation of several projects including Buonanotte, a short animated film that won the MigrArti MiBACT competition and was selected in several festivals such as Giffoni Film Festival, Corti d’Argento, Biennale di Venezia; Youtopi (Berardo Carboni’s film), supervising the realisation of 12 minutes of CGI animation; Giù dal Nido (2 Rai Kids TV series, CGI supervisor and editing), Come foglie al vento (Rai Gulp Special, co-director). Winner of the MiBACT ‘Direzione Generale Cinema’ 2018 call for tenders for the subject and screenplay of the animated short film ‘Argo and Odi’, currently in production and for which he also signed the direction. Arturo e il Gabbiano, distributed in festivals by Premiere Film, is his first project as a director. He has lectured at RUFA, the Quaroni Faculty of Architecture, Sapienza, and at Cine-Tv Rossellini. Nicola Di Cosmo App Design nicola.dicosmo@unirufa.it Discover more Nicola Di Cosmo, co-founder of Iperdesign, is a Project Manager of the Web and Mobile area of Iperdesign and coordinator of activities at the Rome office. User Experience and User Interface Designer for Mobile Applications on behalf of clients such as Abbott Nutrition, WWF Italia, Dale Carnegie USA, Hausmann & Co, Cangene Bio Pharma, Croma Pharma User Experience and User Interface Designer for Web Applications on behalf of clients such as Enel Rete Gas, Smarter Agent, Lifeshiel Security, the Evangelical Lutheran Church in Italy, Cangene Bio Pharma. He graduated from the Istituto Superiore per le Industrie Artistiche (Higher Institute for Art Industries) in Rome (1999) with a thesis on “Matter – in – formation, maps for a new hyperdesign of digital products”, in which he looks into the techniques and opportunities offered by digital technology for creating, using and sharing contents. He has worked as Multimedia Designer in New York, at Material ConneXion, where he coordinated presentations for Nike, Puma, Steelcase, Hermann Miller, Mattel. www.iperdesign.com Valerio Di Nitto Special Effects valerio.dinitto@unirufa.it Discover more Nuke Compositor and 3D Generalist, Valerio Di Nitto was born in Rome in 1992. His studies led him to leave the hometown and move abroad in UK, there he graduated in BA Hons Computer Animation (2016) at the University of South Wales (UK). Back home he specialized in the field of VFX earning a University Master in Visual Effects at the Quasar Institute (2017), marking the beginning of his career. He has worked at Metaphyx, Digimax, Direct2Brain, Frame by Frame. Currently he is covering the role of digital compositor at Lightcut Film VFX, working on Italian and foreign productions. Giorgio Di Noto PHOTOGRAPHY 1 giorgio.dinoto@unirufa.it Discover more Born in 1990 in Rome (Italy). He studied photography at Centro Sperimentale di Fotografia A.Adams and learned Darkroom and Printing techniques working with some master printers in Italy. He started in 2011 a research about the materials and languages of photography, studying the relationship between technical processes and the contents of images. In 2012 he self-published a limited edition artist book “The Arab Revolt”, which is mentioned in “The Photobook, A History Vol.III” by Gerry Badger and Martin Parr. In 2013 he has been selected by British Journal of Photography as one of the “Ones to watch”. The education experiences continued after being selected for the Reflexion Masterclass and the Joop Swart Masterclass (World Press Photo), where he focused and developed interactive projects through the experimentation of different printing processes. In 2017 he published “The Iceberg” (Edition Patrick Frey) and received a special mention at the Author Book Award at Les Rencontres d’Arles 2018. His projects have been exhibited in several festivals and events in Europe. D Caterina Di Rienzo Psicologia dell'arte Discover more Caterina (Katia) Di Rienzo is a PhD in Philosophy and Theories of Human Sciences (Roma Tre). She deals with aesthetics and phenomenology of the arts, and with theories of dance, body and performance. She has carried out didactic and teaching activities at the Roma Tre University, and at the School of Higher Education in Art and Theology of the Pontifical Theological Faculty of Southern Italy in Naples. Among her publications, the volumes “L’esito della pittura nell’ultimo Merleau-Ponty” (Mimesis) and “Per una filosofia della danza. Danza, corpo, chair” (Mimesis); the essays “Danzare fuori dal corpo. Estetica contemporanea e ‘nuova’ danza italiana”, (Ephemeria) and “Potresti cadere nell’aria. Nijinsky, i diari di una salvezza impossibile” (Ágalma, n.44); the translations from the French by Michel Bernard, “Della corporeità come “anticorpo” o del sovvertimento estetico della categoria tradizionale di corpo” (Ágalma, n.35) and by Guy Debord, Note sulla “questione degli immigrati” (Ágalma, n.34). She is editor-in-chief of the journal of cultural studies and aesthetics Ágalma, founded and directed by the philosopher Mario Perniola. She has worked with various publishing houses including Castelvecchi and Elliot. In parallel with her academic and teaching activities, she carries out the professional artistic activity of a dancer, performer and choreographer, training in Caserta, Rome, Montecarlo. A double field that marks the direction of her research and her poetics, currently working on the relationship between dance and visual arts. She is Alto Esperto in ANVUR evaluation for the AFAM sector. D Antonin Joseph Di Santantonio TECHNOLOGY AND MATERIALS FOR SET DESIGN antonin.disantantonio@unirufa.it Discover more He graduated in Architecture from Sapienza University of Rome (Supervisor: Prof. Arch. Paolo Portoghesi). A member of the National Professional Association of Architects of Rome, he has qualified to practice the profession. He has gained a Master in designing interactive spaces for communication from the Faculty of Architecture of Sapienza University, Rome, and attended specialisation courses in set designs for performances. After several experiences in the construction industry, he furthered his professional career at RAI Radiotelevisione Italiana, the Italian state broadcaster, which he joined in1983, and where he held various production positions, from Supervisor to Organiser, participating in no less than 65 TV fiction programmes and events. From 1994 to date, he works in the Set Design sector, where he has held a number of positions: from Manager of the RAI set design sites and laboratories, coordinating the teams of Builders, Decorators, Construction Workers, Graphic Designers, Model Builders, Modelling Operatives, and Special Effects designers, supervising about 200 set designs; to manager and coordinator of the set planning and design sector and now of the Project evaluation office of the Set design sector of RAI. Stefano Dominici Web Design and User Experience stefano.dominici@unirufa.it Discover more He started his career as a graphics designer in 1988. His career initially revolved around graphic design and publishing projects development and, starting from 1998, web related activities. In 2004 he establishes UtLab aka Usertestlab, now called UtLab, the company that helps other organizations understand the choices, behavior and ways the clients get in contact with them and assists these companies in implementing human-centered design processes. Stefano is a university professor at RUFA – Rome University of Fine Arts and IULM (University Institute of Modern Languages) and a conference speaker at the Italian Summit on Architecture and Information, World Usability Day and other conferences in Italy. Furthermore, he is a founder of UXUniversity, specializing in professional training, and of a publishing firm UXU Edizioni. He is also member of the Italian Association for Design and Visual Communication (AIAP). Linkedin, Instagram, Facebook, Blog, UtLab Davide Dormino DRAWING; SCULPTURE; ICONOGRAPHY AND ANATOMICAL DRAWING davide.dormino@unirufa.it Discover more My work is expressed in scuplture and design. I seek new forms by favouring old-fashioned systems for working on materials such as marble, bronze and iron. The entirety of my artistic research is entrusted to the grandeur of a creative process rooted in fundamental human issues. I dialogue with size, working in every physical scale, in order to represent an idea and insert it in the most suitable vessel. Every artistic expression becomes a fertile terrain with which to estabish exclusive and incisive relations with an external environment. Flux, vectors, bridges, and works both great and small: materials transformed without artifice but shaped by a will to become the timeless interpretor of the Spirit of Art. Born in Udine in 1973, Davide Dormino lives and works in Rome. His art pieces are divided between public and private works, whose size can vary from tiny to gigantic. Primarily a sculptor, works sometimes with marble but mostly with iron. His research focuses on the formal relationship with the material, folded up to the distorting nature to meet their needs of expression. E Meltem Eti Proto Product Design \| Design meltem.etiproto@unirufa.it Discover more She graduated from Marmara University Faculty of Fine Arts Interior Architecture Department. She has a first Level Master from the University of Mimar Sinan Institute of Science and the Proficiency in Art from Marmara University Institute of Social Sciences. She is a professor at Marmara University Faculty of Fine Arts Interior Design Department, Istanbul. She was the director of the Department between 2006-2019. She has played several roles within the University; as the Erasmus Coordinator of the Department, President of the 6th International Student Triennial Organization Board, Member of the Administrative Council, Member of the Research Council for the foundation of the Italian University in Turkey. She works on the relationship between art and design. She has carried out many projects for hotels, offices, homes, cafes, furniture design, curatorial exhibitions, jewellery design. F Andrea Fabiani Sound design andrea.fabiani@unirufa.it Discover more Andrea Fabiani, born on 31 December 1974, is a renowned Italian Sound Designer and Music Production Manager. After earning a Higher National Diploma in Audio Engineering at S.A.E. London his professional career started in 1999, when he worked as part of the In-House Audio Team at the Royal Albert Hall in London, taking care of the sound set-up for live events. He took his first steps as a Sound Engineer at Forward Studios where he contributed to the production of recordings for Fabrizio De Andrè, Pino Daniele, Andrea Bocelli, Michele Zarrillo, Ivano Fossati, Giorgia, Valeria Rossi and Claudio Baglioni. Over the years, he has accumulated important awards and credits for his work, including the soundtrack for Roberta Torre’s film ‘I Baci Mai Dati’ in competition at the 67th Venice Film Festival in the Controcampo section and at the Sundance Film Festival. This recognition led him to be interviewed on Cinematografo by Gigi Marzullo. In addition to being a music consultant for the You Tube channel of the Vatican Museums, he has held the position of Music Supervisor and Sound Designer at Clonwerk S.r.l., contributing to audio post-production for museums, multimedia projects and live events, collaborating with many realities including Filmaster. Since 2010 he has also been a composer and music producer for Rai S.p.a. Daniele Falchi Regia Multimediale daniele.falchi@unirufa.it Discover more Daniele Falchi is a young artist, critic and curator who focuses his research in the field of cinema and new media art. He completed his studies at RUFA – Rome University of Fine Arts, where he continues to teach as a Teacher Assistant for the chair of “Contemporary art and new media”. He currently teaches “Video Production Elements” and “Digital Video” at DAM Academy in Rome. Since 2019 he has collaborated with Dancity Festival, organizing talks, exhibitions and meetings on contemporary culture. In 2020 he participated at Romaeuropa Festival with the installation “THE POST-FUTURIST CAVE”, as part of the Digitalive exhibition. His latest publication, “Techno-maenads. From the classical world to the contemporary West” is contained in “Electronics is Woman. Media, bodies, transfeminist and queer practices”, published by Castelvecchi in 2022. Giulio Fermetti Graphic Design - Comics giulio.fermetti@unirufa.it Discover more My name is Giulio Fermetti and I was born in Rome, on 16 March 1965. I have been working as a professional graphic designer since 1989. Over the last 30 years, I have built up so profound a knowledge of the Adobe software suite [Illustrator, InDesign and Photoshop first and foremost] as to hold training courses, specialising in editorial graphics, branding and coordinated image, illustration and infographcis. You may find a portfolio of my more recent work at issuu.com/essegistudio/docs/essegistudio_roma. Regarding by editorial graphics projects, I began by joining the studio of the great Piergiorgio Maoloni, creating layouts for the daily newspaper “il manifesto” [including the supplements], “Sfera”, “Eupalino” and more besides. From 2002 to 2009, I worked at studenti.it [which has now merged with Banzai Media], as“ CMYK guru”, i.e. chief project, making and printing officer of all the group’s paper magazines [“Yet-Studenti.it”, “Tribu” and “Studenti Magazine”], developing the diaries, calendars and various advertising pages, for self-promotion and other purposes. In 2014, with Essegistudio [a small but very active graphic design studio, which I founded in 2006], we won a nationwide competition organised by Telecom Italia Media, for creating the logo (and related brand book) of the newly-established holding company “Persidera”. Since 2007, I also work for the “Formiche” Foundation, creating the layouts for and illustrating their two monthly magazines “Formiche” and “Airpress”, involving 170 printed pages per month. I have worked for a number of daily newspapers [“Europa”, “Il Romanista”, “Il Clandestino”], building up an in-depth familiarity with the work of editorial offices and their stringent deadlines. I work with Quark XPress since release 3 [1990] and Adobe InDesign since release 1.0. For illustration work, I prefer vectors [Adobe Illustrator], although I am fully skilled in airbrushing, photomontages, corrections, etc. with Adobe Photoshop. I have also been working in the field of infographics on an almost daily basis, for a number of years now, at the editorial offices of the daily newspaper “Europa”, and for a studio providing infographics for the Italian news agency Agi – Agenzia Giornalistica Italiana. Francesco Fidani ILLUSTRATION francesco.fidani@unirufa.it Discover more Illustrator and graphic designer based in Rome. He studied industrial design at ISIA in Rome and the Hochschule in Mainz (DE), complete his studies at ISIA in Urbino in illustration. He works in different fields of communication: publishing, branding, institutional and performance, creating still or moving illustrations by several media: digital, collage, painting and handmade printing or sculptures made of paper. He’s a founder of the project Tothem Tour, a travelling workshop format that aims to communicate the identity of the territory through cutting and printing technique as public performances. Among his clients: Donna Moderna, Il Foglio, Quotidiano Nazionale, Confcooperative, Mondadori, Zanichelli. He won the 15th edition of the Tapirulan Award, Termini d’Identità in 2018 and has been selected several times in the Annual of Autori D’immagini. He is an AIAP member and tutor of the image laboratory at ISIA in Rome. Aleksandra Filipovic Tecniche di modellazione digitale - computer 3D per la moda 1 aleksandra.filipovic@unirufa.it Discover more 3D pattern maker, Architect, PhD at Sapienza University of Rome. Active for years in teaching and research between Rome and Belgrade dedicated to the formation of space, in particular on how a construction system creates it, producing several scientific articles and monographs (such as “Tradition and experimentation in Serbian architecture of the second half of XII century”, Florence University Press 2020). Since 2016, the digital presentations of the monuments have been accompanied by a new field of study and profession, still emerging at the time, that of digital fashion design. The targeted union of many years of experience has offered the possibility of creating new work systems and being able to transmit them in the teaching of 3D fashion modeling (with the patented system of the same MAM school, Maiani Accademia Moda in Rome). As an integral part of GLEA, since 2020, it focuses on the transitions from virtual to reality by creating tailor-made products that do not need testing. For ALTORICAMO, becoming co-founder in 2022, she continues to create the prototypes of eco-innovative wedding dresses, and takes care of the entire 3D design system. Francesco Filosa SET CONSTRUCTION 2 francesco.filosa@unirufa.it Discover more Graduated with honors in Set Design from RUFA and teacher of Set construction 2, he immediately collaborated, as an assistant, in a prestigious studios such as Stefania Conti and Studio Castelli’s, for RAI, Mediaset and Sky events and television programs. In 2018 he founded, with other former university students, the production company “Threeab “, signing the scenography of many short films presented at international Festivals such as Cannes and Venice. At the same time he curates events, short films, theatrical performances and television programs as a set designer. In 2019 he signed the XIII Ambassadors’ conference for the Ministry of Foreign Affairs at Auditorium Parco della Musica, collaborated for the broadcast Tu si que Vales and curated the external sets of Alessandro Siani’s Sky Christmas show. In 2020 he worked on various projects including the Italian FIFA and Pes championship, the construction of a conference room for the public, media & legal affairs company “Utopia” and the Sanremo Junior 2020 at the Ariston Theatre. Filippo Foglietti ANIMATION DRAWING Discover more He graduated from the then 5th Art School (currently Giorgio De Chirico) in 2003. He attended the painting course at the Academy of Fine Arts in 2005. He then attended the C.S.C. – Department of Animation in Piedmont in the three-year period 2006-2008. After graduating from the experimental centre, he began his professional experience between 2009 and 2010; initially as a 3D animator for a mixed technique short film, and then moved on to storyboarding, which will characterise most of his professional experience to date. From the first RAI TV series “Spike Team”, moving on to other RAI productions such as “The Qpiz” – “Spike Team 2” – “Adrian”- initially with Mondo TV and later with Clan Celentano and Movimenti. He worked for a period on the TV series “Bat Pat” again with Movimenti until “Dixiland 2” currently in production. In addition to the animated TV series, he works as story artist on other projects: video clips and video promos in animation, live action and mixed media. He also works as a visualiser with Clonwerk, for competitions and events related to various brands and trademarks, including Enel, Siemens, Fiat, Maserati. Lara Forgione Culture digitali lara.forgione@unirufa.it Discover more She graduated in Saperi e Tecniche dello spettacolo at the “La Sapienza” University in Rome and continued her studies by obtaining two Master’s degrees, “3D animation, compositing, animation techniques in performance” and “Virtual Reality”. She started working in 2015 as a lecturer collaborating with different Italian institutions and universities. Constantly balancing between two worlds that are only apparently distant, the humanities and computer science, and interested in every contemporary artistic expression, she gives students a better understanding of the combination of both technical and theoretical skills. She is convinced that the present imagery will take shape the future reality. Lucia Forte Disegno tecnico e progettuale per la moda lucia.forte@unirufa.it Discover more Fashion designer, during her career she has gained significant freelance experience in the field of design and creative direction of women’s pret-a-porter and luxury accessories collections, as well as the entrepreneurial activity of her brands ‘Lucia Forte haute coutur’ and ‘aquaforte pret-a-porter’. A complete professionalism that has been able to creatively set new collections and inspire new fashion trends thanks to her knowledge of exclusive tailoring techniques and constructions. After her academic studies of fashion and costume in Rome, she began her work experience at the Maison Valentino as assistant and head designer in charge of the creative studio and relations with suppliers; she took part in the planning of the fashion shows in Rome, Paris, New York and Tokyo. Her career path continued in Milan as artistic director for “Trussardi”, where she designed the women’s, men’s and accessories pret-a-porter collections and supervised the presentation of the fashion shows for “Loewe” (Vuitton Spain Group); she curated the women’s luxury pret-a-porter night collection with accessories and Bijou; for the brand “Krizia” she curated the “poi by Krizia” collection of knitwear and fabrics, and collaborated in the organisation of the Milan défilé; for the brand “genny” of Ancona she designed and supervised the creation of women’s pret-a-porter knitwear for the Milan défilé. For “ethic” she was responsible for the style and foreign production (India) of women’s, kids and accessories collections. She designs exclusive fabric prints and embroideries for some of the most prestigious Italian textile companies, such as “Sisan”, “la gattolla” and “Scotland house”. She is the entrepreneur of her own women’s pret-a-porter brand ‘aquaforte’, presented at the Milan collections fair, for which she has completely taken care of the image, style, packaging and distribution. She feels it is her duty to pass on her solid professional knowledge to young students and to direct them to face the competitive ‘fashion planet’ of Made in Italy with the right awareness. Emanuele Frascà Web design 1 emanuele.frasca@unirufa.it Discover more Emanuele Frascà worked in the Web, UX/UI, Graphics and Communication fields for over a decade, including great attention to the evolution of techniques and technologies during his design process. For every project he is facing, a simple but well-structured vision is applied: functionality first, not in contrast but rather in collaboration with the visual. This rule of thumb leads him to design different typologies of websites: landing pages for marketing or feeds collection, multilingual eCommerce, eCommerce for nonprofit, News website, and much more – projects all developed with great care of layouts, interfaces, using all the UI/UX best practices to design an all-around (comprehensive is better?) product. Influenced by his many side interests, like photography, music and art, Emanuele Frascà actively uses his cultural background to create projects that can create an impact on people’s lives, thoughts and emotions. Donatello Fumarola History of Cinema and video donatello.fumarola@unirufa.it Discover more He studied music in Milan and philosophy in Bologna. Since 1999 he is one of the authors of the Rai 3 TV program “Fuori Orario”. For years he has written about cinema for the monthly “filmcritica”, for the newspaper “il manifesto”, for the weekly magazine “nòva / il sole 24 ore”, holding a monthly column in the rock magazine “Blow Up”. In 2013 he wrote “Sentimental Atlas of Cinema for the 21st Century”, with Alberto Momo (with whom he founded, in 2015, Zomia, an independent film society that released in Europe films by Lav Diaz, Pedro Costa, Tariq Teguia, Julio Bressane), winning the Limina / FilmTV award for the best movie book of the year. He has collaborated – as producer, actor, musician or director of photography – with Amir Naderi, Jean-Marie Straub, Enrico Ghezzi, Tonino De Bernardi, Ado Arietta, Luis Fulvio. He directed two episodes (the first and the last) of the tv-series “Zaum” (broadcasted on Rai3 in 2011). He is co-author of the script for the film Monte (2016) directed by iranian master Amir Naderi, winner of “Contenders 2016” at the MoMA in
5438	dbpedia	3	27	https://goldenglobes.com/articles/claudia-cardinale-retrospective-in-new-yorks-museum-of-modern-art/	en	Claudia Cardinale Retrospective in New York’s Museum of Modern Art	https://goldenglobes.com…murder.-1959.jpg	https://goldenglobes.com…murder.-1959.jpg	[ "https://goldenglobes.com/wp-content/uploads/2023/10/01-un-maledetto-imbroglio-the-facts-of-murder.-1959.jpg?w=2000", "https://goldenglobes.com/wp-content/uploads/2023/11/gg_stacked_whiteversion.svg", "https://goldenglobes.com/wp-content/uploads/2023/10/dickclark.svg", "https://goldenglobes.com/wp-content/uploads/2023/10/ernst-and-young.png" ]	[]	[]	[ "" ]	null	[ "Armando Villanueva" ]	2023-02-15T01:00:00+00:00	“Most people only live once. But I’ve lived 141 lives,” said Claude Joséphine Rose Cardinale in 2014. She is known by the world as Claudia Cardinale, one of the most successful European movie actresses of all time, with a career spanning nearly 70 years. In collaboration with Cinecittà (Rome), the Museum of Modern Art (MoMA) of New York is this month presenting an in-depth retrospective of Cardinale’s work, including 23 films, 12 of which are restorations.	en	https://goldenglobes.com…image-1.jpg?w=32	Golden Globes	https://goldenglobes.com/articles/claudia-cardinale-retrospective-in-new-yorks-museum-of-modern-art/	“Most people only live once. But I’ve lived 141 lives,” said Claude Joséphine Rose Cardinale in 2014. She is known by the world as Claudia Cardinale, one of the most successful European movie actresses of all time, with a career spanning nearly 70 years. “The loveliest compliment I’ve ever received was from David Niven. When we were shooting The Pink Panther (1963), he said: ‘After spaghetti, you’re Italy’s happiest invention,’” Cardinale added on that occasion, when she was receiving the Actor’s Mission Award in Slovakia. In collaboration with Cinecittà (Rome), the Museum of Modern Art (MoMA) of New York is this month presenting an in-depth retrospective of Cardinale’s work, including 23 films, 12 of which are restorations. Born in Tunisia (Africa) to Sicilian parents on April 15th, 1938, Cardinale will be 85 this spring. Her first film appearance was in 1958, a minor role in Goha, with Omar Sharif, and since then she has never stopped working in films and, occasionally, theater. Even last year a new movie of hers came out: The Island of Forgiveness, written and shot by Ridha Behi in Tunisia. A truly international actress, fluent in Italian, French, English, Spanish, Sicilian dialect, and Tunisian Arabic, she has worked with the most famous Italian filmmakers and screenwriters, including Federico Fellini, Luchino Visconti, Pier Paolo Pasolini, Dario Argento, Bernardo Bertolucci, Valerio Zurlini and Sergio Leone. Curiously, because of her natural French accent, it was not until 1963 in Fellini’s Otto e mezzo (8½) that Cardinale’s own voice was used in her Italian films. “When I arrived for my first movie, I couldn’t speak a word. I thought I was on the moon. I couldn’t understand what they were talking about. And I was speaking in French; in fact I was dubbed. And Federico Fellini was the first one who used my voice. I think I had a very strange voice,” she told The Guardian in May 2003. Luckily, she added, “In Italy in the sixties, it was the magic moment of Italian cinema. We were always together, the directors, the actors, it was an incredible atmosphere.” In the same interview, Cardinale commented: “Bridgett Bardot says: ´You’re not a woman, you’re a man´.” And: “I don’t think I’m an actress. I think I have the capacity and the possibility to become the woman I’m supposed to… I like silence… I don’t like the star system… For me, work is something, and private life is something else, very separate… I’m a normal person. I like to live in Europe. I mean, I’ve been going to Hollywood many, many times, but I didn’t want to sign a contract.” In over five decades (1961-2014) she has won six out of seven nominations for the David di Donatello Awards, the biggest honor bestowed by the Accademia del Cinema Italiano. The prestigious Venice Film Festival has given her two awards: for Best Actress (1984) and Career Golden Lion (Leone d’oro alla carrier, 1993). And in 2002 she received an Honorary Golden Bear at the Berlin International Film Festival. She is also an active feminist and has been a UNESCO goodwill ambassador for the Defense of Women’s Rights since 2000. In February 2011, The Los Angeles Times Magazine listed Cardinale among the 50 most beautiful women in film history. The legendary actress, who currently lives in Paris, did not attend the opening night at the MoMA, but was represented by her daughter, Claudia Squitieri, who also directs The Fondazione Claudia Cardinale. The ceremony started with the screening of Un Cardinale donna (2023), “a short poetical portrait” of the actress directed by Manuel Maria Perrone. Also part of the retrospective is the publication of the Cinecittà book “Claudia Cardinale. L’indomabile -The indomitable”, curated by her daughter. Among so many other details, the book reminds us that Visconti described Cardinale as “a splendid tabby cat that for the time being scratches at the cushions in the living room (…) but that one of these days we will realize is a tiger.” F. Murray Abraham (Golden Globe winner in 1985) attended the opening at MoMA, fresh from his recent nomination as Best Supporting Actor – Television Limited Series/Motion Picture for The White Lotus. Next to him was his “son” from that show, Michael Imperioli, two-time Golden Globe nominee for The Sopranos. This retrospective has been curated by Joshua Siegel (MoMA), and Camilla Cormanni and Paola Ruggiero (Cinecittà). Some of the movies included are: (in chronological order) Un maledetto imbroglio (The Facts of Murder). 1959. Italy. Directed by Pietro Germi (Golden Globe winner in 1963 for Divorce, Italian Style). Screenplay by Ennio de Concini. Rocco e i suoi fratelli (Rocco and His Brothers). 1960. Italy. Directed by Luchino Visconti (1968 Golden Globe nominee for The Stranger). Screenplay by Visconti, Suso Cecchi D’Amico, Pasquale Festa Campanile, Massimo Franciosa, Enrico Medioli. With Alain Delon (1964 Golden Globe nominee for Il Gattopardo). Il bell’Antonio (Handsome Antonio). 1960. Italy. Directed by Mauro Bolognini. Screenplay by Vitaliano Brancati, Pier Paolo Pasolini. With Marcello Mastroianni (1963 and 1965 Golden Globe winner). La ragazza con la valigia (Girl with a Suitcase). 1961. Italy. Directed by Valerio Zurlini. Screenplay by Zurlini, Enrico Medioli, Piero de Bernardi, Leo Benvenuti, Giuseppe Patroni Griffi. Cardinale won her first David di Donatello Award with this film, which also competed in Cannes. La viaccia (The Lovemakers). 1962. Italy. Directed by Mauro Bolognini. Screenplay by Mario Pratesi, Vasco Pratolini. With Jean-Paul Belmondo. La ragazza di Bube (Bebo’s Girl). 1963. Italy. Directed by Luigi Comencini. Screenplay by Comencini, based on the novel by Carlo Cassola. With George Chakiris (1962 Golden Globe winner for West Side Story). Il Gattopardo (The Leopard). 1963. France/Italy. Directed by Luchino Visconti. Screenplay by Visconti, Suso Cecchi D’Amico, Pasquale Festa Campanile, Massimo Franciosa, Enrico Medioli. With Burt Lancaster (1961 Golden Globe winner for Elmer Gantry) and Alain Delon (1964 Golden Globe nominee for this role). Otto e mezzo (8½).1963. Italy. Directed by Federico Fellini (1966 Golden Globe winner). Screenplay by Fellini, Tullio Pinelli, Ennio Flaiano, Brunello Rondi. With Marcello Mastroianni and Anouk Aimée (1967 Golden Globe winner). This movie won the Oscar as Best Foreign Language Film and Best Costume Design Black-and-White in 1964. The Professionals. 1966. USA. Written and directed by Richard Brooks (1959 and 1961 Golden Globe nominee). With Burt Lancaster, Lee Marvin, Robert Ryan. This movie received two Golden Globes nominations in 1967, including Best Picture/Drama. Don’t Make Waves. 1967. USA. Directed by Alexander Mackendrick. Screenplay by Maurice Richlin, George Kirgo, Ira Wallach. With Tony Curtis (1958 and 1961 Golden Globe winner), and Sharon Tate (1968 Golden Globe nominee). Il giorno della civetta (The Day of the Owl). 1968. Italy. Directed by Damiano Damiani. Screenplay by Damiani, Ugo Pirro, adapted from the novel by Leonardo Sciascia. With Franco Nero (1968 Golden Globe nominee). Cardinale won her second David di Donatello Award with this film. Once Upon a Time in the West. 1968. USA/Italy. Directed by Sergio Leone (1985 Golden Globe nominee for Once Upon a Time in America). Screenplay by Leone, Sergio Donati, from a story by Leone, Dario Argento, Bernardo Bertolucci. With two Golden Globe winners – Henry Fonda and Charles Bronson – and nominee Jason Robards Jr. Bello onesto emigrato Australia sposerebbe compaesana illibata (A Girl in Australia). 1971. Italy. Directed by Luigi Zampa. Screenplay by Zampa and Rodolfo Sonego. With Alberto Sordi (1964 Golden Globe winner). Cardinale won her third David di Donatello Award with this film. Enrico IV (Henry IV). 1984. Italy. Directed by Marco Bellocchio. Screenplay by Bellocchio, Tonino Guerra, based on Luigi Pirandello’s classic play. With Marcello Mastroianni. O Gebo e a sombra (Gebo and the Shadow). 2012. Portugal/France. Written and directed by Manoel de Oliveira. Adapted from a play by Raul Brandão. More info about these and the other movies presented in this retrospective could be found here: https://www.moma.org/calendar/film/5550
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"https://www.pacificpressagency.com/media/image?src=loadmore.png", "https://www.pacificpressagency.com/media/image?src=loadmore.png" ]	[]	[]	[ "Category Content" ]	null	[ "Amlan Biswas", "Shashi Sharma", "salvatore esposito", "Matteo Nardone", "Hugo Ortuño", "Stefano Cappa", "Mariano Montella", "Stefano Dalle Luche", "Corrado Iorfida", "Lev Radin" ]	null	Contenu de la Catégorie	en	https://www.pacificpressagency.com/media/image?src=favicon.png		null	In a series of grand pre-wedding celebrations marking the union of Anant Bhai Ambani and Radhika Merchant, one event stands out for its noble cause and heartfelt execution: the mass wedding for underprivileged couples. Following spectacular celebrations in Jamnagar, Gujarat, and an opulent international cruise in Italy, the Ambani family has once again captured national attention with this philanthropic endeavour. Initially planned to be held at Swami Vivekanand Vidyamandir in Palghar, the mass wedding ceremony was relocated and took place today at the Reliance Corporate Park in Thane. The event highlighted the Ambani family's dedication to providing an unforgettable experience for the happy couples by enabling them to celebrate their union… Final evening with the live performance of the National Jazz Team with special guest Gegè Munari (The Legend) on drums. Followed by Cristiana Polegri & Roberto Spadoni Ensemble with the extraordinary participation of Stefano Fresi in "A Proposito di Henry" Tour tribute to Henry Mancini, which the actor takes around with his wife, voice and sax and guitarist Spadoni. Samjwadi Party Lohia wing national president Abhishek Ysdav host the event with more than 5100 party flag to celebrate 51st birthday of party president Akhilesh Yadav in district Prayagraj. Despite all the preparations being ruined due to rain, all these youths are working very hard and diligently to make their leader's birthday special. Nidhi Yadav, the women wing leader and national spoke person from Samajwadi party said , "This sense of dedication of countless youths towards the National President Shri Akhilesh Yadav makes him the hero of PDA and every youth from all over the country, ready to celebrate their leader's 51th birthday with full zeal on Monday in district Prayagraj, Uttar Pradesh. This morning the former parliamentarian of CinqueStelle Movement Alessandro Di Battista together with the militants of the "Schierarsi" association delivered 80 thousand signatures to the Senate to ask for a law for the recognition of the State of Palestine by the Italian State Veedol, one of India’s leading lubricant brands from Tide Water Oil Co. (India) Ltd., has signed up cricket legend Sourav Ganguly as its brand ambassador. This partnership signifies a pivotal move for Veedol as it seeks to enhance its brand presence and solidify its market position across India. The Río Babel 2024 Festival will be held in Madrid from July 4 to 6, again in the Caja Mágica venue, with an eclectic mix of activities and concerts, among which figures such as Juanes, Andrés Calamaro, Amaral, La Oreja stand out by Van Gogh, Two Door Cinema Club, Carlos Sadness or Delaporte, among others. The first day of the festival, Thursday, July 4, will feature performances by renowned Ibero-American artists such as the Colombian or Andrés Calamaro, a legend of Argentine music. In addition, other popular artists such as Trueno, Nil Moliner, Akriila, Caloncho, Cardellino and Morochos will perform, offering a variety of musical genres for many tastes. The next day, the festival will continue with performances by Amaral, one of Spain's… Gautam Gambhir an Indian former international cricketer, former politician and a philanthropist, presently mentor of IPL team KKR and applicant of new Indian cricket senior men's team coach was in Kolkata at a city hotel to take part in a talk show on young leadership, organized by The Indian Chamber of Commerce (ICC) and the Young Leaders Forum (YLF). Mega functions held across Kashmir to celebrate ‘International Day of Yoga 2024’. On International Yoga Day, the community of Pulwama came together in a vibrant display of unity and wellness. Young adults, children, and families participated in a collective yoga session led by Deputy Commissioner Shri Basharat Qayoom. This event marks a significant moment of peace and harmony following the abrogation of Article 370. Demonstration in Piazza Santi Apostoli in Rome organized by opposition parties to the government to protest in defense of the Italian Constitution against the constitutional reforms that the government majority is approving in recent days. Also participating were the secretary of the Democratic Party Elly Schlein and the President of Cinquestelle Movement Giuseppe Conte President Ranil Wickremesinghe met with Most Rev. Dr. Fidelis Lionel Emmanuel Fernando, the Bishop of Mannar, Diocese of Mannar at the Mannar Bishops House today (16). The bishop of Mannar commended President Ranil Wickremesinghe for his economic reform efforts aimed at rescuing the country from its financial crisis. During their meeting, they also discussed future development plans for the Mannar district. Press conference of the members of "Alleanza Verdi e Sinistra" in the headquarters of the electoral committee in Rome after the outcome of the 2024 European Elections. Also participating were the secretary of Sinistra Italiana Nicola Fratoianni, the secretary of "Europa Verde" Angelo Bonelli, the father of Ilaria Salis Roberto Salis and the former Mayor of Rome Ignazio Marino, candidate in the 2024 European Elections Rino Gaetano Day in Testaccio Summer. The concert was opened by Milano 84, a band strongly supported by Alessandro Gaetano who proposed electronic music revisited from famous songs and various covers. As always they re-proposed the famous songs of the great singer-songwriter who died prematurely in 1981. The lineup is made up of his nephew Alessandro Gaetano – Vocals, acoustic guitar and percussion Michele Amadori – Piano, keyboards and vocals Fabio Fraschini – Bass Alberto Lombardi – Electric guitar and vocals Ivan Almadori – Vocals and acoustic guitar Marco Rovinelli – Drums Special guest Arturo Stalteri in the photos and many others. India Alliance 52-Lok Sabha candidate Ujjwal Raman Singh did public relations in the old city of Prayagraj on the last day of election campaign. Voting is to be held in Prayagraj. For the 2024 battle, the leading contenders are two scions – Congress’ Ujjwal Raman Singh and Bharatiya Janata Party (BJP)’s Neeraj Tripathi. Ujjwal is the son of former Allahabad LS member Rewati Raman Singh and Neeraj’s father was former UP Assembly Speaker and former West Bengal governor Keshari Nath Tripathi. The seat has traditionally been held by members of upper castes, but has a strong presence of Dalits and extremely backward castes, which has made the Bahujan Samaj Party (BSP) field Ramesh Kumar Patel. Workers adjusts lightbulbs on a pandal, a coloured structure that is illuminated with bulbs. Sri Lankan Buddhists are preparing to celebrate Vesak, which commemorates the birth of Buddha, his attaining enlightenment and his passing away, on the full moon day of May which this year falls on May 23.
5438	dbpedia	1	45	https://nl.findagrave.com/memorial/255359795/francesco-nuti	en	2023) – Find a Grave Gedenkstätte	https://images.findagrav…72648bd4e63.jpeg	https://images.findagrav…72648bd4e63.jpeg	[ "https://nl.findagrave.com/assets/images/logo-fff.png", "https://images.findagrave.com/photos/2023/163/255359795_171667ba-83eb-4db1-a0d5-c72648bd4e63.jpeg?size=photos250", "https://images.findagrave.com/default-image.png", "https://images.findagrave.com/photos/2023/163/255359795_171667ba-83eb-4db1-a0d5-c72648bd4e63.jpeg", "https://images.findagrave.com/photos/2023/163/255359795_228b00d1-15d9-4f36-ba6b-a1f7507d5deb.jpeg", "https://images.findagrave.com/photos/2023/340/255359795_82a4fd3e-2eb7-4857-946b-18950eec402e.jpeg" ]	[]	[]	[ "" ]	null	[]	null	Actor and Film Director. As a boy, he delighted in being an actor and was noticed by Alessandro Benvenuti and Athina Cenci, who had formed I Giancattivi and with them he participated in successful television programs such as Non Stop and Black Out. In 1981, the trio made their film debut with AdOvest di Paperino. The...	de	/assets/images/fg-icon.svg		https://de.findagrave.com/memorial/255359795/francesco-nuti	Es gibt ein Problem mit Ihrer E-Mail bzw. Ihrem Passwort. Es gibt ein Problem mit Ihrer E-Mail bzw. Ihrem Passwort. Es gibt ein Problem mit Ihrer E-Mail bzw. Ihrem Passwort. Wir sind auf ein unbekanntes Problem gestoßen. Warten Sie einige Minuten und versuchen Sie es noch einmal. Wenn das Problem weiterhin besteht, kontaktieren Sie Find a Grave. Wir haben die Sicherheit auf der Seite aktualisiert. Sie müssen Ihr Passwort zurücksetzen. Ihr Konto wurde wegen zu vieler fehlgeschlagener Anmeldeversuche für 30 Minuten gesperrt. Bitte kontaktieren Sie Find a Grave unter [email protected], wenn Sie Hilfe beim Zurücksetzen Ihres Passworts benötigen. Dieses Konto wurde deaktiviert. Bei Fragen kontaktieren Sie bitte [email protected] Dieses Konto wurde deaktiviert. Bei Fragen kontaktieren Sie bitte [email protected] E-Mail nicht gefunden. Bitte füllen Sie das Captcha aus, damit wir wissen, dass Sie eine echte Person sind. Mehr als einen Datensatz für eingegebene E-Mail gefunden. Wir haben Ihnen zur Aktivierung eine E-Mail geschickt. Sign in to your existing Find a Grave account. You’ll only have to do this once—after your accounts are connected, you can sign in using your Ancestry sign in or your Find a Grave sign in. We found an existing Find a Grave account associated with your email address. Sign in below with your Find a Grave credentials to link your Ancestry account. After your accounts are connected you can sign in using either account. Geben Sie zum Anmelden Ihre E-Mail-Adresse ein. Geben Sie zum Anmelden Ihr Passwort ein. Geben Sie zum Anmelden Ihre E-Mail-Adresse und Ihr Passwort ein. Es gibt ein Problem mit Ihrer E-Mail bzw. Ihrem Passwort. Es ist ein Systemfehler aufgetreten. Bitte versuchen Sie es später erneut. Eine E-Mail zum Zurücksetzen des Passworts wurde an Email-ID gesendet. Wenn Sie keine E-Mail erhalten haben, durchsuchen Sie bitte Ihren Spam-Ordner. Wir sind auf ein unbekanntes Problem gestoßen. Warten Sie einige Minuten und versuchen Sie es noch einmal. Wenn das Problem weiterhin besteht, kontaktieren Sie Find a Grave.
5438	dbpedia	2	10	https://kinoteka.mk/en/film-program-may-2021-in-the-summer-cinema-a-quiet-summer/	en	FILM PROGRAM MAY 2021 IN THE SUMMER CINEMA “A QUIET SUMMER”	https://kinoteka.mk/wp-c…-Cinema-web1.jpg	https://kinoteka.mk/wp-c…-Cinema-web1.jpg	[ "https://kinoteka.mk/wp-content/uploads/2018/05/kinologowhite.png", "https://kinoteka.mk/wp-content/uploads/2018/05/kinologoblack.png", "https://kinoteka.mk/wp-content/plugins/sitepress-multilingual-cms/res/flags/en.png", "https://kinoteka.mk/wp-content/plugins/sitepress-multilingual-cms/res/flags/mk.png", "https://secure.gravatar.com/avatar/d7ce66890b54ced2f66ca6e92717a7fa?s=50&d=mm&r=g", "https://kinoteka.mk/wp-content/uploads/2021/05/Pane-e-cioccolata.jpg", "https://kinoteka.mk/wp-content/uploads/2021/05/roko.jpg", "https://kinoteka.mk/wp-content/uploads/2021/05/MV5BYjUyZTE3NWQtMTg4MC00OWMyLTljZDItMDkzM2U2MDkwNzQ0XkEyXkFqcGdeQXVyMTAxMDQ0ODk@._V1_.jpg", "https://kinoteka.mk/wp-content/uploads/2021/05/MV5BMTdlNWNmYTktZjY0NS00MDM5LThlM2MtNTdhMWE1ZDk3MWI3XkEyXkFqcGdeQXVyMzIwNDY4NDI@._V1_.jpg", "https://kinoteka.mk/wp-content/uploads/2021/05/MV5BNjdlNmExMzUtMzM3OC00OGI4LWJmYWQtNDE5MzNmZjAwNzE1XkEyXkFqcGdeQXVyMzU0NzkwMDg@._V1_.jpg", "https://kinoteka.mk/wp-content/uploads/2021/05/MV5BMGY3ZjI4MzYtYTg2Ni00YTNkLWFmYjctYzIwNWY4MmFjMTc0XkEyXkFqcGdeQXVyMzIzNDU1NTY@._V1_.jpg", "https://kinoteka.mk/wp-content/uploads/2021/05/MV5BZDFhMmJlMjItZTk4Yi00YjRhLTgxMDgtM2QzNjA5MDQ1OWVkXkEyXkFqcGdeQXVyNTA0OTU0OTQ@._V1_.jpg", "https://kinoteka.mk/wp-content/uploads/2021/05/ECmedia-en-white-Converti.jpg", "https://kinoteka.mk/wp-content/plugins/sitepress-multilingual-cms/res/flags/mk.png" ]	[]	[]	[ "" ]	null	[ "Damjana Ivanovska" ]	2021-05-21T17:52:08+02:00	ITALIAN FILM WEEK MAY 17 (MONDAY), 20:00h. BREAD AND CHOCOLATE (Pane e cioccolata) Feature film, Italy 1973, 115 min., Color, DCP Directed by Franco Brusati Screenplay: Franco Brusati, Jaja Fiastri, Nino Manfredi Cast: Nino Manfredi, Anna Carina, Johnny Dorelli, Hugo A bitter comedy about the maladaptation of the Italian economic emigrant in Switzerland Nino Garofalo	en	https://kinoteka.mk/wp-c…oblack-32x32.png	Кинотека на Македонија - Официјалниот веб портал на Кинотека на Македонија	https://kinoteka.mk/en/film-program-may-2021-in-the-summer-cinema-a-quiet-summer/	ITALIAN FILM WEEK MAY 17 (MONDAY), 20:00h. BREAD AND CHOCOLATE (Pane e cioccolata) Feature film, Italy 1973, 115 min., Color, DCP Directed by Franco Brusati Screenplay: Franco Brusati, Jaja Fiastri, Nino Manfredi Cast: Nino Manfredi, Anna Carina, Johnny Dorelli, Hugo A bitter comedy about the maladaptation of the Italian economic emigrant in Switzerland Nino Garofalo (played by Nino Manfredi). Nino is a worker who tries, but can not fit into the Swiss mentality: he is constantly in conflict with the police, because with his unbridled southern temperament he disturbs the “cold” Swiss. Nino soon meets new people, finds new work engagements, but he has to hide his Italian origin from everyone. Despite everything, he does not give up to “conquer” Switzerland … Director Franco Brusati (1920-1993) was a lawyer by education, and began his career as a journalist. He began working as a screenwriter with directors Latuada, Rossellini and other representatives of Italian neorealism, and made his directorial debut in 1956 with the film I AM THE BOSS (Il padrone sono me). The most important titles in his filmography, apart from BREAD AND CHOCOLATE, are TO FORGET VENICE (Dimenticare Venezia, 1979), who was the Italian representative for “Oscar”, DISORDER (Disordine 1967), GOOD SOLDIER(Il buon soldato 1982), etc. … BREAD AND CHOCOLATE won the Silver Bear at the 1974 Berlinale, the David Di Donatello National Awards in several categories, the New York and Kansas Film Critics Awards, and dozens of other nominations. Age category: 14 years Ticket: free entrance ITALIAN FILM WEEK MAY 18 (TUESDAY), 20:00 h. MY NAME IS ROCCO PAPALEO (Permette? Rocco Papaleo) Feature film, Italy 1971, 106 min., Color, DCP Directed by: Ettore Scola Screenplay: Ettore Scola, Ruggero Maccari Cast: Marcello Mastroianni, Lauren Hutton, Tom Reed, Margot Novak Rocco Papaleo (Mastroianni) is a simple-hearted and kind Italian immigrant who arrived in the United States 20 years ago with the intention of making a successful career as a professional boxer. Instead, he works in a mine in Alaska. During a trip to Chicago with friends, with the intention of having fun in the big city, Rocco gets lost in the city crowds. He meets various picturesque characters, he also meets a beautiful girl-model (Hutton), but he does not find the desired hospitality … Ettore Scola (1931-2016) is one of the most striking representatives of Italian cinema from the second half of the last century. His film ONE UNUSUAL DAY (Una giornata particolare, 1977): winner of the Golden Globe, also nominated for an Oscar; Nomination for Best Actor (Mastroianni) – is among the most famous of the 40 titles in his career, including the films UGLY, DIRTY, EVIL (Brutti, sporchi e cattivi, 1976), WE LOVED EACHOTHER VERY MUCH (C’eravamo Tanto Amati , 1974), BAL (Le bal, 1983), etc. Scola has won numerous awards at many of the most prestigious European film festivals in Venice, Cannes, Moscow…. Age category: 14 years Ticket: free entrance ITALIAN FILM WEEK MAY 19 (WEDNESDAY), 20:00h. SAKO AND VANCETI (Sacco and Vanzetti) Feature film, Italy / France 1971, 125 min., Color / black and white, DCP Directed by Giuliano Montaldo Screenplay: Fabrizio Onofri, Giuliano Montaldo Cast: Gian Maria Volontè, Riccardo Cucciolla, Cyril Cusack Another representative of Italian neorealism. The story of SAKO AND VANCETI – which also flirts with the spaghetti western style – is based on one of the most controversial legal cases in the United States in the early 20th century. Sako and Vancetti are Italian immigrants to the United States. They are anarchists, accused of first-degree murder, and unjustly sentenced to death by executing an electric chair, but not because of a crime (armed robbery), but because of their political convictions. Their case was widely publicized in the United States as a political process filled with anti-immigrant and anti-Italian motives … SACO AND VANCETI of Montaldo was the winner of the Avellino Non-Realistic Film Festival (Best Picture and Best Actor: Cucciola); Cucciola also won the Palme d’Or (GOLDEN PALM), and Montaldo was nominated for the prestigious Cannes Award in 1971. The music in the film is by legendary composer Ennio Morricone, and several songs are performed by singer Joan Baez. Age category: 14 years Ticket: free entrance ITALIAN FILM WEEK MAY 20 (THURSDAY), 20:00 THE NEW WORLD (Nuomomondo / Golden Door) Feature film, Italy / France 2006, 118 min., Color, DCP Directed by Emanuele Crialese Screenplay: Emanuele Crialese Cast: Charlotte Gainsbourg, Vincenzo Amato, Vincent Schiavelli THE NEW WORLD (or GOLDEN GATE) is the third feature film by Chrialesse, a Roman of Sicilian descent. As in many other titles in Italian cinema – in fact, as well as this selection of titles in “Italian Film Week” – Chrialeze deals with the phenomenon of Italian emigration to the world in the early 20th century. Chrialeze’s story deals with the famous theme of the emigration of the family of Salvatore Mancuso (Amato) from poor Sicily, full of superstition, to a new world full of promises:USA. Traveling by boat is difficult and arduous, especially in the claustrophobic shipwreck, intended for travelers with the cheapest tickets. When such crushed travelers reach the promised land, they await the insensitive officials on Ellis Island, that “golden gate” of the United States, where they have to go through quarantine and bureaucratic procedures. THE NEW WORLD is a film made up of three visual parts: the first highlights the poetic landscapes of hilly and stony Sicily and its inhabitants with pagan customs and beliefs. In the second part, Salvatore, who constantly dreams of America, despite the fierce opposition of his mother (that patriarchal icon in Mediterranean cinema) sells out all his property. In the third, on the other hand, one step closer to the American soil, the mysterious beauty Lucy (Ginsbourg) appears, an elegant woman of mysterious origin, who will partially direct the fate of the male members of the Mancuso family … Chrialeze’s NEW WORLD has got around 50 awards and nominations. In addition to the Silver Lion in Venice and several independent jury awards at the festival, Chrialezé’s film also triumphed at the David Di Donatello National Film Awards in Italy, then at the Capri Film Festival in Hollywood, and the Golden Apricot in Yerevan, Armenia, and a dozen other festivals around the world. Age category: 14 years Ticket: free entrance ITALIAN FILM WEEK MAY 21 (FRIDAY), 20:00h. A GIRL IN AUSTRALIA (Bello, onesto, emigrato in Australia sposerebbe compaesana illibata) Feature film, Italy / Australia 1971, 113 min., Color, DCP Directed by Luigi Zampa Screenplay: Luigi Zampa, Rodolfo Sonego Cast: Alberto Sordi, Claudia Cardinale, Ricardo The young peasant Carmela (Cardinale) wants to escape poverty and prostitution as the only means of subsistence, so she accepts the offer of the local priest – to be the bride in a contract marriage with the Italian emigrant Amedeo (Sordi) in Australia and move to the distant continent. Amedeo is a telephone technician working in hard-to-reach areas of Australia. Shy as he is, girls are hard to reach . He wants to get married, so he “orders” a bride from his native Italy “by mail”. He chooses the prostitute Carmela who no longer wants to work in the oldest profession, but in order to lure her to Australia, he sends a photo in the letter of his friend Giuseppe (Garone), who is more beautiful than him. When Carmela receives the letter with the marriage proposal and the photo of the groom, she agrees to travel to Australia. But when she meets Amedeo, she refuses to marry him: her choice is Giuseppe. Amedeo must devise a way to conquer Carmela and marry her … The main actors in this Italian comedy with a long title won the audience and the critics: Claudia Cardinale won the national award of Italian cinematography “David Di Dinatello” for best female role in 1972, and Alberto Sordi was nominated for best actor by the Italian Film Critics Syndicate. . Age category: 14 years Ticket: free entrance ITALIAN FILM WEEK MAY 22 (SATURDAY), 20:00 THE TRIO GOES TO VOTE (Bianco, rosso and Verdone) Feature film, Italy 1981, 110 min., Color, DCP Directed by Carlo Verdone Screenplay: Leonardo Benvenuti, Piero De Bernardi, Carlo Verdone Cast: Carlo Verdone, Elena Fabrizi, Irina Sanpiter Carlo Verdone is the director, screenwriter and actor in this Italian comedy. The story is about three Italians who go to the their hometown on the day of the parliamentary elections. Pasquale is an Italian immigrant living in Munich, Germany, and is heading to the town of Matera in southern Italy, happy to spend at least a few days in his homeland, even though the country of his nostalgic memories is completely different from reality. Furio travels from Turin to Rome, so when he goes to vote, his wife Magda thinks he wants to run away from her. Mimo, on the other hand, is a young man traveling from Verona to Rome with his grandmother: He is constantly worried about her health, while his grandmother is completely cold-blooded … The roles of Pasquale, Furio and Mimo – are played by Verdone himself. The film is produced by Sergio Leone and music by Ennio Morricone and his collaborator Mario Brega; This team previously became known for the compositions from the “spaghetti westerns”, more precisely, after the so-called “Dollar” trilogy. Verdone’s film received several nominations for the David Di Donatello Award, and Elena Fabrici won the Italian Film Critics Syndicate Award for Best Young Actress. Age category: 14 years Ticket: free entrance ITALIAN FILM WEEK MAY 23 (SUNDAY), 20:00 WELCOME TO THE SOUTH (Benvenuti al sud ) Feature film, Italy 2010, 102 min., Color, DCP Directed by Luca Miniero Screenplay: Massimo Gaudioso, Dany Boon Cast: Claudio Bizio, Alessandro Ciani, Angela Finocchiaro Alberto (Bizio) is a postman in the small town of Brianzi in northern Italy. At the urging of his wife Sylvia (Finociaro) he tries at all costs to get a transfer to Milan. Alberto will try to present himself as disabled, but will be caught in the scam, and after punishment will be transferred to duty in a small place in the south of Italy. Alberto is forewarned that all the inhabitants of the Italian South are lazy and connected with the mafia, because they do not work honestly and hard. But, to his own surprise, Alberto realizes that he has adapted very well to the new environment, he even enjoys it there, making friends with his new colleague, the postman Mattio … After studying literature, Mineiro (1967) worked on numerous marketing campaigns, radio and TV productions with his collaborator Paolo Genovese. After the success of several short films in 2001, they co-produced a feature version of one of them, NAPLES MAGIC (Incantesimo napoletano), and Mineiro later continued his directing career on his own. WELCOME TO THE SOUTH is the most watched film in Italy in 2010, and won ten awards and thirty nominations in the country and the world: the Capri Film Festival in Hollywood, the “David Di Donatello” Awards, European Film Awards, Italian “Golden Globe”… Age category: 14 years Ticket: free entrance SKOPJE FILM FESTIVAL 2021 MAY 25 (TUESDAY), 20:00h. CHAIR Feature film, Macedonia 2021, 16 min., Color, DCP Directed by: Dafina Shekutkovska Screenplay: Dafina Shekutovska MARCH FOR DIGNITY Documentary film, Great Britain 2020, 80 min., Color, DCP Directed by John Eames Screenplay: John Eames, Cassandra Roberts This feature-length documentary follows a small group of LGBT + activists in Tbilisi, Georgia, as they try to organize the country’s first “Pride March”. They face strong opposition from far-right groups, the government and the Georgian Orthodox Church, which are inciting violent attacks on the LGBT + community. With the coveted membership of the European Union and anti-Russian sentiment on the political agenda, Georgians are at a turning point in history, where they must choose to fight for progress and human rights, or to succumb to greater Russian influence. In the midst of these geopolitical turmoils, the dedicated organizers of the “Pride March” in Tbilisi are bravely striving to be visible in their country … Age category: 16 years Ticket: free entrance MAY 26 (WEDNESDAY), 12:00h. AWARDING THE RECOGNITION OF THE CINEMATHEQUE “GOLDEN LENS” SKOPJE FILM FESTIVAL 2021 MAY 26 (WEDNESDAY), 20:00h. LILY (Lili) Documentary film, Macedonia 2021, 21 min., Color, DCP Directed by Ana Andonova Screenplay: Ana Andonova A story about a young civil activist Lily Nazarov from Azerbaijan, who is persecuted by the authorities in his country. Lily tries to make a living from the art he creates in the countries where he resides. He was in Turkey, he stayed in Macedonia, and he plans to continue his journey in Albania … In every country where he stays, Lily creates a mural. In Macedonia, in Tetovo, his mural depicts three women killed in Azerbaijan. A 20-year-old girl committed suicide due to pressure from the family, then there is a transgender person, and a woman who was killed by her father-in-law. SILENT VOICE (Silent Voice) Documentary, France / Belgium 2020, 51 min., Color, DCP Directed by: Reka Valerik Screenplay: Anaïs Lloret, Reka Valerik Hawaii is a young fighter (style: mixed martial arts) from Chechnya who emigrated to Belgium. He had to hide from his compatriots after his brother discovered that Hawaii was gay. The events he survived left him in a state of shock and he lost his voice. With the help of a Belgian organization that protects young men like Hawaii, he learns to speak again and tries to find his place in the new country. Communication with his family is impossible – his only contact with the home is the voice messages on the phone from his mother. Meanwhile, Kadyrov’s tyrannical regime is behind his heels. It is possible that members of the Chechen diaspora in Belgium will inform for him, so he has to create a new identity. The film follows his moves and testifies to his struggle to “recreate” himself. The results are disturbing, but also shocking … Age category: 16 years Ticket: free entrance <… In case of rain, the projectionss will be held in the cinema hall of the Cinematheque…>
5438	dbpedia	1	12	https://www.shootonline.com/spw/italian-screenwriter-suso-damico-receive-wgaws-inaugurual-jean-renoir-award/	en	Italian Screenwriter Suso D'amico To Receive WGAW's Inaugurual Jean Renoir Award	https://wp-shoot.s3.amaz…imi_logo-svg.png	https://wp-shoot.s3.amaz…imi_logo-svg.png	[ "https://wp.shootonline.com/wp-content/uploads/2022/01/SPW-FolioLogo.png", "https://wp.shootonline.com/wp-content/uploads/2022/01/SPW-FolioLogo.png", "https://www.shootonline.com/wp-content/uploads/2023/06/SHOOTlogo_WH.png", "https://www.shootonline.com/wp-content/uploads/2023/06/SHOOTlogo_WH.png", "https://www.shootonline.com/wp-content/uploads/2023/06/SHOOTlogo_WH.png", "https://www.shootonline.com/wp-content/uploads/2023/06/SHOOTlogo_WH.png", "https://wp.shootonline.com/wp-content/uploads/2022/01/SPW-FolioLogo.png", "https://wp.shootonline.com/wp-content/uploads/2022/01/SPW-FolioLogo.png", "https://www.shootonline.com/wp-content/uploads/2023/06/SHOOTlogo_WH.png", "https://www.shootonline.com/wp-content/uploads/2023/06/SHOOTlogo_WH.png", "https://www.shootonline.com/wp-content/uploads/2023/06/SHOOTlogo_WH.png", "https://www.shootonline.com/wp-content/uploads/2023/06/SHOOTlogo_WH.png", "https://www.google-analytics.com/collect?v=2&api_secret=hpm9Erm5SkKNvKfbeE2VJw&tid=G-C2MYFY3XED&measurement_id=G-C2MYFY3XED&cid=GA1.2.429710244.1686220364&timestamp_micros=1694158856459000&t=event&ec=112958&ea=open&el=112958&ev=112958&cn=112958&en=112958&session_id=1693314499", "https://www.google-analytics.com/collect?v=2&api_secret=hpm9Erm5SkKNvKfbeE2VJw&tid=G-C2MYFY3XED&measurement_id=G-C2MYFY3XED&cid=GA1.2.429710244.1686220364&timestamp_micros=1694158856459000&t=event&ec=112958&ea=open&el=112958&ev=112958&cn=112958&en=112958&session_id=1693314499", "https://wp-shoot.s3.amazonaws.com/wp-content/uploads/2024/08/13163524/David_Jordan.jpg", "https://wp-shoot.s3.amazonaws.com/wp-content/uploads/2024/08/13163524/David_Jordan.jpg", "https://www.google-analytics.com/collect?v=2&api_secret=hpm9Erm5SkKNvKfbeE2VJw&tid=G-C2MYFY3XED&measurement_id=G-C2MYFY3XED&cid=GA1.2.429710244.1686220364&timestamp_micros=1694158856459000&t=event&ec=252961&ea=open&el=252961&ev=252961&cn=252961&en=252961&session_id=1693314499", "https://www.google-analytics.com/collect?v=2&api_secret=hpm9Erm5SkKNvKfbeE2VJw&tid=G-C2MYFY3XED&measurement_id=G-C2MYFY3XED&cid=GA1.2.429710244.1686220364&timestamp_micros=1694158856459000&t=event&ec=252953&ea=open&el=252953&ev=252953&cn=252953&en=252953&session_id=1693314499", "https://www.google-analytics.com/collect?v=2&api_secret=hpm9Erm5SkKNvKfbeE2VJw&tid=G-C2MYFY3XED&measurement_id=G-C2MYFY3XED&cid=GA1.2.429710244.1686220364&timestamp_micros=1694158856459000&t=event&ec=252949&ea=open&el=252949&ev=252949&cn=252949&en=252949&session_id=1693314499", "https://www.google-analytics.com/collect?v=2&api_secret=hpm9Erm5SkKNvKfbeE2VJw&tid=G-C2MYFY3XED&measurement_id=G-C2MYFY3XED&cid=GA1.2.429710244.1686220364&timestamp_micros=1694158856459000&t=event&ec=252959&ea=open&el=252959&ev=252959&cn=252959&en=252959&session_id=1693314499", "https://www.google-analytics.com/collect?v=2&api_secret=hpm9Erm5SkKNvKfbeE2VJw&tid=G-C2MYFY3XED&measurement_id=G-C2MYFY3XED&cid=GA1.2.429710244.1686220364&timestamp_micros=1694158856459000&t=event&ec=252932&ea=open&el=252932&ev=252932&cn=252932&en=252932&session_id=1693314499", "https://www.google-analytics.com/collect?v=2&api_secret=hpm9Erm5SkKNvKfbeE2VJw&tid=G-C2MYFY3XED&measurement_id=G-C2MYFY3XED&cid=GA1.2.429710244.1686220364&timestamp_micros=1694158856459000&t=event&ec=252910&ea=open&el=252910&ev=252910&cn=252910&en=252910&session_id=1693314499", "https://www.google-analytics.com/collect?v=2&api_secret=hpm9Erm5SkKNvKfbeE2VJw&tid=G-C2MYFY3XED&measurement_id=G-C2MYFY3XED&cid=GA1.2.429710244.1686220364&timestamp_micros=1694158856459000&t=event&ec=252893&ea=open&el=252893&ev=252893&cn=252893&en=252893&session_id=1693314499", "https://www.shootonline.com/wp-content/uploads/2023/06/SHOOTlogo_WH.png" ]	[]	[]	[ "" ]	null	[ "SPW Editor" ]	2013-01-29T15:23:20+00:00	Legendary Italian screenwriter Suso D’Amico has been chosen as the first recipient of the WGAW’s newly created Jean Renoir Award for Screenwriting A	en	https://wp-shoot.s3.amaz…imi_logo-svg.png	SHOOTonline	https://www.shootonline.com/spw/italian-screenwriter-suso-damico-receive-wgaws-inaugurual-jean-renoir-award/	LOS ANGELES -- (SPW) -- Legendary Italian screenwriter Suso D’Amico has been chosen as the first recipient of the WGAW’s newly created Jean Renoir Award for Screenwriting Achievement. D’Amico is credited with writing more than 100 films, including The Bicycle Thief, Rocco and His Brothers, and Big Deal on Madonna Street. Named after the immortal filmmaker Renoir, who wrote almost all of his films, the lifetime achievement award will be given on an occasional basis to honor screenwriters working outside the U.S. and in other languages. “Renoir used to say ‘everyone has his reasons.’ No other observation, it seems to me, has said more about the way to view humanity or suggested a better way for writers to humanize their creations,” said screenwriter Robert Towne, who served on the Guild committee which established the new international award. “Renoir was that rarest of beings, a great artist and a great teacher. And though Suso D’Amico has famously referred to herself as an artisan not an artist, may this award help disabuse her of that notion. My heartfelt congratulations to Ms. D’Amico.” “We felt that Ms. D’Amico deserved this honor for The Bicycle Thief alone,” commented WGAW Board of Directors member Nicholas Kazan, who also served on the committee. “In light of her astonishing list of credits, our only regret is that we can’t give it to her twice.” Along with other honorees, D’Amico will be feted at the 2009 Writers Guild Awards’ West Coast ceremony on Saturday, February 7, 2009, in Los Angeles. Nominated for an Academy Award in 1966 for her screenplay for Casanova ’70 (shared with Agenore Incrocci, Furio Scarpelli, Mario Monicelli, Tonino Guerra, and Giorgio Salvioni), D’Amico has previously earned David di Donatello Awards for Best Screenplay for Speriamo che sia femmina (Let’s Hope It’s a Girl, 1986, shared with Tullio Pinelli, Mario Monicelli, Leonardo Benvenuti, and Piero De Bernardi) and Il Male oscuro (The Obscure Illness, 1990, shared with Tonino Guerra), as well as receiving a Special David Award in 1980 and a 50th Anniversary Special David Award in 2006, as well as the Luchino Visconti Award, a special honor given on the tenth anniversary of Visconti’s death. Over the past six decades, D’Amico has garnered a stunning eight Silver Ribbon Awards for her screenwriting work from the Italian National Syndicate of Film Journalists, including shared nods for Il Male oscuro (The Obscure Illness, 1991), L’Inchiesta (The Inquiry, 1987), Speriamo che sia Femmina (Let’s Hope It’s a Girl, 1986), Rocco e i suoi fratelli (Rocco and His Brothers, 1960), La Sfida (The Challenge) and I Soliti ignoti (Big Deal on Madonna Street, 1959, tied that year), E primavera… (It’s Forever Springtime, 1950), Ladri di biciclette (The Bicycle Thief, 1949), and Vivere in pace (To Live in Peace, 1947). D’Amico has also received a pair of honorary awards from the Venice Film Festival for lifetime achievement: the Career Golden Lion in 1994 and the Pietro Bianchi Award in 1993. D’Amico’s other writing credits include writing or co-writing classic Italian films such as Bruno Is Waiting on the Car, Private Affairs, History, White Nights, Husbands in the City, The Anatomy of Love, and Red Shirts, as well as television miniseries including Jesus of Nazareth and The Adventures of Pinocchio. The Guild’s inaugural Jean Renoir Award for Screenwriting Achievement is given to “that international writer who has advanced the literature of motion pictures through the years and who has made outstanding contributions to the profession of screenwriter.” The 93-year-old D’Amico will not be traveling to Los Angeles. Instead, she will receive her WGAW honorary award next month at a ceremony in Rome sponsored by Medusa Film S.p.A. The 2009 Writers Guild Awards will be held on Saturday, February 7, 2009, at simultaneous ceremonies at the Hyatt Regency Century Plaza Hotel in Los Angeles and the Hudson Theatre at the Millennium Broadway Hotel in New York City. For more information about the 2009 Writers Guild Awards submission process, guidelines, and official entry forms, please visit www.wga.org or www.wgaeast.org. The Writers Guild of America, West (WGAW) and the Writers Guild of America, East (WGAE) represent writers in the motion picture, broadcast, cable, and new media industries in both entertainment and news. © 2009 Writers Guild of America, West. All Rights Reserved. Contact: For inquiries about the 2009 Writers Guild Awards Los Angeles show, please contact Gregg Mitchell in the WGAW Communications Dept. at (323) 782-4574 Contact: For inquiries about the 2009 Writers Guild Awards New York show, please contact Sherry Goldman in the WGAE Public Relations Dept. at (718) 224-4133 MySHOOT Profiles
5438	dbpedia	3	32	https://www.ranker.com/list/famous-screenwriters-from-italy/reference%3Fpage%3D2	en	Famous Screenwriters from Italy	https://imgix.ranker.com/list_img_v2/14363/1074363/original/famous-screenwriters-from-italy-u2	https://imgix.ranker.com/list_img_v2/14363/1074363/original/famous-screenwriters-from-italy-u2	[ "https://sb.scorecardresearch.com/p?c1=2&c2=10600724&cv=3.6&cj=1", "https://static.ranker.com/img/brand/ranker-logo.svg?v=1&auto=format&q=60&fit=crop&fm=png&dpr=2&w=104", "https://static.ranker.com/img/brand/wordmark.svg?v=1&auto=format&q=60&fit=crop&fm=png&dpr=2&w=210", "https://imgix.ranker.com/img/icons/menuSearch.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=30&w=30", "https://imgix.ranker.com/img/icons/vote-on-pill.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=24&w=105", "https://imgix.ranker.com/user_img/1/1/original/reference?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=40&w=40", "https://imgix.ranker.com/img/icons/chevronExpand.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=13&w=71", "https://imgix.ranker.com/user_node_img/62/1238708/original/1238708-photo-u1245800477?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=150", "https://imgix.ranker.com/img/icons/book-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/node_img/91/1802741/original/pier-paolo-pasolini-writers-photo-1?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=150", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/node_img/26/502193/original/asia-argento-writers-photo-2?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=150", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/user_node_img/41/813313/original/dan-castellaneta-photo-u2?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=150", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/node_img/51/1018417/original/frank-capra-writers-photo-1?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=150", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/node_img/27/537263/original/bam-margera-writers-photo-2?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=150", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://v3api.ranker.com/api/px?lid=1074363" ]	[]	[]	[ "" ]	null	[ "Reference" ]	2013-12-19T00:00:00	List of notable or famous screenwriters from Italy, with bios and photos, including the top screenwriters born in Italy and even some popular screenwriters ...	en	/img/icons/touch-icon-iphone.png	Ranker	https://www.ranker.com/list/famous-screenwriters-from-italy/reference	Isabella Rossellini is an Italian actress, filmmaker, author, philanthropist, and model. Born into a family of cinematic royalty on June 18, 1952, in Rome, Italy, she is the daughter of Swedish actress Ingrid Bergman and Italian director Roberto Rossellini. Rossellini's early life was marked by her parents' high-profile careers and their eventual divorce, shaping her unique perspective on fame and personal life. Rossellini's film career began in 1976 with a minor role in A Matter of Time, directed by Vincente Minnelli. However, her breakthrough came in 1986 when she starred in David Lynch's Blue Velvet, a role that earned her widespread acclaim for her intense performance. Rossellini continued to work with Lynch in Wild at Heart and has since starred in numerous films such as Death Becomes Her, Fearless, and Joy. Despite being known primarily for her acting, Rossellini also ventured into writing, directing, and producing, notably creating the series of short films Green Porno, exploring animal behavior. In addition to her acting career, Rossellini's striking features led her to become a successful model. She served as the face of Lancôme for 14 years, becoming one of the highest-paid models worldwide. Beyond her work in film and fashion, Rossellini is committed to conservation efforts, specifically focusing on wildlife preservation. She studied animal behavior and conservation at Hunter College in New York City and has used her platform to raise awareness and funds for various environmental causes. Asia Argento stepped out of her horror maestro father's shadows with award-winning roles in "Perdiamoci di vista" (1994) and "Traveling Companion" (1996) before becoming a provocative director herself and a pivotal figure in Hollywood's #MeToo movement. Born in Rome, Italy in 1975 to cult horror auteur Dario Argento and model Daria Nicolodi, Asia Argento made her big screen debut aged nine in "Demons 2" (1986) and two years later took the leading role of runaway Martina in "Zoo" (1988). After appearing as sole survivor Lotte in "The Church" (1989), Nanni Moretti's daughter in "Red Wood Pigeon" (1989) and troubled teen Simona in "Close Friends" (1992), Argento was directed by her father for the first time playing an anorexia sufferer in "Trauma" (1993), and then as a serial killer-pursuing detective in "The Stendhal Syndrome" (1996). Argento truly proved she was a star in her own right when she won Best Actress at Italy's answer to the Oscars for her turns as paraplegic Arianna in comedy "Perdiamoci di vista" (1994) and waitress Cora in coming-of-age "Traveling Companion" (1996). Argento then ventured into English-language cinema with cyberpunk thriller "New Rose Hotel" (1998), portrayed Christine Daae in her father's take on "The Phantom of the Opera" (1998) and Eponine in miniseries "Les Miserables" (2000), and starred as seductive thieves in both "Viola Kisses Everybody" (1998) and "B. Monkey" (1998). Having previously helmed the "Prospettive" segment of horror anthology "DeGenerazione" (1994) and documentary shorts about her father and Abel Ferrara, Argento made her feature-length directorial debut with "Scarlet Diva" (2000), a semi-autobiographical tale she also starred in, and followed it up with "The Heart Is Deceitful Above All Things" (2004), a provocative adaptation of JT Leroy's same-named novel in which she played a drug-addicted prostitute single mother. After appearing as undercover spy Yelena in her first blockbuster, "xXx" (2002), Argento worked with Gus Van Sant on "Last Days" (2005), George A. Romero on "Land of the Dead" (2005) and Sofia Coppola on "Marie Antoinette" (2006). But she spent the rest of the decade focusing on European cinema, landing major roles in "Transylvania" (2006), "Boarding Gate" (2007) and "The Last Mistress" (2007), playing an American art student in Dario Argento's "The Mother of Tears" (2007) and showing up as an exotic dancer in "Go Tales" (2007) and cult leader in "On War" (2008). After adding the likes of "Horses" (2011), "Islands" (2011) and "Baciato dalla fortuna" (2011) to her filmography, Argento portrayed heiress Lucy Kisslinger in "Dracula 3D" (2012), starred in French-Portuguese romance "Obsessive Rhythms" and Bangladesh Liberation War drama "Shongram" (2014), and directed her third feature film, "Misunderstood" (2014), a tragicomedy about a neglected teen coping with her parents' divorce. In 2017 Argento helped to kickstart the #MeToo movement after alleging in a New Yorker article that movie mogul Harvey Weinstein had sexually assaulted her in the 1990s. A year later Argento herself was accused of a similar offence by Jimmy Bennett, an actor aged 17 at the time of the alleged 2013 incident. Dan Castellaneta, a formidable talent in the world of entertainment, is renowned for his versatility that extends from acting to voice-over artistry and writing. Born on October 29, 1957, in Oak Park, Illinois, his passion for performance began at an early age. He honed his craft at Northern Illinois University and, upon graduation, became a regular player in Chicago's improvisational scene before joining the famed Second City improv troupe. His career in television started with The Tracey Ullman Show, but it was his role in The Simpsons that catapulted him into the limelight. Castellaneta has voiced the iconic character of Homer Simpson since the show's inception in 1989. His ability to portray a broad range of characters with distinctive voices, from the dim-witted yet lovable Homer to the cantankerous Groundskeeper Willie, has earned him recognition as a premier voice-over artist. His work on The Simpsons led to several Emmy Awards, demonstrating his prowess in bringing animated characters to life. In addition to his success as a performer, Castellaneta has also made his mark as a writer. He has contributed scripts to several episodes of The Simpsons, showcasing his ability to weave engaging narratives. Beyond this, he has acted in various live-action roles in shows like Friends and Parks and Recreation, and has lent his voice to numerous other animated series. Despite his prolific career, Castellaneta maintains a sense of humility and dedication to his craft, a testament to his enduring appeal in the entertainment industry. Frank Russell Capra (born Francesco Rosario Capra; May 18, 1897 – September 3, 1991) was an Italian-American film director, producer and writer who became the creative force behind some of the major award-winning films of the 1930s and 1940s. Born in Italy and raised in Los Angeles from the age of five, his rags-to-riches story has led film historians such as Ian Freer to consider him the "American Dream personified."Capra became one of America's most influential directors during the 1930s, winning three Academy Awards for Best Director from six nominations, along with three other Oscar wins from nine nominations in other categories. Among his leading films were It Happened One Night (1934), You Can't Take It with You (1938), and Mr. Smith Goes to Washington (1939); Capra was nominated as Best Director and as producer for Academy Award for Best Picture on all three films, winning both awards on the first two. During World War II, Capra served in the U.S. Army Signal Corps and produced propaganda films, such as the Why We Fight series. After World War II, Capra's career declined as his later films, such as It's a Wonderful Life (1946), performed poorly when they were first released. In ensuing decades, however, It's a Wonderful Life and other Capra films were revisited favorably by critics. Outside of directing, Capra was active in the film industry, engaging in various political and social issues. He served as President of the Academy of Motion Picture Arts and Sciences, worked alongside the Writers Guild of America, and was head of the Directors Guild of America.
5438	dbpedia	2	91	https://www.zonak.it/en/tag/zona-k-milano/	en	zona k milano	https://www.zonak.it/wp-…rgb-1024x501.jpg		[ "https://www.zonak.it/wp-content/uploads/2022/10/Logo-MilanoVIVA_POS_rgb-1024x501.jpg", "https://www.zonak.it/wp-content/uploads/2021/05/RAZIONE-K-BOX-POST-IG-300x300.jpg", "https://www.zonak.it/wp-content/uploads/2021/05/RAZIONE-K-BOX-POST-IG-1-300x300.jpg", "https://www.zonak.it/wp-content/uploads/2020/01/Loghi_PlatMe21.png", "https://www.zonak.it/wp-content/uploads/2021/02/000-loghi-RD-2021_sito.jpg", "https://www.zonak.it/wp-content/uploads/2020/01/Loghi-Agrupacion.jpg", "https://www.zonak.it/wp-content/uploads/2020/01/Loghi_PlatMe21.png", "https://www.zonak.it/wp-content/uploads/2020/01/Loghi_Global.png", "https://www.zonak.it/wp-content/uploads/2020/01/Loghi_Global.png", "https://www.zonak.it/wp-content/uploads/2020/01/Loghi_Reality.png", "https://www.zonak.it/wp-content/uploads/2019/07/logo_exibart.gif", "https://www.zonak.it/wp-content/uploads/2019/02/Loghi_stagione_Economy_sitok.jpg", "https://www.zonak.it/wp-content/uploads/2018/01/loghi_politics.png", "https://www.zonak.it/wp-content/uploads/2018/01/loghi_focus_people.png", "https://www.zonak.it/wp-content/uploads/2018/01/CCFA_RGB_colour_e.jpg", "https://www.zonak.it/wp-content/uploads/2018/01/2015-OAC-logo-CMYK-JPG.jpg", "https://www.zonak.it/wp-content/uploads/2018/01/CCFA_RGB_colour_e.jpg", "https://www.zonak.it/wp-content/uploads/2018/01/2015-OAC-logo-CMYK-JPG.jpg", "https://www.zonak.it/wp-content/uploads/2018/01/loghi_focus_cities.png", "https://www.zonak.it/wp-content/uploads/2018/01/Focus_CITIES_stretta.jpg", "https://www.zonak.it/wp-content/uploads/2018/01/Focus_CITIES_stretta.jpg", "https://www.zonak.it/wp-content/uploads/2018/01/Focus_CITIES_stretta.jpg", "https://www.zonak.it/wp-content/uploads/2018/01/loghi_focus_media.png", "https://www.zonak.it/wp-content/uploads/2018/01/CCFA_RGB_colour_e.jpg", "https://www.zonak.it/wp-content/uploads/2018/01/2015-OAC-logo-CMYK-JPG.jpg" ]	[ "https://www.youtube.com/embed/OMZ_mhPWn28", "https://www.youtube.com/embed/gMTAlP86iSo", "https://www.youtube.com/embed/g5zt8-ZBp6c", "https://www.youtube.com/embed/Y1YxMFhjZp0", "https://www.youtube.com/embed/-YEJjZFuFpA", "https://www.youtube.com/embed/vZZkd44C4hY", "https://www.youtube.com/embed/7NdnRwYr3zI", "https://www.youtube.com/embed/T5XQnSY1gTI", "https://www.youtube.com/embed/igoJ3A6P1kY", "https://www.youtube.com/embed/I_q-TZJFQ-U", "https://www.youtube.com/embed/9D10Rsh74oM", "https://www.youtube.com/embed/gCer0V6EqL0" ]	[]	[ "" ]	null	[]	null		en	https://www.zonak.it/wp-content/themes/zktheme_2022/favicon.ico		null	Yves Degryse/Berlin (BE) show \| duration 110 min in English with Italian subtitles c/o Teatro La Cucina / Olinda onlus via Ippocrate 45, Milan The making of Berlin is a portrait of a city. It is built around the extraordinary story of Friedrich Mohr, a Berliner who was the Berliner Philharmoniker’s stage manager during WWII. The making of Berlin – with live horn music – offers an unfiltered look at BERLIN’s work process. But above all, it tells the story of one of the ‘unbrave’ who failed to stand up when fellow Jewish musicians and friends were expelled from the orchestra. The making of Berlin is the final part of the Holocene cycle, during which BERLIN made several portraits of cities over the past twenty years. BERLIN helps Mohr to realize an as yet unfulfilled dream. At the end of WWII, the conductor of the Philharmonic decided to perform Siegfried’s Funeral March from Wagner’s Götterdämmerung one last time. The performance would be broadcast live on German state radio. Rehearsing with the entire orchestra in one location soon proved too dangerous due to ongoing bombing. So the conductor divided the orchestra into seven segments and had them rehearse in separate bunkers. Faltering (recording) technology threw a spanner in the works. Mohr’s ultimate wish is to perform the technical tour de force as initially planned seventy-five years after the date. The Götterdämmerung will be played from seven bunkers simultaneously and can be heard in its entirety on the radio. A daring feat for which BERLIN called on, among others, radio station Klara, the orchestra of Opera Ballet Vlaanderen and German actor Martin Wuttke (known from Tarantino’s Inglourious Basterds). Theatre- and film-maker Fien Leysen records the creation process for a behind-the-scenes documentary. Her footage eventually ends up in the performance as well. You gradually discover together with BERLIN that Mohr’s story is full of inaccuracies and that he seems to want to restore the irreparable. How far can you stretch the truth when you’re looking for atonement? direction Yves Degryse with (on stage) Yves Degryse, Geert De Vleesschauwer / Marjolein Demey / Bregt Janssens / Eveline Martens / Sam Loncke (afwisselend), Rozanne Descheemaeker / Matea Majic / Diechje Minne / Jonathan van der Beek (afwisselend) ; with (film) Friedrich Mohr, Martin Wuttke, Stefan Lennert, Werner Buchholz, Alisa Tomina, Krijn Thijs, Chantal Pattyn, Symfonisch Orkest Opera Ballet Vlaanderen, Alejo Pérez, Yves Degryse, Caroline Große, Michael Becker, Claire Hoofwijk, Alejandro Urrutia, Marek Burák, Marvyn Pettina, Farnaz Emamverdi, team BERLIN: Jane Seynaeve, Eveline Martens, Jessica Ridderhof, Geert De Vleesschauwer, Sam Loncke, Manu Siebens, Kurt Lannoye, team Opera Ballet Vlaanderen: Jan Vandenhouwe, Lise Thomas, Eva Knapen, Christophe De Tremerie video e video editing Geert De Vleesschauwer, Fien Leysen, Yves Degryse internship video editing Maria Feenstra drone shots Yorick Leusink, Solon Lutz behind the scenes footage Fien Leysen scenography Manu Siebens set construction Manu Siebens, Ina Peeters, Rex Tee, Joris Festjens set design and construction film Jessica Ridderhof, Klaartje Vermeulen, Ruth Lodder, Ina Peeters musical composition and mixing Peter Van Laerhoven live music (horn) Rozanne Descheemaeker / Matea Majic / Diechje Minne / Jonathan van der Beek (alternating) music film Peter Van Laerhoven, Tim Coenen, Symfonisch Orkest Opera Ballet Vlaanderen olv Alejo Pérez mixing orchestra Maarten Buyl sound design and mixing Arnold Bastiaanse sound recordings Bas De Caluwé, Maarten Moesen, Bart Vandebril technical coordination Manu Siebens, Geert De Vleesschauwer production management Jessica Ridderhof production support Germany Daniela Schwabe, Gordon Schirmer research Wagner Clem Robyns, Piet De Volder research internship Annika Serong photography Koen Broos, Gordon Schirmer technical coordination berlin Marjolein Demey day-to-day coordination and production assistant Jane Seynaeve production BERLIN coproduction DE SINGEL (Antwerp, BE), le CENTQUATRE-PARIS (FR), Opera Ballet Vlaanderen (BE), VIERNULVIER (Ghent, BE), C-TAKT (Limburg, BE), Theaterfestival Boulevard (Den Bosch, NL), Berliner Festspiele (DE) with the support of the Flemish Government, Sabam for Culture, Tax Shelter of the Belgian federal government via Flanders Tax Shelter Photo by Koen Broos Founders of BERLIN in 2003, Bart Baele, Caroline Rochlitz and Yves Degryse decided not to choose a particular genre, but to venture into the realm of documentary filmmaking and let the places of their forays guide their inspiration. This philosophy resulted in two project cycles: Holocene (the current geological era) where the starting point is always a city or other place on the planet, and Horror Vacui (fear of the void) in which true and poignant stories are delicately unravelled around a table. The Holocene cycle includes Jerusalem, Iqaluit, Bonanza, Moscow and Zvizdal. The first three episodes of Horror Vacui are Tagfish, Land’s end and Perhaps all the dragons. BERLIN are still working on both cycles. The Making of Berlin is the last chapter of Holocene. The company has worked in 27 different countries in recent years, within various circuits: from theatres to exhibition spaces, from festivals to special locations. Simon Senn (CH) performance \| duration 60 min c/o ZONA K, admission allowed with membership 2024 In this digital conference that doubles as a demonstration and confession, Simon Senn, a videographer and visual artist from Geneva, demonstrates how the virtual world and the real world are not always in opposition, revealing the unexpected entanglements between technology, representation, gender, and law. Simon Senn’s experience began when he bought the digital replica of a female body online. He then went in search of the woman whose body he was « virtually » inhabiting. Onstage he conveys this disturbing experience to the audience. After downloading the replica (a detailed and evidently accurate reproduction), he brought it to life with easily purchased sensors and discovered what it felt like to « have » a female body – at least through his 3D glasses. The experience was moving. Who is this woman ? Can he do anything he likes with this digital body ? What about the new and enjoyable sensuality this virtual form offers him ? He managed to track down the young woman and begin a discussion with her (one that continues today), where together they investigate this third digital body that exists between them. Arielle is now part of the project and is present in the show. Simon Senn decided to consult a psychologist and explore his feelings of «gender disturbance », which continue to surprise him – does he perhaps suffer from « Snapchat dysmorphia », the clinically accepted psychological illness of those who wish to transform themselves in order to resemble their online image? conception and direction Simon Senn with Simon Senn, Arielle F. and a virtual body production Compagnie Simon Senn co-production Théâtre Vidy-Lausanne – Le Grütli, Centre de production et de diffusion des Arts vivants – Théâtre du Loup distribution and tour Théâtre Vidy-Lausanne with the support of Porosus – Pro Helvetia – Fondation Ernst Göhner – Pour-cent culturel Migros – Loterie Romande Photo from simonsenn.com Born in 1986, Simon Senn is an artist and theater director, and lives in Geneva. He obtained a Bachelor of Fine Arts from the Haute école d’art et de design de Genève and a Master’s degree from Goldsmiths College in London. At first glance, his work seems to suggest that he is a socially engaged artist, speaking out against a certain type of injustice. However, his works sometimes reveal a more ambiguous approach, exploring aporias rather than articulating addressed criticisms. Even if his videos or installations are normally based on a certain reality, fiction is often mixed in. Be Arielle F is his first proposal for the stage, with which he received the second Prix d’encouragement pour les arts de la scène Premio in 2019. During the health crisis of 2020, a live stream and adapted version of the show was offered digitally by the Théâtre Vidy-Lausanne. In 2024, he collaborates with Indian dancer Rohee Uberoi to capture and encode the movement of Bharata natyam in their projet Rohee, to be shown in Vidy. Ant Hampton/Time Based Editions (UK/DE) live collective experience \| duration 80 min \| in italian c/o ZONA K, admission allowed after membership 2024 in collaboration with Ateatro A talk with the author will be held at the end of the performance on Thursday 16 May. Books and reading have changed and continue to change. The advent of digital, the rediscovery of orality and the audio dimension, and forms of participatory art are multiplying ‘ways of reading’ in new and innovative, yet ancient ways. Hybrid, performative, multimedia, transmedia forms are emerging… These transformations are reflected on the book as a physical object and on libraries as places of encounter and experience. Starting from the experience of Borderline Visible, the author Ant Hampton and Stefano Parise, Director Area Biblioteche del Comune di Milano, will discuss these themes, moderated by lecturer and theatre and publishing expert Oliviero Ponte di Pino. Ant Hampton presents the first in a new series of ‘live books’ – Time Based Editions – in which photographs and audio take you on a journey through the pages interweaving history, autobiography, literature and an urgent investigation into the hidden atrocities perpetuated on the margins of Europe. Borderline Visible begins as a récit de voyage, a journey from Lausanne to Izmir undertaken by two artists and friends. In Greece, health problems force one of them to stop, while the other goes on to Turkey, suddenly remaining alone. The narrative turns into a moving and troubled psycho-geography. Moving from ‘we’ to ‘I’, from present to past, from the personal to the political, Ant Hampton attempts to give value and meaning to the all too human ruins of ambition, history and language. The careful process of recomposition gradually brings to light a complex constellation of Jewish history, the end of the Ottoman Empire and Sephardic diasporas, rumours, earthquakes, tourism and forced migration, mental health and dementia, swallows and TS Eliot’s The Waste Land. In the collective experience, the spectators are invited to participate in this journey together, flipping back and forth through the pages of the book, comparing images, closing and opening their eyes, drawing lines on the maps with a finger, guided by an audio track that combines narration, music, field recordings and instructions on how to get through the book. After the two collective appointments, Borderline Visible will be available for individual viewing in Italian, English, French and Dutch from 18 to 26 May (excluding Mondays) at 3.30 p.m. and 5.30 p.m. at Casa degli Artisti Milano. Tickets available soon. By Ant Hampton Feedback David Bergé Book design Roland Brauchli Based on a project with Rita Pauls Music Perila, Oren Ambarchi Thanks to Pieter Ampe, Giorgos Antoniou, Sae Bosco and Samos Volunteers, Yannick Christian, Hani Dunia, Effi & Amir, Tim Etchells, Katy Fallon, Martin Hampton, Britt Hatzius, Leo Kay, LAPS, Camille Louis, Eva Neklyaeva, Beyhan Onur, Anelka Tavares, Prodromos Tsinikoris, Giulia de Vecchi, Anny Y ITALIAN VERSION Translation Valentina Kastlunger Editing Valentina Picariello Voice Astrid Casali Recording Luca Ciffo Editing and sound Ant Hampton Thanks to Flora Pitrolo for proofreading and correcting the translation Produced by Quarantasettezeroquattro, Teatro Bastardo and ZONA K Time Based Editions is an imprint of PHOTOGRAPHIC EXPANDED PUBLISHING ATHENS Created with the support of: The Resonance Foundation (Los Angeles) Bimeras (Istanbul / Berlin) Théâtre Vidy (Lausanne) Research and prototype support: Lita House of Production and Kundura Stage (Istanbul) National Theatre of Northern Greece (Thessaloniki) More info – www.timebasededitions.com / instagram: @time_based_editions Photo by Doc Lab Ant Hampton (1975, DE/UK) is a British-German performance maker and writer. His work since 1999 has often involved guiding people through unrehearsed situations and interactive relations, using automated devices. His three collaborations with Tim Etchells are participative experiences for two at a time, combining audio with different engagements with the page: text and silent reading (The Quiet Volume, 2010); archive photography (Lest We See, 2015); and mark-making/ erasure (Not to Scale, 2020). In more recent years his practice has expanded into a wider investigation of risk-taking and leaps of faith, for example with The Thing – An Automatic Workshop in Everyday Disruption, created with Christophe Meierhans. These and many other of his “Autoteatro” works continue to tour internationally in over 80 language versions, some of them without anyone needing to travel – a paradoxical outcome for an art committed to liveness and presence which in turn informed his 2021 advocacy and research project: ShowingWithoutGoing.live – an Atlas. Together with David Bergé, he co-founded Time Based Editions in 2023. Lina Saneh and Rabih Mroué (LB) show \| duration 50 min in French with Italian subtitles c/o ZONA K, admission allowed upon 2024 membership After its premiere in 2009, Photo-Romance immediately become one of the most successful international theatre pieces and is now, after touring worldwide, is coming to Mousonturm in its newest version: in the roles of author and censor Lina Saneh and Rabih Mroué discuss the photo novella adaptation of a historical film document, which shows the enthusiasm of Italian crowds at Hitler’s Mussolini visit. The two of them – him, a former leftist activist, she, a divorced homemaker – met in Beirut in 2006 shortly after Israel’s attack on Lebanon: two lonely people, uncomfortable with the hubbub outside. By mixing fiction and reality, Photo-Romance deconstructs the political logic, as well as the illusion of theatre and shows “truth” to be a construction of possibilities. Concept, text and direction Lina Saneh and Rabih Mroué Translation Masha Refka Set design Samar Maakaroun Music Charbel Haber Soundtrack Lina Saneh, Rabih Mroué, Sarmad Louis Direction of photography Sarmad Louis jeu pour la bande-image Rabih Mroué, Lina Saneh Special guest Mona Mroué Assistant director and executive producer Petra Serhal Costumes Zeina Saab de Melero Makeup Stéphanie Aznarez Production assistant Ashkal Alwan (Beyrouth) With Lina Saneh, Charbel Haber, Rabih Mroué Director, performer and playwright, Lina Majdalanie is a Lebanese artist, living in Berlin. Her work includes: Hartaqāt (2023), Second Look (serie video, 2020), Sunny Sunday (2020), Borborygmus (2019), Do I Know you? (2017), A Drop of Sweat (2015), 33 rpm and a few seconds (2012), Photo-Romance (2009), Appendice (2007), I Had A Dream, Mom (vidéo, 2006), Biokhraphia (2002), and others… She curated several events in Mousonturm-Frankfurt (2016 and 2023), HAU-Berlin (2017), Kunsthalle-Mulhouse (2015) and Tanzquartier-Vienna (2009). She was a fellow at the International Research Center “Interweaving Performance Cultures”/FU in Berlin (2009-2010) and a member of Home Workspace Curricular Committee-Ashkal Alwan (Beirut 2010-2014). She opted the pseudonym Lina Saneh in April 2015. Rabih Mroué, born in Beirut and currently living in Berlin, is a theatre director, actor, visual artist and playwright. He is a contributing editor for The Drama Review /TDR (New York) and a co-founder of the Beirut Art Center (BAC). He was a fellow at The International Research Center: Interweaving Performance Cultures/ FU/Berlin from 2013 -2014. He has been a theatre-director at Münchner Kammerspiele from 2015 -2019. His works include: Hartaqāt (2023), Sunny Sunday (2020), Borborygmus (2019), So Little time (2016), Ode to Joy (2015), Riding on a cloud, (2013), 33 RPM and a Few Seconds (2012), Photo-Romance (2009), The Inhabitants of images (2008), Who’s Afraid of Representation (2005), Looking for a Missing Employee (2003), Biokhraphia (2002), Three Posters (2000) and others… Mauro Pescio (IT) IT’S NOT A HERO’S STORY Theatrical show \| duration 75 min at ZONA K A show born as a podcast from the pen of an actor-writer, Non è la storia di un eroe is the return of the podcast Io ero il Milanese of and with Mauro Pescio. The show is the telling of a man which in life has made many wrong choices, a man which unluckiness has gotten fierce to, a man who’s touched the bottom, but from which he risen back. Lorenzo’s story became a podcast, titled Io ero il Milanese, produced by RaiPlay Sound, become a real and true case in 2022. It took off quietly, and thanks to word of mouth it conquered the public, overtaking 700 thousand plays. Now Lorenzo S.’s story can be known live: theatre space is, per antonomasia, the space of the revolution, hence suitable to give voice to the personal revolution of Lorenzo S. And his past, difficult, tough, but also full of hope. of Mauro Pescio e Lorenzo S. with Mauro Pescio and the special participation of Coro Amici della Nave di San Vittore under the cure of Associazione Amici della Nave, Associazione Verso Itaca, ZONA K Mauro Pescio, radio and theatrical author. After graduating from Civica Scuola di Teatro Paolo Grassi di Milano he moves to Rome where he founds a theatre company with which he works for ten years. From 2012 he is author of “Voi siete qui” for Radio24 and from 2015 Radio 2’s “Pascal”. He has written “La piena” for Audible, Amazon’s first Italian production on a theatre podcast. Since 2015 he collaborates with Radio3 for the transmission of audiodocumentaris “Tre Soldi” (A few bucks). Sergi Casero Nieto (ES) THE PACT OF FORGETFULNESS Performance in the Spanish language with subtitles in Italian \| duration 55 min On Friday, Nov. 10, at the end of the performance, there will be a meeting open for the audience with Sergi Casero and Angelo Miotto (journalist and co-director of Q Code Magazine) and Maddalena Giovannelli of Stratagemmi Prospettive Teatrali At ZONA K, via Spalato 11 “Why to I barely know my grandma’s past?” El Pacto del Olvido is a theatrical monologue which looks into the historic silence on the civil war and Francisco Franco’s reign in Spain, on his intergenerational transmission and the effects he has had on those who were born after the dictatorship. The performance combines personal experiences, historical stories and documents collected during the research Casero conducted around the “Il Patto dell’oblio” affair, a Spanish amnesty law which passed soon after the the dictators Francisco Franco’s death in 1975 which impedes the investigation on the crimes committed during the 40 years of rule. In the monologue Casero tries to rebuild an incomplete national historiography through the recounts of the grandma who witnessed the civil war. It deals however with a fragmented narration, fruit of an auto-censorship at this point internalised at transgenerational level. This performative work is born from the reflection which, to confront Spain’s recent political violence, it is necessary to reveal the habits of domestic oppression on which oblivion has been woven into generation after generation, idem for the aftermath which this historic omission has produced in the successive descendents of families such as Casero’s. Autofiction and historical analysis go hand in hand in this memory exercise which, through the language of light, examines the surroundings of the collective silence, inviting the spectator to explore the empty gaps of memory in which decades of furtively repressed decades of pain are insinuated. With the intention of intimately toning down the trauma provoked by the official speech which talks about winners and wins as collectives with no personal background, Casera investigates the varying generational behaviours respecting the institutionalised amnesia, incarnated in their relatives. Until what point can silence push itself before becoming oblivion? Ideation and direction Sergi Casero Nieto author Testo di Sergi Casero Nieto with citations and fragments of Jorge Luís Borges, Federico García Lorca, text of memory of Clara Valverde interpreted by Sergi Casero Nieto assistant to the dramaturgy Mónica Molins Duran assistance Elsa Casanova Sempé English translation Vincent Sanchís Puerto Italian translation Sofia Breschiane scenography, stage and stage objects Sergi Casero light design Sergi Casero with the supervision and help of Mifuel Angel Ruz Velasco costumes Sara Clemente graphic design Sergi Casero distribution Domenico Garogalo production Centrale Fies / Live Works residence Centro de Residencias Matadero Madrid Sergi Casero Nieto (Barcelona, 1991) His work occurs at the intersection between design, action and research. In his work he explores the use of performance as an instrument to represent the results of research, paying particular attention to the projection of scenographic techniques. The historical information becomes physically present in his work, delving deeper into counter-narrations such as the oral testimonies or the collective memory, putting into discussion the hegemonic narrations through the presentation of multiple past perspectives. His work has been presented, amongst the other European institutions, at the Veem House for Performance (Amsterdam), at the Het Nieuwe Instituut (Rotterdam), at the Van Abbe Museum (Eindhoven), at the Arts Santa Mònica (Barcellona) and at the Centrale Fies (Dro, Italia). Photos by Roberta Segata Anagoor (IT) Sorry, this entry is only available in Italian. proiezione con live set elettronico \| durata 50/70 min c/o Teatro Out Off, via Mac Mahon 16 A fine replica si terrà l’incontro con la compagnia e la giornalista Ira Rubini (Radio Popolare Milano). Un Grand Tour nelle zone buie del cosmo, lì dove scaturiscono insieme la tenebra e le sofferenze delle generazioni, il rapporto dell’uomo con la natura, con l’eros, con i compagni animali, con il tempo e con la tecnica, con l’assoluto: l’impossibile. Sotto il nome del demone che tentò Faust, Mephistopheles, Anagoor raduna il materiale video raccolto tra il 2012 e il 2020 in un unico viaggio per immagini attraverso le lacrime del mondo, musicato in un live set elettronico da Mauro Martinuz. La materia cinematografica di spettacoli teatrali come Lingua Imperii, Virgilio Brucia, Socrate il sopravvissuto, Faust, Orestea, è composta da immagini profeticamente raccolte nei musei e nei templi, nelle case di cura per anziani e negli allevamenti intensivi, tra macellai, pastori e pellegrini, in India, in Iran, ad Olimpia, sulla ferita campagna veneta e sul Vesuvio. L’enorme quantità di materiale inedito trova nuova composizione in questo volo e caduta in forma di concerto cum figuris. Un concerto per immagini sul mondo, l’umano e l’animale, la violenza contro i corpi e il profitto in un’opera che ben mostra la visione estetica e politica della compagnia. Un’opera-film dove l’immagine che scorre trova il suo movimento nel suono live di Mauro Martinuz per condurci in un contemporaneo fuori dal tempo: quello dei corpi e della loro devastazione, dei soprusi di un capitalismo sempre più accelerato che nega le stagioni, il paesaggio e i sentimenti. Uomo contro natura ma anche uomo contro uomo. Mephistopheles eine Grand Tour è un film “mondo”, un gesto politico di consapevolezza. scritto e diretto da Simone Derai musica e live set Mauro Martinuz montaggio Simone Derai fotografia Giulio Favotto assistente alla regia Marco Menegoni riprese Giulio Favotto, Simone Derai, Marco Menegoni coordinamento organizzativo Annalisa Grisi management e promozione Michele Mele produzione esecutiva Centrale Fies / Laura Rizzo, Stefania Santoni produzione Anagoor 2020 coproduzione Kunstfest Weimar, Theater an der Ruhr, Fondazione Donnaregina per le arti contemporanee / Museo Madre*, Centrale Fies, Operaestate Festival Veneto in collaborazione con Fondazione Campania dei Festival – Napoli Teatro Festival Italia, Villa Parco Bolasco – Università di Padova supportato dal Ministero dell’Ambiente, Energia e Protezione della Natura della Turingia; supportato dal Ministero della Cultura e della Scienza della Renania Settentrionale – Vestfalia; * finanziata da POC Regione Campania 2014-2020. Vai a ECOGLA XI Un omaggio presuntuoso alla grande ombra di Andrea Zanzotto La compagnia Anagoor è fondata da Simone Derai e Paola Dallan a Castelfranco Veneto nel 2000, configurandosi fin da subito come un esperimento di collettività. Oggi alla direzione di Simone Derai e Marco Menegoni si affiancano le presenze costanti di Patrizia Vercesi, Mauro Martinuz e Giulio Favotto, Monica Tonietto, Gayané Movsisyan, Massimo Simonetto mentre continuano a unirsi artisti e professionisti che ne arricchiscono il percorso e ne rimarcano la natura di collettivo. Il teatro di Anagoor risponde a un’estetica iconica che precipita in diversi formati finali dove performing art, filosofia, letteratura e scena ipermediale entrano in dialogo, pretendendo tuttavia, con forza e in virtù della natura di quest’arte, di rimanere teatro. Dal 2008 Anagoor ha la sua sede nella campagna trevigiana, presso La Conigliera, allevamento cunicolo convertito in atelier e dal 2010 fa parte del progetto Fies Factory di Centrale Fies – art work space. Michele Mele e Annalisa Grisi completano il team seguendo management e curatela del progetto artistico. ZONA K (IT) WE ARE NOTHING WE WILL BE EVERYTHING Participatory theatre play At Cittadella Dei Giovani Viale Giuseppe Garibaldi, 7, 11100 Aosta AO info and bookings: 016535971 – info@cittadelladeigiovani.it Does work really define who we are? How well does it meet our expectations? How much weight does it bear on our lives and on the choices we make? A participatory performance on working men and women, a choir of instances and inquiries. A public call, tens of workers which respond and a chorus. The “work” like fil rouge. Work as an aspiration, a forced choice, a source of sustenance, but most of all as a motor which derails trajectories, defines self esteem and personal beliefs, and which determines where and who with we spend most of or time. But does work truly define who we really are? How well does it meet out expectations? How much weight does it bare on our life and the choices we make? Does comprehending happiness or individual dissatisfactions help us evaluate collective wellbeing? The concatenation of stories becomes an investigative instrument to transform the collective experience into a shared narration, a hymn thought as a total art piece to re-hug a communities wish, and, through theatre, find new forms of representing reality. a ZONA K project, direction Alessandro Renda, scenic implant Fabio Cherstich, testo Riccardo Spagnulo, con Matteo Gatta. Alessandra Renda, i cittadini and the coro di Aosta, production ZONA K co-porduction Teatro delle Albe The project is realised with the support of the Fondazione Compagnia di San Paolo in the scope of Art Waves Produzioni of contemporary culture and with the support of Fondazione Cariplo and the Comune di Milano Alessandro Renda is an actor of the Teatro delle Albe di Ravenna and from 2001 he is a “guide” in the laboratories of the “non-scuola”, pratica teatral-pedagogica antiaccademica delle Albe, with different experiences in Italy and abroad. Photos Alessandro Renda Kepler-452 (IT) CAPITAL. A book that we haven’t read yet Theartre Show \| duration 100 min At Teatro Out Off, via Mac Mahon 16 Once the play has finished on Wednesday 4th October the meeting with the company and Prof. Vittorio Morfino (ordinary Professor of the History of Philosophy at University Milano-Bicocca) will be held. Moderated by Ira Rubini (Radio Popolare Milano) A theatre company that decides to play “Il Capitale” (Capital) by Karl Marx. It decides this because, after the end of the first lockdown, it feels the urge to listen to in the immediate successive stage, would lose their position of employment. Nicola and Enrico hence decide to cruise around Italy at the research of those places in which the pages of Marx became people, locations, events. One day they end up in a factory, the GKN of Campi Bisenzio, which has just closed. One morning of the 2021 summer, the 9th to be precise, the 422 employees which worked there received an email: they did not have to return to work the day after: they’ve been fired. From that day on the employees occupy the factory. In the first days of Autumn the company entered for the first time at the GKN. The workers invite them to eat boar together. From that day on they sleep there, inside the occupied factory, on some cots. Meanwhile Nicola and Enrico interview the hundreds of workers, participate at pickets, assemblies, manifestations, listen, observe, each time looking to return to Marx’s pages to try to establish a creative dialogue between “Capital” and what happens in the environment, between a classic on philosophical and economic literature and a group of human beings in flesh and bones. Then their attention shifted onto three people in particular: Iorio, maintainer, Felice, worker responsible for setting up and Tiziana, worker responsible for cleaning, which they invite to the theatre to make a show together. This is the start of the creation of Il Capital, a show which recounts the meaning what spending 20 years in a factory making pieces, of the difference between who’s done it and who has never done it, of the extraction of surplus value, the closing of one factory amongst many, of what happens when a group of workers decide to attempt to make history, of how for some time the logics of the Capitale become ousted from a perimeter of space, one of an occupied industrial establishment. Of how Il Capital, sooner or later will return to present the bill. Il Capital Is also the story of the meeting between a theatre company and a group of metal labourers in the Capitale’s autumn. Il Capital is especially a show on time, on its passing, on who owns it, on who sells it, buys it, frees it. A Kepler-452 project dramaturgy and direction Enrico Baraldi and Nicola Borghesi with Nicola Borghesi and Tiziana de Biasio, Felice Ieraci, Francesco Iorio – factory workers collective GKN and with the participation of Dario Salvetti light and scenic space Vincent Longuemare sound design Alberto Bebo Guidetti video and documentation Chiara Calió technical-scientific advice on “Capital” by Karl Marx Giovanni Zanotti assistant to the direction Roberta Gabriele machinist Andrea Bovaia light and video technician Giuseppe Tomasi sound engineer Francesco Vacca scenic elements created in the Laboratorio di ERT production Emilia Romagna Teatro ERT / Teatro Nazionale thanks to Stefano Breda and Cantiere Camilo Cienfuegos di Campi Bisenzio Kepler-452 is a theatre company born in 2015 in Bologna from the encounter between Nicola Borghesi; Enrico Baraldi, Paola Aiello and, for the organisation role, first Michela Buscema and then, since 2021, Roberta Gabriele. Since it’s birth the company cultivates this urgency: opening the doors of theatres, go out, observe what’s around, in the unshakable conviction that reality has an autonomous dramaturgical force. The theatrical formats created range from the involvement of non-professionals on stage on the basis of their own biographies, to theatrical reportages that transform investigations into reality into performative moments, to the creation of audio-guided itineraries and other devices for interaction with the urban space, up to the creation of the Festival 20 30 which, starting from 2014, brought many under 30s on stage in an attempt to paint a generational fresco. Starting from 2018, a production path begins with ERT / Teatro Nazionale (“ Il giardino dei ciliegi – Trent’anni di felicità in comodato d’uso” (The cherry garden – Thirty years of happiness on loan for use) (2018) while in 2019 F. – Perdere le cose” (F. – Losing things) debuts. Starting from 2017, its creats several editions of Comizi d’amore, a participatory theatre format that tells the story of communities on stage starting from the questions posed by Pasolini in his honomymous documentary. photos Luca Del Pia Mammalian Diving Reflex/Darren O’Donnell (CA) – NATIONAL PREMIERE – A ZONA K and Triennale Teatro Milano project Participatory multimedia performance with the use of 3D visuals for 30 spectators \| duration 90 min \| the performance is characterised by an intense presence of smoke at ZONA K With nostalgia we watch that little red dot in the night sky and we stupidly dream of restarting, as if problems on earth are resolved more easily at -65º and with the help of high doses of cosmic radiation. Combining live and virtual reality performance, The Last Minutes Before Mars invites us in to enter the world of a group of youngsters to meet their families and friends and spend some time in spaces precious in their lives. This acts as a background to the meetings with the other strangers present in the room, in a collective experience which reflects on the recognition of everyone being part of the same journey, in motion towards the same direction – independent of what happens to us -; now, hundreds of years in the past and beyond, in a future to terrifying and attractive to imagine. Ideation and direction: Darren O’Donnell co-direciton: Chiara Prodi co-ideation team: Darren O’Donnell, Konstantin Bock, Alice Fleming, Tina France, Sorcha Gibson, Thule Can Den Dam, Sara Guttadauro, Sara Ben Hamouda, Andrada Ciccotto, Fjoralba Qerimaj, Jerwin Mostiero, Morena Marra, Craig McCorquendale, Genny De Leon, Elisa Fasiello, Mervin Kyle Fajardo, Fi Nicholson, Gianluca Benvenuti with: Sara Guttadauro, Sara Ben Hamouda, Andrada Ciccotto, Fjoralba Qerimaj, Jerwin Mostiero, Elisa Fasiello, Mervin Kyle Fajardo executive producers: Alice Fleming, Ryan Lewis, Virginia Antonipillai associate producers: Craig McCuorquodale music: Isola Music thanks to: Stephen O’Connell, Letizia Gozzini (ITAS Giulio Natta). The last Minutes Before Mars was originally co-comissioned a coproduced by ZONA K and Triennale Milano Teatro, in collaboration with the ITAS Giulio Natta di Milano and with the support of the Canada Council of the Arts, the Ontario Arts Council e the Ambasciata del Canada in Italia. Guided by Darren O’Donnell, Mammalian Diving Reflex is a company founded in Toronto in 1993. After having distanced itself from a more traditional theatrical setting to move towards more socially engaging practices focused on performance. Creating shows to research the contradictions to transform into aesthetically brilliant experiences, the Mammalian always look to overtake themselves and the public with ideas and sensations, leaving intuition to lead the way. Darren O’Donnell is a novelist, essayist, dramaturge, filmmaker, performance director, artistic director and founder of Mammalian Diving Reflex. His mission is the one to give life to a social tissue which deeply integrates culture and cultural institutions, increasing their capacity for social response. In 2000 he won the Pauline McGibbon Awards for direcion and was nominatod for numerous Dora Awards of Toronto for writing, direction and acting, winning, alongside Naomi Campbell, for the project While Mice. His work with the Mammalian company entered in the top 100 of the Yerba Beuna Culture Centre in 2016. He has been nominated twice for the german BKM Preis Kulturelle Bildung and New York’s Ellen Stewart inagrual prize. Photos © Paul Blakemore Silke Huysmans & Hannes Dereere (BE) – Season preview 2023 – multimedia performance with English and Italian subtitles \| duration 60 min A meeting with the company will be held at the end of the performance on Friday 24 February. c/o Out Off Theatre, via Mac Mahon 16 ‘We know more about the surface of the moon than we do about the bottom of the ocean.’ This statement is often heard when talking about the deep sea. Worldwide, only 10 percent of the ocean floor has been mapped and explored. At a moment in history when the planet we live on seems to have been explored extensively, some places remain unstudied and untouched. After their acclaimed performances Mining Stories and Pleasant Island, Silke Huysmans and Hannes Dereere present the final part of their trilogy on mining. This time, they focus on a completely new industry: deep sea mining. With resources on land becoming increasingly scarce and overexploited, mining companies turn towards the ocean. In the spring of 2021, three ships gather on a remote patch of the Pacific Ocean. One of them belongs to the Belgian dredging company Deme-Gsr. Four kilometres below the sea surface, their mining robot is scraping the seabed in search of metals. On another ship, an international team of marine biologists and geologists keep a close watch on the operation. A third ship completes the fleet: on board of the infamous Rainbow Warrior, Greenpeace activists protest against this potential future industry. From their small apartment in Brussels, Silke and Hannes connect with the three ships through satellite. Each of the ships represents one pillar of the public debate: industry, science and activism. Through a series of interviews and conversations, an intimate portrait of this new industry emerges. The piece is an attempt to capture a potentially pivotal moment in the history of the earth. How much deeper can mining companies dig, and what are we as humankind actually digging towards? What are the challenges and risks? What opportunities potentially lay ahead? by & with Silke Huysmans & Hannes Dereere dramaturgy Dries Douibi sound mix Lieven Dousselaere outside eye Pol Heyvaert technique Korneel Coessens, Piet Depoortere, Koen Goossens & Babette Poncelet production CAMPO coproduction Bunker (Ljubljana), De Brakke Grond (Amsterdam), Noorderzon – Festival of Performing Arts and Society (Groningen), Zürcher Theater Spektakel (Zürich), Beursschouwburg & Kunstenfestivaldesarts (Brussels), PACT Zollverein (Essen), Théâtre de la Ville (Paris) & Festival d’Automne à Paris (Paris) residencies Kunstenwerkplaats, Pilar, Bara142 (Toestand), De Grote Post, 30CC, GC De Markten & GC Felix Sohie special thanks to John Childs, Henko De Stigter, Patricia Esquete, Iason-Zois Gazis, Jolien Goossens, Matthias Haeckel, An Lambrechts, Ted Nordhaus, Maureen Penjueli, Surabhi Ranganathan, Duygu Sevilgen, Joey Tau, Saskia Van Aalst, Kris Van Nijen, Vincent Van Quickenborne & Annemiek Vink thanks to all conversation partners & the people who helped with the transcriptions Silke Huysmans studied acting at the KASK School of Arts Ghent and Hannes Dereere theatre science at the University of Ghent. With their performances, the two Brussels-based artists investigate the use of journalistic and documentary elements within theatre. Underlying their work is extensive field research, which they use to shape their projects. Since 2016, they have been working on a trilogy involving long-term research on mining. For the first part entitled Mining Stories (2016), Silke and Hannes returned to where she grew up in Brazil. In 2015, a dam explosion flooded this place with toxic mining waste, causing one of the biggest ecological mining disasters in recent history. Mining Stories received the main prize at the Zürcher Theaterspektakel 2018 (Switzerland). From 2019 is the second part, Pleasant Island. In this performance, the tiny island state Nauru holds a mirror up to the whole world. Nauru was once a paradise in the Pacific. After decades of colonisation and mining, this island finds itself in grave danger, literally up to its neck in rising sea levels. Out of the Blue concludes the trilogy and premiered at the Kunstenfestivaldesarts in May 2022. Rimini Protokoll (DE) THE WALKS is an app with a series of walks by German theatre company, Rimini Protokoll. Each walk is a short audio experience for a specific place in your city, and an invitation to rediscover and interact with your environment. It takes approximately 20 minutes to do an audio walk. Get going whenever you want. You decide how many of the walks you’d like to do and in what order. The stories and soundscapes in the short audio experiences are global in scope. “The Walks” connects people around the world in a local experience via the fundamental human action of walking. Walking in public gained new meaning with the COVID-19 pandemic. An ancient, daily ritual became an integral part of the new normality. People meet, walk, stroll through neighborhoods, play in landscapes, and perceive their environment anew with every stride. THE WALKS understands walking as a theatrical scenario – an audio-guided walk in parks, a staged walk in supermarkets or timed interactions on riverbanks. In every city, voices, sounds, and music turn familiar places into sites and landscapes into stages step by step through storytelling, dialogical situations, choreographic discoveries, or musical and rhythmic variations on walking. The title of every walk indicates where or how to do it: “Walk for a cemetery,” “Walk along the water,” or “Walk around a roundabout.” THE WALKS is a production of Rimini Apparat co-produced by ZONA K ________________________ App info: “The Walks” is a smartphone app that you can download from the App Store or Google Play at a cost of xxxx euro. To start The Walks, you will receive an activation code when you purchase your ticket, which you will enter into the app. Technical requirements: In order for the app to run smoothly, you need to have a current operating system (5 or later for Android or 13 or later for iOS). You will need 100 MB of storage space on your device to install “The Walks” app. “The Walks” is an invitation to walk at different speeds and intensities. More detailed information on each walk is available in the app. Access code for the walks: only on zonak.co.uk, ticket €6. After purchasing, you will receive an access code for the walks in the app by email. ________________________ Text, direction Helgard Haug, Stefan Kaegi , Daniel Wetzel Concept, dramaturgy Cornelius Puschke App development Steffen Klaue , Alexander Morosow Sounddesign/Mastering Frank Böhle Music/Composition Frank Böhle et al. (see individual walks) Graphic design Ilona Marti Voice recordings Rimini Protokoll, studio lärm and Lorenz Rollhäuser Production manager Maitén Arns Production assistant Steven Sander App development assistant Gaétan Langlois- Meurinne Translation Panthea (Naomi Boyce , Aurélien Foster, Anna Galt, Erica Grossi, Vivian Ia , Adrien Leroux , Lianna Mark, Samuel Petit, Yanik Riedo, Lorenzo de Sabbata ) Experts/Directors Erdem Gunduz , Stephanie Haug, Katja Otto, Martin Schmitz, Antonio Tagliarini Contributions/Vocals Bente Bausum, Melanie Baxter-Jones, Lena Bruun Bondeson, Lene Calvez, Maimouna Coulibaly, Louisa Devins, Margot Gödros, Melissa Holroyd, Christiane Hommelsheim, Stéphane Hugel , Timur Isik, Mmakgosi Kgabi, Kraffira, Alexandra, La Koffick Max Lechat, Joshua Lerner, Steve Mekoudja, Lara-Sophie Milagro, Kamran Sorusch, Antonio Tagliarini, Lucie Zelger Documentation/Trailer Expander Film (Stefan Korsinsky , Lilli Kuschel) Thanks to Barcelona Cicle de l’Aigua , Milagro Alvarez, Ignasi Batalle Barber, Aljoscha Begrich, Andreas Fischbach, Jannis Grimm (Institute for the Study of Protest and Social Movements), Ant Hampton, Lilli Kuschel, Jan Meuel , Barbara Morgenstern, Ricardo Sarmiento, Hilla Steiner, Enric Tello, Valentin Wetzel, SA, Gustavo Ramon Wilhelmi A production by Rimini Apparat in co-production with creart/Teatrelli, BorderLight – International Theatre + Fringe Festival Cleveland, European Forum Alpbach, Fondazione Armonie d’Arte, HAU – Hebbel am Ufer, Hellerau – Europäisches Zentrum der Künste, Internationales Sommerfestival Kampnagel, ZONA K, Festival PERSPECTIVESSupported by Fonds Darstellende Künste with funds from the Commissioner of the Federal Government for Culture and Media and the Department for Culture and Europe of the German Senate BIO Helgard Haug, Stefan Kaegi and Daniel Wetzel founded the theatre-label Rimini Protokoll in 2000 and have since worked in different constellations under this name. Rimini Protokoll often develop their stage-works, interventions, performative installations and audio plays together with experts who have gained their knowledge and skills beyond the theatre. Furthermore, they like to transpose rooms or social structures into theatrical formats. Many of their works feature interactivity and a playful use of technology. On top of that, Rimini Protokoll received the Mülheimer Dramatikerpreis for “Karl Marx: Das Kapital, Erster Band”, the German theatre award Faust, the Grand Prix Theatre from the Swiss Federal Office for Culture, the European Theatre Award, the Silver Lion at the Theatre Biennale in Venice, as well as the German Audio Play Award and the War Blinded Audio Play Prize. Since 2003, the production office of Rimini Protokoll is in Berlin. RAZIONE K – BOX 2 The events of the second part of the 2021 RAZIONE K Emergency food kit for theatre addicts season From 8 September 2021 THE WALKS Rimini Protokoll (DE) a Rimini Apparat production co-produced by ZONA K [smartphone app] 21 September – 3 October 2021 h. 15.00 – 18.00 every 10′ [closed on Mondays] FASE NOVE // Assolo Urbano Ekin Bozkurt, Chiara Campara, Giulia Oglialoro, Riccardo Tabilio, Francesco Venturi (IT) with Rimini Protokoll (DE) a project by ZONA K and Casa degli Artisti [urban walk] with departure from Casa degli Artisti 2 October 2021 h. 16.30 RADIO OLIMPIA, BOMBA LIBERA TUTT! Collettivo MMM (IT) [team performance game] c/o open square in Via Toce 20 – 31 October 2021 Vernissage 20 October h. 19.00 Tuesday – Sunday from h. 10.00 to 13.00 and from h. 15.00. to 20.00 [closed on Mondays] GREETINGS FROM … Marilyne Grimmer (FR) [photographic exhibition] 5 – 7 November 2021 h. 20.00 #NUOVIPOVERI Guinea Pigs (IT) [show] 22 – 28 November 2021 LA SETTIMANA DELLE RESIDENZE DIGITALI [shows and performances online] 26 November h. 20.00 27 November 2021 h. 17.00 and 20.00 THE OTHERS لخرین Corps Citoyen (IT/TN) [performance] 10 – 12 December 2021 h 20.00 CURVA CIECA Muna Mussie (IT) [performance] RAZIONE K – BOX 1 The events of the first part of the 2021 RAZIONE K season – Preview – 21 – 23 April 2021 h. 16.30 PROJECT AND DEVICE – traces of a multimedia theatre for the HUMAN RIGHTS FESTIVAL [digital column] 19 – 22 May 2021 TURIN / 15 – 19 June 2021 MILAN PLAY ME (ORIGINS PROJECT) a production ZONA K, creation CODICEFIONDA (IT) dramaturgical advice Agrupación Señor Serrano (ES) Turin c/o Palazzo del ‘900 Milan c/o ZONA K 13 – 14 July 2021 h. 21.45 THE MOUNTAIN Agrupación Señor Serrano (ES) presented in collaboration with and c/o Olida/Da vicino nessuno è normale 20 – 21 July 2021 h. 21.00 A CERTAIN VALUE Anna Rispoli / Martina Angelotti (IT) presented in collaboration with and c/o BASE RAZIONE K Emergency food kit for theatre addicted Razione K was the food ration of American soldiers during World War II. For us, the RAZIONE K is almost like a small but substantial survival ration, “light and compact”. It is about doing and giving what is necessary to stay alive but dosing resources and energy. It is calibrating our strengths and weights, to be really ready to start again in the light of the changes that every event of this magnitude brings with it. It is a change of pace with respect to the past, the sign of an intermediate year between a before, very clear and defined, and an after still to be written. On the one hand, it is a transitional year that brings to a close projects that have already begun but have not yet been presented to the public. On the other hand, it presents new ideas, following up on the peculiarities that have distinguished us over the years: audience participation, urban performance, attention to the present and research into new languages in the field of live performance. There are no more focuses but a part 1 and a part 2. Continuing the metaphor of Razione K: a lunch and a dinner, a first course and a second course, a box 1 and a box 2. A first part that is concentrated from April to July and a second part that starts again in September and includes the autumn/winter until the end of 2021. The desire to reiterate the importance of sharing projects and ideas with other realities of the artistic and cultural scene in Milan remains firm. Never as in the past year and in the current one has the need for relations, perspective exchanges and comparison on the future been so important.This confirms the collaboration with DANAE/Teatro delle Moire, Olinda/Da vicino nessuno è normale, IntercettAzioni, BASE, Stratagemmi, the Cooperativa Sociale Stripes, Terzo Paesaggio. On a national level, ZONA K is a partner of In-Situ Italia, a cultural consortium for art in public space created together with Indisciplinarte of Terni in collaboration with BASE Milan, Sardegna Teatro of Cagliari and Pergine Festival in Trentino. “In-Situ Italia” gathers the Italian partners of “In-Situ”, the European platform created in 2003 and which today counts 19 partners from 13 countries. In the four-year period 2020-2024, the Italian consortium will promote the networking of skills and resources, collaborating within the European project “(Un)Common Spaces”. Moreover, from this year ZONA K is among the new partners who have joined the Call for Digital Residencies conceived and promoted by Centro di Residenza della Toscana (Armunia – CapoTrave/Kilowatt), in partnership with Associazione Marchigiana Attività Teatrali AMAT, the Cooperative Anghiari Dance Hub, ATCL Lazio for Spazio Rossellini, the Centre of Residency Emilia-Romagna (L’Arboreto Teatro Dimora di Mondaino – La Corte Ospitale), the Luzzati Foundation Teatro della Tosse in Genoa. BOX 1 APRIL – JULY 2021 BOX 2 SEPTEMBER – DECEMBER 2021 CODICEFIONDA (IT) dram. cons. Agrupación Señor Serrano (ES) One button. A player. A screen. Here are the new barbarians. Incomprehensible to the eyes of the adult world. Teenagers, hyper-connected and fragile, terrified and attracted by the image of themselves on “social media”, experts in “sexting”, “video-games” and “binge drinking”, owners of Smartphones as an extension of their body. But what do we know about today’s teenagers? A narrative short circuit from the origins of the video game to the origins of the iGeneration. An immersive experience in which to meet today’s teenagers through the use of new technologies. A path of creation that tells our identities – real and virtual – thanks to the comparison between generations. In this performance the audience will find himself in relation to them. You can choose whether to confirm or question your expectations, fears and prejudices. The ultimate goal will be a “performative game” to generate an unprecedented and intimate encounter. PLAY ME (ORIGINS PROJECT) is the result of a work on the biographies of young people met in the stage of research and dramaturgical development between Turin and Milan. What the sociologist Morin defines as “cinema of total authenticity”. ZONA K presents a new production: PLAY ME (Origins Project). It continues the direction already taken with Generazione gLocale in 2017 with the involvement of children, the use of new stage devices and the creative and dramaturgical support of important names in the international scene, for this project the award-winning Catalan collective Agrupación Señor Serrano. ________________________ Info: single viewer multimedia performance with VR use – audience aged 15 and over – duration 30 min. – entrance every 15 min – in Italian TURIN c/o POLO DEL ‘900 Palazzo San Celso – Corso Valdocco 4/A Torino details: Wednesday, Thursday, Friday 3.00 p.m. – 6.00 p.m., Saturday 11.00 a.m. – 4.00 p.m. Free admission with compulsory reservation ________________________ Project direction and creation Andrea Ciommiento, creation and multimedia reference Simone Rosset, dramaturgical consultancy Álex Serrano and Pau Palacios, executive production Valentina Picariello and Valentina Kastlunger, organisation and communication Silvia Orlandi and Federica Bruscaglioni, VR application programming Luigi Sorbilli and Giuliano Poretti, creation assistent Kausar El Allam, Shady Mostafa, Imane Mouslim, Jaouher Brahim, Mattia Ghezzi, Anes Fettar, Matteo Coppola, Momo Moukett, Filippo Farina, Lorenzo Bregant, Federica Bruscaglioni, David Benvenuto. Production ZONA K (Milan), creation of Codicefionda (Turin), dramaturgical consultancy Agrupación Señor Serrano (Barcelona), in collaboration with Fuori Luogo Festival (La Spezia), Polo del ‘900 (Turin), Human Rights Festival (Milan), Instituto Professionale Albe Steiner (Turin), Yepp Italia (Turin) and Collettivo gLocale (Milan), With the support of IntercettAzioni – Center of Artistic Residence of Lombardy and of the Municipality of Milan and Dialogues – Residences of the performing arts at Villa Manin “(CSS FVG stable innovation theatre). Thanks to ITAS Giulio Natta and Hotel San Guido in Milan and Digital Digital Storytelling Lab – Università degli studi di Udine. The project was carried out with the support of the Compagnia di San Paolo within ORA! Contemporary culture productions. Visit oracompagniadisanpaolo.it PROJECT AND DEVICE traces of a multimedia theatre. This year, for the Human Rights Festival, we have decided to propose a program entitled PROJECT AND DEVICE – traces of a multimedia theatre in which we present three different examples of how theatre questions the crisis of democracy, the role of the media in shaping reality, and the new digital roads. In this sense, theatre is once again an instrument of civil reflection, not only for its contents but also for the devices used. Valentina Kastlunger and Valentina Picariello, artistic directors of ZONA K, will introduce the meetings. 21 April, 16:30 – 17:00 THEATRE \| Art, Algorithm and Automation. The journey of _Phase Nine with the Rimini Protokolls with Riccardo Tabilio and Chiara Campara, artists of the collective work FASE NOVE // Assolo Urbano The pandemic emergency has led to a division of social components into relevant and non-relevant. Artistic professions have not been included among the socially necessary. Should we think of a world without art and those who work in it? Can such a deep crisis be an opportunity? FASE NOVE // Assolo Urbano is an urban walk through the most important places for art in Milan, which become the stage for audio installations that, through interviews with various experts, confront the provocative question: Why does art exist? 22 April, 16:30 – 17:00 THEATRE \| Play me: technological devices between gaming and live performance with Andrea Ciommiento, creative director for Play Me (ZONE K) Teenagers, hyper-connected and fragile, terrified and attracted by the image of themselves on social media, experts in sexting, video-gaming and binge drinking, owners of SmartPhones as an extension of their bodies. Do we really know them? In this performance the spectator will relate to them in an immersive experience. PLAY ME (ORIGINS PROJECT) is the result of work on the stories of young people encountered during the dramaturgical research phase in Turin and Milan. Production ZONA K, conceptual and dramaturgical support Agrupación Señor Serrano. 23 April, 16:30 – 17:00 THEATRE \| The Mountain. Does the truth exist? with Pau Palacios of Agrupación Señor Serrano Climbing a mountain means overcoming difficulties to reach the top and see the world “as it is”. But often, when you look down from above, you see clouds and fog covering everything and the landscape is constantly changing. What is the world like then? What is the truth like? Does it exist? In The Mountain, the latest show by the award-winning Catalan company, the first Everest expedition with an uncertain outcome, Orson Welles with the War of the Worlds, a fake news website, a drone scanning the audience, snow, fragmented images and Vladimir Putin speaking contentedly about trust and truth converge. Incontri online di danza di comunità Sorry, this entry is only available in Italian. Trasforma un racconto e un’opera d’arte in un gesto. Attraverso l’esplorazione personale e l’improvvisazione, creiamo insieme una sequenza di gesti che ci divengono cari e arriviamo alla composizione di una sequenza da restituire al gruppo. Il movimento creativo diventa stimolo per l’immaginazione: mente e corpo, riflessione e azione, da soli ma in gruppo anche a distanza, per risvegliare la creatività, scoprire possibilità e recuperare un po’ di tempo per sé. CHIUSO 24 aprile primo incontro – dalla Letteratura alla Danza partendo da un paio di brani tratti dal “Colibrì” di Sandro Veronesi, ognuno darà movimento alle immagini ricevute; rifletteremo sulle azioni agite spontaneamente dal corpo, sulle pause, sulle forme assunte. Attraverso il tramite dello schermo, cercheremo la relazione con gli altri partecipanti e accoglieremo le idee che questa produrrà. Infine, selezionati i movimenti per noi più significativi, li collegheremo tra loro e sulla musica in una composizione da ripetere e perfezionare. Ed ecco: una danza, un atto artistico che offriamo allo sguardo dell’altro, che racconterà qualcosa di noi. 15 maggio secondo incontro – dall’Arte alla Danza l’osservazione di un paio di sculture (la “Nike di Samotracia” e “Forme uniche della continuità nello spazio” di Umberto Boccioni) ci offrirà spunti di riflessione sul movimento e la stasi: si può rendere il dinamismo attraverso una forma fissa? Cosa ci invita al movimento e cosa invece ci chiede la pausa, ci trattiene? Cosa succede al nostro corpo, alla pelle e all’interno, quando ci muoviamo? Cosa rappresenta il movimento per noi? Dove vorremmo andare? A quale velocità? Ognuno risponderà con la propria danza a queste e ad altre domande, cercherà una propria forma simbolica e la perfezionerà in funzione della sua resa estetica ed espressiva. Ogni schermo collegato al laboratorio diverrà così una vetrina espositiva all’interno di un moderno Museo di sculture viventi. ___________________ Costo € 30,00 per 1 incontro Costo € 60,00 per 2 incontri Per informazioni e iscrizioni: organizzazione@zonak.it 02.97378443 – 393.8767162 ___________________ Se invece vuoi procedere direttamente all’iscrizione clicca QUI Il percorso si svolgerà su piattaforma Zoom. Prevede la partecipazione esclusivamente ai due incontri e si attiverà al raggiungimento del numero minimo di partecipanti. Per l’incontro del 15 maggio l’iscrizione deve pervenire entro e non oltre mercoledì 12 maggio. Monica Galassi – Danzeducatore®: dopo uno scorcio di vita da ballerina presso diversi teatri italiani e una decina d’anni da giornalista e comunicatrice in ambito culturale, sto vivendo la mia “terza giovinezza” professionale nell’educazione: non insegno a futuri danzatori, ma a persone che attraverso la danza imparano a sentirsi creative, belle, apprezzabili, capaci e integrate. Dal settembre 2013 tengo laboratori di danza educativa e di comunità rivolti a bambini e ragazzi, sia nelle scuole di Milano e provincia (dal nido alla secondaria di secondo grado), sia in strutture pubbliche e private in orario pomeridiano. Ho collaborato con l’Accademia del Teatro alla Scala, Lilopera, Le voci della città, Reggio Children; attualmente lavoro per ZonaK, Civita, Gallerie d’Italia. Photo by Olivia Bauso on Unsplash FILM AB! Cine lezioni online in lingua tedesca Sorry, this entry is only available in Italian. Migliorare il tedesco attraverso i film: 4 cine lezioni interattive tra visione e analisi delle scene, discussioni, riflessioni, azioni teatrali e giochi linguistici. Una proposta per approfondire la lingua tedesca utilizzando il linguaggio cinematografico, guidati da un’artista-filmmaker. I 4 incontri online -della durata di un’ora ciascuno- sono così strutturati: Visione di un film in lingua tedesca (20 minuti). Conversazione in lingua tedesca. Approfondimenti su un aspetto del film attraverso esercizi e giochi con riflessioni e scambio di idee e opinioni Azione in lingua tedesca: teatro/video/foto. Interazione attraverso il linguaggio artistico: recitare una scena, studiare l’inquadratura e analizzarne il significato, lavorare sulle immagini. Alla fine di ogni lezione sarà richiesto un lavoro da svolgere in autonomia per l’incontro successivo. Il percorso si attiverà al raggiungimento del numero minimo di partecipanti, in caso contrario, la quota anticipata verrà interamente rimborsata. Il percorso prevede un numero chiuso di partecipanti. Per rendere la lezione più efficace per tutti, è necessario conoscere in anticipo il livello linguistico delle e dei partecipanti: sul modulo d’iscrizione è presente una sezione dedicata proprio a loro. _____________________ Costo € 80,00 promo -25% Costo 60,00 per 4 lezioni. Compila subito il modulo d’iscrizione cliccando >>> QUI <<< _____________________ BÄRBEL BUCK – artista & filmmaker Già da bambina ho sempre amato ascoltare storie di ogni tipo. Preferibilmente storie vere, storie che qualcuno realmente ha vissuto. Ecco perché ho deciso di diventare una documentarista. Questo è stato il mio inizio nel mondo delle immagini in movimento per la televisione e il cinema. L’arrivo di mia figlia mi ha portato più a contatto con le fiabe, la magia, lo stupore, la curiosità e la fantasia. Mi chiede spesso di raccontarle della mia vita quando ero piccola. Penso che i racconti ci aiutino a capire il nostro intimo e il mondo che ci circonda. E i bambini con la loro visione molto speciale delle cose e le loro domande correlate possono darci un accesso completamente nuovo non solo alla vita degli altri, ma anche alla nostra. Per me, il video e teatro sono una combinazione ideale per andare a esplorare a fondo delle meraviglie e delle narrazioni di vita. Con questi strumenti è possibile esprimere se stessi, vivere una fantasia, ma anche sperimentare e rendere accessibile la storia di altre persone. Sono molto felice di aver potuto accostare da diversi anni la mia passione per le narrazioni e le immagini in movimento ai bambini, che mi mostrano quanto sia intenso essere pienamente coinvolti in una esperienza, nella vita e in tutto quello che li riguarda e che mi fanno pensare alle grandi domande della vita. RESIDENZE DIGITALI 2021 Sorry, this entry is only available in Italian. Corso online di sceneggiatura cinematografica Sorry, this entry is only available in Italian. Qual è il metodo migliore per scrivere la sceneggiatura di un film? Come dare vita ai personaggi? Dalla creazione dell’idea di base alla costruzione della struttura e allo sviluppo del paradigma della narrazione, il corso propone un viaggio teorico e pratico sul cinema contemporaneo, attraverso nozioni tecniche sulla scrittura di una sceneggiatura e sulla fotografia. FADE IN prevede un breve excursus sui manuali di sceneggiatura di Syd Field e di Linda Seger, sulle suggestioni critiche sul cinema di André Bazin, padre della Nouvelle Vague ed elementi di teoria dei film di Thomas Elsaesser e Malte Hagener integrati con le idee innovative di Marco Bertozzi sul documentario come riuso, performance, autobiografia. I temi affrontati durante gli incontri: 1. come scrivere una grande sceneggiatura 2. la crescita del personaggio è il lievito del film 3. il soggetto del film in tre frasi. Il soggetto del film in 4 pagine 4. lo sviluppo dell’idea 5. la struttura della storia: la struttura in tre atti 6. cosa sono i subplot? 7. lo sviluppo del personaggio ___________________ Costo € 120,00 per 7 lezioni. Per informazioni e iscrizioni: organizzazione@zonak.it 02.97378443 – 393.8767162 ___________________ Se invece vuoi procedere l’iscrizione clicca QUI Il percorso si attiverà al raggiungimento del numero minimo di partecipanti. NINA DI MAJO Regista, sceneggiatrice, attrice, videoartista, produttrice. Lungometraggi 2020 – Regista sceneggiatrice del documentario collettivo Instant Corona, prodotto da Mir Cinematografica. 2016/17 – Regista , produttrice, autrice e direttore della fotografia del documentario Hans Werner Henze: la musica, l’amicizia, il gioco”, distribuito dall’Istituto Luce. 2010 – Regista e sceneggiatrice del film Matrimoni e altri disastri con Margherita Buy, Fabio Volo, Luciana Littizzetto, Marisa Berenson, Massimo De Francovich, Francesca Inaudi. Distribuito dalla 01. 2002 – Regista, soggettista e sceneggiatrice del film L’Inverno, con Valeria Bruni Tedeschi, Valeria Golino, Fabrizio Gifuni e Yorgo Voyagis. Presentato nella sezione “Panorama” alla Berlinale. Candidatura italiana all’European Howard all’Hollywood film festival. Vincitore del Globo d’oro per il miglior attore protagonista Fabrizio Gifuni e vincitore del Premio Internazionale della Fotografia. In competizione al Chicago Film Festival nella categoria New Directors. 1998 – Regista, attrice protagonista, autrice del soggetto e della sceneggiatura del film “Autunno”(1998). Con Elisabetta Piccolomini , Marco Mario De Notaris e Moni Ovadia, presentato al Festival di Venezia nella sezione Cinema del presente. Selezionato ufficialmente al Festival Venezia-Hollywood (LA), al Nice Film Festival (NY, San Francisco, Marocco, Mosca), al Festival di Amburgo. 1997 – Regista e autrice del soggetto e della sceneggiatura del cortometraggio ”Spalle al muro” (1997). Vincitore del Sacher d’oro e d’argento. Vincitore del David di Donatello come miglior cortometraggio Italiano . Mediometraggi-Documentari /Performance video 2006 – Regista del documentario Marsyas, installazione di Anish Kapoor per la Turbine Hall, Tate Modern, London. 2005 – Regista del documentario U92 sull’installazione di Peter Greenaway “Children of Uranium” 2004 – Regista e direttore della fotografia della performance audiovisiva AFO 4, presentata al Roma Europa Festival. 2002 – Regista del documentario Merci, opere di Natalie Silva, presentato al Festival Artecinema, teatro Mercadante, Napoli. Libri L’inverno. L’Ancora del Mediterraneo. Saggi e dialoghi sul cinema. Meltemi Edizioni. Beniamino o le cose dell’altro mondo. Aracne Edizioni. SEIx4 Xmas A modern fairy tale in an urban itinerary to discover the places and history of Milan’s Lodi/Libia and XXII March districts SEIx4_Xmas is a creative audio guide, its special route is a journey between present, past and future: the neighbourhoods of Municipio 4 will be the ideal location for a Christmas story, with a look at the arrival of the new year and a new beginning. By scrolling through the virtual map, participants will be led through the Lodi/Libia and XXII March neighbourhoods by means of an audio narration: a true artistic experience that conveys historical information and content by linking notions and emotions. At the end of each stage, you will be able to discover the next one: between one street and the next, you may come across an Xmas gift… what will be the surprise inside? SEIx4_Xmas is available on izi.Travel platform click here to participate A project by ZONA K with the artistic collaboration of Minima Theatralia; texts Federica Di Rosa; narration voices, music, audio editing and song by Duperdu_Marta M.Marangoni and Fabio Wolf; video shooting and editing Davide Stecconi; graphics Stefano Orfeo Montagnana; artistic coordination, organisation and communication by ZONA K The SEIx4_Xmas project was created in response to the public notice for the realisation of cultural initiatives in collaboration with Municipality 4 in December 2020. Percorso di teatro e movimento Sorry, this entry is only available in Italian. 60+ LABIRINTI Corsi e percorsi per non perdere il filo Tre percorsi indipendenti dedicati agli Over60 tra scrittura, video, teatro e movimento. Percorso di teatro e movimento PER FILO E PER SEGNOdata da definirsi tutti i lunedì dalle 14.15 alle 15.30 Costruiamo una performance teatrale fatti di segni, una drammaturgia di movimenti e parole che possa trasformare il nostro labirinto in un’azione teatrale collettiva. Ci incontreremo finalmente dal vivo nella bellissima, e sicura, sala di ZONA K per lavorare sulle azioni fisiche, la voce, il movimento ritmico e i gesti simbolici. 10 incontri in presenza di 75 minuti cad. _____________________ Costo € 140,00 Compila subito il modulo d’iscrizione cliccando QUI Agevolazioni: sconto del 10% se hai frequentato almeno uno dei percorsi precedenti _____________________ Il percorso si attiverà al raggiungimento del numero minimo di partecipanti. “Per filo e per segno” può essere considerato come il modulo nr.3 di un percorso in 3 tappe ma può essere anche frequentato autonomamente. GIA’ FATTO: Percorso online di scrittura ad alta voce IL FILO DEL DISCORSO28 dicembre 2020 – 1 febbraio 2021 tutti i lunedì dalle 14.15 alle 15.30 Vuoi imparare a scrivere una storia che possa vivere non solo sulla carta ma soprattutto attraverso azione e interpretazione? Partendo dal mito del labirinto, costruiamo un percorso di parole, dialoghi, immagini per inventare storie straordinarie da raccontare ad alta voce. 6 incontri online di 75 minuti cad. su piattaforma Zoom, facile da installare su computer ___________________ Per informazioni e iscrizioni: segreteria aperta lu-ven ore 15.00 – 19.00 organizzazione@zonak.it 02.97378443 – 393.8767162 oppure compila direttamente il modulo d’iscrizione cliccando QUI ___________________ Il percorso si attiverà al raggiungimento del numero minimo di partecipanti. “Il filo del discorso” può essere considerato come il modulo nr.1 di un percorso in 3 tappe ma può essere anche frequentato autonomamente. Il percorso è tenuto da Federica Di Rosa, diplomata in Drammaturgia alla Scuola d’Arte Drammatica “Paolo Grassi” di Milano, lavora con diverse realtà teatrali alla scrittura di testi per spettacoli ed eventi. Ha coordinato e realizzato progetti di formazione con: Teatro della Tosse, Teatro Coccia, Eniscuola, Formattart, Alice in Città, Teatro Franco Parenti. E’ autrice e regista di spettacoli di teatro ragazzi. Dal 2015 è responsabile della didattica per ZONA K. Leggi l’esito del percorso: ENTRA, TI STAVO ASPETTANDO Le partecipanti hanno scritto ognuna un testo, pensato per essere detto “ad alta voce” e hanno poi lavorato insieme alla scrittura della cornice narrativa che lega come un filo le diverse storie. Percorso online per raccontare con il video A DOPPIO FILOposticipato! 15 febbraio – 22 marzo 2021 tutti i lunedì dalle 14.15 alle 15.30 Vuoi creare una video storia utilizzando uno smartphone o un tablet? Impara con noi a scegliere il punto di vista, l’inquadratura, la luce, la musica e le parole. Sei incontri online teorici e pratici per scoprire come strutturare e produrre un racconto per immagini sul tema del labirinto. 6 incontri online di 75 minuti cad. su piattaforma Zoom, facile da installare su computer _____________________ Per informazioni e iscrizioni: segreteria aperta lu-ven ore 15.00 – 19.00 organizzazione@zonak.it 02.97378443 – 393.8767162 Compila subito il modulo d’iscrizione cliccando QUI Agevolazioni: sconto del 10% se hai frequentato il percorso precedente _____________________ Il percorso si attiverà al raggiungimento del numero minimo di partecipanti. “A doppio filo” può essere considerato come il modulo nr.2 di un percorso in 3 tappe ma può essere anche frequentato autonomamente. Il percorso è tenuto da Davide Stecconi, diplomato alla Civica Scuola d’Arte Drammatica Paolo Grassi 1999 (corso Drammaturgia). Dal 2000, alternandosi come sceneggiatore e regista, ha scritto e diretto cortometraggi e lungometraggi e alcune fiction per la TV fra cui la serie Piloti – Rai2 -. Più recentemente collabora alla realizzazione di spot per il web e documentari come filmaker. SEIx5 6 possible audio paths 6 video stories to discover 6 songs to listen to DOWNLOAD THE MAP Seix5 is a creative audio guide to discover the places, monuments and history of Milan’s Cinque Vie, through words, songs, music, anecdotes and videos. Participants will be virtually led through the “Cinque Vie” district by means of an audio story created by ZONA K and interpreted by the duo Duperdu: a true artistic experience that conveys historical information and content, linking past and present, notions and emotions, enhancing the heritage of memories and meanings of the Cinque Vie district. By scrolling through the virtual map, it will be possible to venture into the underground Milan of Leonardo’s Crypt and then into the narrow and mysterious Via Bagnera, or to discover the ancient crafts, to lose oneself in history and magic in the five star-shaped streets, or to find traces of the old Mediolanum. You can decide whether to follow one of the two routes through the main stops (Piazza San Sepolcro, Piazza Mentana, the intersection of the Five Ways, Via Gorani, Via Brisa and Piazza Affari) or choose to follow the themed itineraries (Mystery, Trades, Music and Traces). The voice of the Duperdu will accompany the journey with stories, songs and anecdotes, and at each stage a video will help immerse you in the atmosphere of the places. SEIx5 is available on izi.Travel platform click here to participate clicca qui per partecipare A project by ZONA K in collaboration with Minima Theatralia. Texts and artistic coordination Federica Di Rosa narrating voice, original music, audio editing and songs by Duperdu_Marta M. Marangoni and Fabio Wolf filming and video editingDavide Stecconi graphicsStefano Orfeo Montagnana with the collaboration of Silvia Orlandi and Federica Bruscaglioni for ZONA K,Dianora Zacché and Anna Bellelli for Minima Theatralia Thanks to Michele Figlioli of Pinacoteca Ambrosiana for the images; Barbara Affaticati of SIAM for the filming authorisation; Mr Maurizio, a valuable guide within SIAM; Alberto Mereghetti of Ferramenta Mereghetti and Ludovica Ventura of B Restaurant for the interviews and availability; Lorenzo Bregant for his kindness and the action cam. The SEIx5 project was born in response to the Municipality 1 of Milan’s tender on the enhancement of the historical, artistic and cultural heritage of the Cinque Vie. Following the Dpcm of 24 October, the project born to bring the public through the streets of the district was remodelled by ZONA K and Minima Theatralia through the creation of the virtual audio guide. Roger Bernat (ES) with the collaboration of Mar Canet and Varvara Guljajeva and the live Facebook participation of – Roberto Fratini 20 November at 9.00 p.m. – 9.30 p.m. – Renato Gabrielli 21st November at 9.00 – 9.30 p.m. – Magdalena Barile 22 November at 9.00 – 9.30 p.m. Special guest ROGER BERNAT ______________________________________ From 18 to 28 November, 24 hours a day, the Catalan director Roger Bernat, who generally creates performances without performers, offers us the opportunity to write an oceanic play directly from the ZONA K website. Luis Buñuel and Jean-Claude Carrière locked themselves in a room and, embodying their characters, wrote the scripts for their future films. On the theater website, instead of conversing with Buñuel, Carrière or Shakespeare, the internet user converses with ENA, a bot that mimics human conversation. According to the Wikipedia definition, a bot is a sequence of computers that performs repetitive tasks that would be impossible or very burdensome for a human being. To learn how to write, ENA was shown 8 million documents. The bots that answer the phone when we call big companies, those that affect social networks when elections are approaching or the bots we face in electronic games are brothers and sisters of ENA. But ENA doesn’t want to sell us anything, doesn’t want to inform us of any news (fake or real) and doesn’t even want to comfort us. ENA was conceived with the only purpose of pretending to be a human being, therefore to make theatre. ENA does not understand what she says or is told. For ENA, language is just a sequence of signs to which it responds with another sequence. Any dialogue with ENA will only make sense to the person participating in the conversation and to the audience reading the conversation on the theater’s website at the time. Having a dialogue with ENA is like playing squash with a wall that returns the ball to you. Keep in mind that, as a human being, you may be surprised or angry, or tired. ZONA K cannot be held responsible for messages sent by ENA which may be unpredictable. CAUTION: ENA learned to write with GPT-2 (OpenAI) and dialogues thanks to DialoGPT (Microsoft) of the Transformer (Google) database. For this reason, although he understands Italian, he answers only in English. Nobody’s perfect. ________________________ Info: online collective writing • duration as desired • in Italian and English translated simultaneously Participation: free, non-stop 24 hours a day on the zonak.it website If you have spoken to ENA and want a copy of your dialogue, send an email to biglietti@zonak.it clearly indicating the nickname and day of your interview ________________________ A project by Roger Bernat with the collaboration of Mar Canet and Varvara Guljajeva web design and programming Mar Canet and Varvara Guldjajeva graphics Marie-Klara González coordination Helena Febrés co-production FFF and Teatre Lliure thanks to Fabiano Cocozza BIO Magdalena Barile lives and works in Milan. Author, playwright and screenwriter, she teaches Theatre Writing at the Civica Scuola di Teatro Paolo Grassi and at the Scuola Belleville and Screenplay at the IED – Istituto Europeo di Design. Her theatre texts, many of which have been translated into several languages, are the most recent: Raffiche (2016); Il divorzio, adaptation of the film Divorzio all’italiana by Pietro Germi (2016); Rosa Conchiglia. Anaïs Nin e i giorni del porno ( (2017); Cosa beveva Janis Joplin (2018); Api Regine. Commedia fantascientifica sull’eliminazione del maschio (2018). She collaborates permanently as author and screenwriter with Swiss Radiotelevision (RSI) and has participated in the writing of several drama and comedy programmes for Italian television (Albero Azzurro, Camera Cafè, Bye Bye Cindarella). Roberto Fratini Serafide (Milan, 1972), playwright and dance theorist, is a lecturer at the Conservatori Superior de Danza (Istituto del Teatro) in Barcelona, and has held courses and lectures at other European universities. He collaborates with several international contemporary dance and theatre companies (among them Caterina Sagna Company, La Veronal, Roger Bernat FFF, Taiat Dansa, Germana Civera, Aerites Dance Company, Alexandra Waierstall, Sol Picó, Philippe Saire) and has given dramaturgy workshops at different masters and theatre institutions. His book A Contracuento. La danza y las derivas del narrar was published in 2012. In 2013 he received the FAD Sebastià Gasch Prize for his artistic and intellectual trajectory. Renato Gabrielli, playwright and screenwriter, teaches at the “Paolo Grassi” and the “Luchino Visconti” School of Cinema in Milan. He is the author of the guide Scrivere per il teatro (Carocci, 2015). Among his most recent theatre works: Combattenti (“Hystrio” XXIX-3, 2014), La donna che legge (Cue Press, 2015), Redenzione (2017), Spin (2018), Fammi un’ altra domanda and Nessun miracolo a Milano (2020). In 2008 he won the Hystrio Prize for Dramaturgy. In 2020, with Procedura, he won the Premio InediTo Colline di Torino – Sezione Teatro. Bozkurt, Campara, Oglialoro, Tabilio, Venturi with Rimini Protokoll A project by ZONA K and Casa degli Artisti The pandemic emergency led to a division of the social components into systemically relevant and not relevant. For many it was also a psychological polarization: between what is essential and what is superfluous. The artistic professions are not among those socially necessary. Should we think of a world in which art will no longer play a role? Can we imagine a reality that cancels the existence of art and of those who work there? What relationship can art have with each of us in this state of crisis? Is something that has long since gotten stale about to end? Can such a profound crisis be an opportunity? PHASE NINE \|\| Urban Solo invites us to ask ourselves these questions in the context of the city. Nine important places for art in Milan – some iconic, others unusual – become the stage for nine audio installations which, through interviews with various experts, are confronted with a provocative question: why does art exist and not nothing? ________________________ departure Casa degli Artisti, Corso Garibaldi, 89/A – via Tommaso da Cazzaniga -M2 Moscova-. Info: urban walk for 1 person – in Italian – closed on Monday Tickets can be picked up on the day of the walk 15 minutes before the start at Casa degli Artisti, Corso Garibaldi, 89/A – via Tommaso da Cazzaniga -M2 Moscova-. BASIC INFORMATION FOR PARTICIPATING A document will be requested as a deposit for the use of the navigator. As this is a route with mandatory stops, the departure time cannot be postponed. The walk takes about 120 minutes and will be covered on foot. The place of arrival is close to the place of departure. It is recommended to wear comfortable and waterproof shoes in case of light rain; in case of heavy rain the event will be canceled. ________________________ Performative action included in “IntercettAzioni” – Artistic Residence Center of Lombardy: a project by Circuito CLAPS and ZONA K, Industria Scenica, Milano Musica, Teatro delle Moire, with the contribution of the Lombardy Region, MiBACT and Fondazione Cariplo. Artists Ekin Bozkurt, Chiara Campara, Giulia Oglialoro, Riccardo Tabilio and Francesco Venturi Artistic supervision Aljoscha Begrich and Jörg Karrenbauer (Rimini Protokoll) Project management Valentina Kastlunger (ZONA K) Audio coordination and mixing William Geroli Multimedia implementation Stripes Digitus Lab In collaboration with Eataly Smeraldo, Goethe-Institut Milano, Fondazione Giangiacomo Feltrinelli, Giardini in Transito – Giardino Comunitario Lea Garofalo, Anteo Palazzo del Cinema, Piccolo Teatro di Milano Main partner Casa degli Artisti BNP Paribas Thanks to Feltrinelli bookshop in viale Pasubio, Il Barettino in via Solferino, Armonium Galvan Photo Luca Del Pia WithGiuliana Bonifati, Christian Gangitano, Laura Pugno, David Bidussa, Marta Alessandri, Mauro Ferraresi, Silvia Vizzardelli, Wu Ming 2, Palma Rivetti (Mina), Roberta Carpani BIO Ekin Bozkurt (sound designer), Chiara Campara (filmmaker), Giulia Oglialoro (author, journalist), Riccardo Tabilio (author and dramaturg) and Francesco Venturi (composer) are the artists that the second open call of Casa degli Artisti on the theme “Work” Selected in March 2020 for the artistic project shared with the German collective Rimini Protokoll. The work, coordinated and followed by Jörg Karrenbauer and Aljoscha Begrich of Rimini Protokoll in the role of mentors, was completely rethought during the months of lockdown. The theme of work remained central, but he decided to focus in particular on work in the world of culture and art, a theme made even more urgent by the crisis caused by the pandemic. It was decided to work precisely on contingency, considering it an opportunity, investigating the changing perception of spaces and cultural operators. Rimini Protokoll was founded in 2000 by Stefan Kaegi, Helgard Haug and Daniel Wetzel and over the years has collaborated with various constellations of artists. The goal is to expand the means of the theater in order to create new perspectives on reality. Rimini Protokoll avails itself of the collaboration of experts, whose knowledge and skills go beyond the theater, to produce shows, radio productions and urban interventions that often translate urban spaces and social structures into theatrical formats. REALITY? In the presentation of the Reality 2020 season we told our vision of reality that did not want to translate into a philosophical disquisition or a flattening on the spectacularization of contemporary media. It was a title that wanted to close a three-year period where ample space was given to artists who have done their research and art from the Theater of Reality. A three-year period that started with Power and continued with Economy in which we felt the need to analyze and interpret the present, always keeping an eye on the so-called reality data as a rudder that keeps the course despite the brazen and unrepentant political propaganda that does not fear neither the self-contradiction nor the explicit lie. Of that season – which should have been structured in the Global, Human and Virtual focuses – we just had time to present the special event that went beyond the focus but which for us had the symbolic flavor of a first show that ZONA K brought into Casa degli Artisti. Then everything, as for everyone, stopped. The companies were first warned, then put on stand by, and finally the shows were canceled. Suddenly our strength, our distinctive trait, our identity and consistency in design choices and consolidated international relationships have become our boomerang. How to keep up a season that would have included numerous European artists? How to reopen a space where the distancing measures force to have no more than 20 spectators? How to look beyond the obstacle to imagine and build a new reality? The word “new” was enough to re-tune us and to start again from where we left off. If it is a new reality that we have to live, then our season can be called REALITY ?. The question mark not only closes a questioning sentence, but also summarizes the amazement, perplexity and ultimately the hope that this is not really a new world to be invented, but a phase, a parenthesis not to be archived and from which to start again. We therefore start from the desire to find a new meaning to reality, new perspectives, new ways of enjoying culture thanks to a continuous comparison with some of the artists who have accompanied us most in recent years. Thus the new autumn season that has emerged continues the path started where possible and leaves much more space for those distinctive features that have characterized our work in past years: complex projects, urban performances, shows for a few spectators at a time, collaboration with theaters larger to accommodate artists who need the stage. The most important novelty is the desire to give more space and time to the shows in the season with, on our part, an important productive effort: many of the shows we offer are real productions and co-productions. It is a choice that was already in the making and that found a boost in the pandemic: to continue working on an annual season, but with even more our projects that are able to sustain a long life and that do not run out in the space of a few reruns. Events: 15 – 24 September 2020 UNDER COVID Gianmarco Maraviglia curated by Chiara Oggioni Tiepolo [photographic exhibition] Audience survey AMID FEARS, GOOD NEWS FROM THE PUBLIC The Theatre has been one of the main victims of the pandemic. Without belittling the very serious damage suffered by the artistic staff and the entire production chain of the performing arts, there is a positive note that, in the midst of so much discouragement, brings a certain relief: the public has felt the absence of the theatre, and is eager to return to it. This is one of the data that emerges clearly from the questionnaire designed and disseminated by ZONA K and Stratagemmi, with the support of Codici Ricerche, between May and June 2020: a crucial period, immediately following the lockdown. The questionnaire aimed to find out what people’s feelings and expectations were about the reopening of the theatres, which had to be imagined in a different way from the pre-Covid period; making a virtue of necessity, the creators of the survey used this opportunity for dialogue with the public to sound out questions that only partly have to do with the emergency situation of the last few months. For example: how much artistic proposals accessible via telematics are actually appreciated; what is the relationship of the public with experimental languages and forms; how much the spatial context in which the performance takes place influences the spectators’ appreciation. The survey produced valuable and at times unpredictable results: just think of the widespread enthusiasm for open-air performances, which certainly does not find an adequate response in the seasonal programmes of our theatres. Or the evident disaffection towards remote, telematic artistic fruition: an experience that spectators are definitely satiated with. There is also – and this bodes well – a certain confidence in theatres as regards their compliance with health and hygiene requirements in order to prevent the risk of an epidemic resurgence: the interviewees declare more impatience than fear, suggesting that for them the theatre is not only an essential meeting place, but also a safe, reliable place. In short: the data that emerge are by no means obvious, and can help us to understand where to start again, and in what directions. Certainly, as shown by the numerous encouragements that the interviewees attached to the questionnaire, the public is there, and is cheering for the theatre. See the results of the questionnaire Foto by Cristina Lorenzi for ZONA K, BODIES IN URBAN SPACES 2017 di Cie. Willi Dorner MUSIC ROOM Inventa la tua canzone Sorry, this entry is only available in Italian. Questo laboratorio online è stato proposto durante il primo lockdown 2020. Vorresti partecipare con un gruppo di amici? Scrivi a organizzazione@zonak.it per capire come organizzare il laboratorio. Racconta la tua stanza con una canzone. Lasciati ispirare dagli oggetti intorno a te, inventa le parole e canta la canzone della tua stanza. Una volta creata, la potrai ricevere in mp3 per ascoltarla tutte le volte che vuoi! Con i Duperdu (Marta Marangoni e Fabio Wolf) Per informazioni su costi e come partecipare scrivi a organizzazione@zonak.it. Scopri tutte le proposte di PLAY ROOM VIDEO ROOM Video storie dal telefono Sorry, this entry is only available in Italian. Questo laboratorio online è stato proposto durante il primo lockdown 2020. Vorresti partecipare con un gruppo di amici? Scrivi a organizzazione@zonak.it per capire come organizzare il laboratorio. In questo laboratorio online ti insegneremo a raccontare una storia per immagini, a farne la regia attraverso il tuo smartphone. Come scegliere l’inquadratura migliore? Come far parlare i dettagli? Aggiungi la musica, decidi la sequenza e condividi la tua video storia con gli amici. Con: Davide Stecconi, regista e videomaker >>> Guarda tutti i cortometraggi realizzati da Davide Stecconi per ZONA K <<< Per informazioni su costi e come partecipare, scrivi a organizzazione@zonak.it. E’ possibile organizzare questo laboratorio anche per la tua classe! Per informazioni su modalità e costi: didattica@zonak.it Scopri tutte le proposte di PLAY ROOM FOCUS HUMAN Last focus of the season, HUMAN offers performances that address the times of today by placing man and his rights, his strengths, his contradictions and sufferings at the centre. After the short century, which showed the brutality of humanity and also the ability to get involved again, what have we become? Who do we want to be? Hobsbawn said that the 1900s had ended in a global disorder of an unclear nature and without a clear mechanism to end or control it. Are we facing the new twenties, with the naïve and glitzy consciousness of what is happening around us? Will the homo sapiens, well defined and described by Harari, be able to make sense of the world he created? And understand global developments and distinguish the mistake from what is correct? These, the shows of FOCUS VIRTUAL. October – November RIMINI PROTOKOLL (DE) NIGHT SHIFT [Travelling show] A ZONA K production in collaboration with Casa degli Artisti c/o places in the city 22 – 23 October BABILONIA TEATRI (IT) GIULIO [show] c/o ZONA K 12 – 13 November M. Anderson, I. Kralj THEATRE GIGANTE – A. Renda TEATRO DELLE ALBE /RAVENNA TEATRO (U.S.A/IT) IN THE BELLY OF THE BEAST [show] c/o ZONA K 28 – 29November AGRUPACIÓN SEÑOR SERRANO (ES) THE MOUNTAIN [multimedia show] A ZONA K co-production presented in collaboration with Olinda Onlus c/o TeatroLaCucina 26 – 29 novembre CONVENTION At the end of not only the year but also of the three-year period and of a path that until today has led us to invite the most representative names of that genre defined Theatre of reality, we will dedicate two days to a convention of reflection and comparison on what future prospects they are outlined in the relationship and in the action of the theatre on reality. An important opportunity to take stock of the current situation in Europe but also to open up new questions and questions. For the occasion, some of the artists hosted over the years and the operators and critics most sensitive to the topic will be invited. c/o ZONA K and other places in the city Discover the entire programme of the Theatre Season 2020 REALITY Photo ©Rocco Rorandelli / TerraProject Agrupación Señor Serrano (ES) There is a widely diffused image that traces the history of ideas: climbing a mountain, overcoming all difficulties to reach its top and, once there, being able to see the world “as it is”. Reaching the truth and not just shadows and reflections. It is a beautiful image in all respects. But is it really so? Often looking from above you can see nothing but clouds and fog covering everything or a landscape that changes according to the time of day or the weather. What is the world like then? How is the truth? Is there the truth? Is the truth the top of a mountain to be crowned and that’s all, or rather a cold and inhospitable path that must be continually walked? In The Mountain, the latest show by the award-winning Catalan company, the first expedition to Everest converges, the outcome of which is still uncertain today, Orson Welles sowing panic with his radio program The War of the Worlds, badminton players who they play baseball, a fake news website, a drone scanning the audience, lots of snow, mobile screens, fragmented images, and Vladimir Putin speaking content with trust and truth. A white and diaphanous stage. Miniatures to scale on practicables, a radio studio, a reproduction of Everest, portable projection screens and film tripods form a space halfway between a TV set, a museum and a badminton court. A network of ideas, stories, images, actions and concepts is the basis of The Mountain’s dramaturgical framework. With these materials, unfolded in layers that mix, creating unexpected connections, the show presents itself as an unmapped exploration of the myth of truth. ________________________ A ZONA K co-production presented in collaboration with Olinda/Da vicino nessuno è normale c/o Olinda/Da vicino nessuno è normale, Ex O.P. Paolo Pini – via Ippocrate, 45 Info: multimedia show – duration 70 min. – in English with Italian subtitles ________________________ creation Agrupación Señor Serrano dramaturgy and direction Àlex Serrano, Pau Palacios, Ferran Dordal performance Anna Pérez Moya, Àlex Serrano, Pau Palacios, David Muñiz management Art Republic A GREC production Festival de Barcelona, Teatre Lliure, Conde Duque Centro de Cultura Contemporánea, CSS Stable Theater of Innovation of Friuli – Venezia Giulia, Teatro Stabile del Veneto – National Theater, ZONA K, Monty Kultuurfaktorij, Grand Theater, Feikes Huis With the support of Departament de Cultura de la Generalitat, Graner – Mercat de les Flors. Photo: © Jordi Soler BABILONIA TEATRI (IT) FOCUS: HUMAN For the 2020 Theatre Season REALITY Valeria Raimondi and Enrico Castellani discuss together the Regeni story in the new show Giulio, dedicated to the student tortured and killed in Cairo in February 2016. A resolute investigation on the border between information and propaganda, between power and crime, between reason of state and inviolable rights, which questions the apparatus of the law, violence and the profound meaning of being free citizens in a free state. Giulio Regeni is not just a news story. Giulio Regeni makes us asking ourselves what a State means. What does justice mean. What does power mean. What does the police mean? What does trial mean. What does legality mean. What does prison mean. What public opinion means. What journalism and freedom of information mean. Giulio Regeni makes us asking ourselves the fundamental questions of social and civil life. He makes us thinking about the concept of responsibility, of humanity, of strength. The concepts and issues we are dealing with in our lifes, literature and theatre from Greeks to Shakespeare to us. Giulio Regeni is a starting point to reflect on all this. ________________________ c/o ZONA K To participate you must send a request for the annual membership within the day before the show, click HERE to do it NOW Info: show • duration 60 min. • in Italian Standard ticket: 15 € – Students/under 26/over 65/groups 10€ Part of the subscription shows ________________________ By Valeria Raimondi and Enrico Castellani, cast to be decided, production: Teatro Metastasio di Prato with Babilonia Teatri Babilonia Teatri is one of the most innovative companies in the contemporary theatre scene, distinguishing itself for a language by many defined as pop, rock, punk. It has become relevant in the Italian scene for its irreverent and divergent gaze on the world of today. Over the years Babilonia Teatri has won numerous awards. In addition to the main Italian cities, the company’s shows have been hosted numerous times also abroad, from France to Germany, from Austria to Hungary, from Bosnia and Herzegovina to Croatia, from Colombia to Russia. Enrico Castellani and Valeria Raimondi, founders of the company in 2006, are the artistic directors of Babilonia Teatri. Playwrights, authors, directors and actors, Castellani and Raimondi are based in Verona. RIMINI PROTOKOLL (DE) FOCUS: HUMAN In the 2020 Theatre Season REALITY of ZONA K the multi-award winning German collective Rimini Protokoll will bring the truck to Milan that in 2006 was transformed into an audience on wheels capable of transporting 50 spectators through the city: seated on one side, they will look through a large window the urban reality that will become a stage. During the residency at Casa degli Artisti, which took place between May and September 2019, five selected artists developed a project for the truck around the theme of night work together with Rimini Protokoll. The truck will transport spectators through the suburbs of the city and will focus the spotlights on what normally moves in the dark and in the invisible. Who works at night? How? Who pays? The submerged economy or the backbone and the backstage of the most brilliant day performances? What places host the jobs that begin when others stop and the jobs that have no beginning or an end? ________________________ A ZONA K production in collaboration con Casa degli Artisti c/o places in the city Info: spettacolo itinerante per 50 spectators • in Italian Standard ticket: 20 € – Students/under 26/over 65/gruppi: 15 € Part of the subscription shows ________________________ Credits Helgard Haug, Stefan Kaegi and Daniel Wetzel founded the theatre-label Rimini Protokoll in 2000 and have since worked in different constellations under this n
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]	null			https://westernsallitaliana.blogspot.com/favicon.ico		https://westernsallitaliana.blogspot.com/2014/03/	THUNDER WARRIOR II Thunder II – Italian title Thunder 2: Um Homem Chamado Trovao – Brazilian title The Return of Thunder – Dutch title Thunder II – Le guerrier rebelle – French title Thunder - Der Rächer – German title Thunder II – Ein indianer nimmit Rache – German title Thunder 2 - I epistrofi – Greek title Acorralado 2 – Peruvian title Grom II – Polish title Thunder – a fuego do guerreiro – Portuguese title Thunder II – o regress do fuerreiro – Portuguese title Thunder Warrior II – English title A 1985 Italian production [Fulvia International Films (Rome)] Producer: Larry Ludman (Fabrizio De Angelis) Director: Larry Ludman (Fabrizio De Angelis) Story: David Parker, Jr. (Dardano Sacchetti), Larry Ludman (Fabrizio De Angelis) Screenplay: David Parker, Jr. (Dardano Sacchetti), Larry Ludman (Fabrizio De Angelis) Cinematography: Sergio D’Offizi [color] Music: Walter Ritz (Walter Rizzati) Running time: 92 minutes Cast: Luis ‘Thunder’ Martinez – Mark Gregory (Marco di Gregorio) Sheriff Roger – Bo Svenson (Boris Svenson) Rusty – Raimund Harmstorf Sheena/Sheila – Karen Reel Thomas – William Rice With: Clayton Tevis, Vic Roych (Victor Roych), Bill Rossly (William Rossly), Mike Bower (Michael Bower), Rex Blackwell, Dennis O’Reilly, Darla Porter, Allan Jin, A.C. Navarro, Charles Hunter, Frank Soto, William Timothy Soto Stunts: Rex Blackwell, Alain Petit [stunt coordinator] Luis Martinez, called " Thunder ", an Indian enrolled in the police force, in a small town in Arizona, among his colleagues is Deputy Sheriff Rusty. The two have had disagreements in the past, and old grudges resurface. Rusty is at the center of a drug trafficking racket and, scared by the presence of "Thunder", is assigned to patrol the area where these trades take place. Rusty accuses Thunder, with false evidence, of the murders of Max, a drug trafficker in business with Rusty, who was killed by them in his car. "Thunder", despite the involvement of the lawyer Tomas Ruder, is sentenced to five years' hard labor, to be served in a field where he is subjected to continuous abuse. After having spent eleven days locked in a metal box, miraculously manages to escape. He takes refuge in the mountains, where he is joined by his wife, who is expecting their first child, and who has contacted the lawyer to reopen the trial where he was convicted unjustly. But Rusty is on his trail, and using a helicopter, strikes the car of "Thunder". In the incident the woman loses her baby and "Thunder" swears revenge. Starting a war , like the old Indians, he puts war paint on his face and carries a hatchet . Having knocked out all surveillance, "Thunder" arrives at Rusty’s cell where he is waiting to be tried for his criminal activities, but, coming face to face with his rival, does not dare to kill him. Thunder reaches the border with a car, thanks to the complicity of the sheriff, "Thunder" crosses the border and escapes into Mexico. YouTube trailer: https://www.youtube.com/watch?v=zr85KzxSDX0 Remembering Heinz Gietz Heinz Gietz was born on March 31, 1924 in Frankfurt, Main, Germany. At the age of 11, he took his first violin lessons. The music was in his blood and so two years later he began taking piano lessons. At 14 he made his first steps as a composer and arranger. From 1941 he attended the Conservatory in Frankfurt where he gained first experiences with jazz by Carlo Bohländer and Emil Mangelsdorff. In 1943 he was summoned to the labor service, and is drafted into the Wehrmacht. Heinz Gietz founded his own quartet in 1945 and worked as a jazz musician in the combo of The Hotclub Frankfurt. His first composition he wrote in 1946 for the "Little Theatre" and was received in the same year in the STAGMA (later GEMA). After the currency reform of 1948, he worked mainly as a composer and arranger for the Hessian Radio and other broadcasters. In 1949 appears the first record with the Heinz Gietz composition "Scharfe Kurven". His first "hit" arrangement was in 1951 with “Das machen nur die Beine von Dolores”. A year later, his composition "Blumen für die Dame" is sung by Gitta Lind and became his first hit. With a new discovery called Caterina Valente in 1953 his first test shots Südwestfunk in Baden-Baden are made. In the same year a long and highly successful collaboration with the lyricist and producer Kurt Feltz starts. Heinz Gietz composed and arranged from 1954, the hits “O Mama, o Mama, o Mamajo” and “Baio Bongo” for Caterina Valente. During the next 10 years Gietz continued to turn out hits for such artists as Valente, Bill Ramsey and Chris Howland. In 1963 Gietz becomes the musical director of "The Peter Weck Show" for ARD television. He also penned the love theme, for the film "Der Musterknabe", sung by Conny Froboess and Peter Alexander. In 1965, he starts his own record label "Cornet- Records ". He is also musical director of the downstream television series "Sing ein Lied mit Onkel Bill" and writes the music for three Euro- western films "Massacre at Marble City" (1964), "Count Bobby, the Terror of the West" (1965) and "The Man Called Gringo" (165). The Cornet label will be decommissioned in 1977 and Gietz began working again as a freelance producer for the EMI Electrola. In 1980 Gietz composed, arranged and produced "Catherine and Potemkin". Gietz worked during the following years for various television shows, such as "Glücksspirale" and is also the musical director of the series "Wie wär’s heut mit Revue?" with Harald Juhnke and Ingrid Steeger. Gietz died on December 24, 1989 in Cologne, North Rhine-Westphalia, Germany. He was only 65 years-old. Today we remember Heinz Gietz on what would have been his 90th birthday. 50 Year Anniversary of Esplugas City Esplugues remembers its golden years as the home of the 'spaghetti western' The Film Studio Balcazar welcomed the filming of fifty Westerns in the 1960s, until a minister for Franco ordered its demolition. Almeria was not the only home for Spanish Spaghetti westerns. Catalonia also had a small set, located in the metropolitan area, although there is almost no sign of the location today, neither the physical space or in the collective cultural memory. “$5,000 on One Ace”, “A Pistol for Ringo”, “Oklahoma John” are some western movies that were filmed here during the 1960s in the village known as Esplugas City, a huge set built by the Film Studio Balcazar in Esplugues de Llobregat. The company was one of the most important of its time, I had a studio shoot in the same city, playing Cornella, and looked for a site on which to record the exterior. "It was a genuinely American western genre, but the Balcazars were responsible for a new vision and were the foundation for the genre growing in Europe," recalls Juan Salvador, Esplugues neighbor who knew firsthand the town and author of Beyond Esplugas City. Those responsible for the Theatrical Productions of Balcazar were Alfonso, Francisco and Jaime Jesus brothers detected the potential importance of having a set to shoot films known as spaghetti westerns, set in the Wild West but filmed in Europe, as it would lower the recording costs. Time proved them right and in fact after Esplugas City of Oste, three villages were built in the desert of Tabernas Almeria: Fraile (1965), Juan Garcia (1966) , and in the town of Tecisa Gergal (1966). This year is the 50th anniversary of the building of the town which will be celebrated. "We want to remember from a recreational standpoint," explains Councillor for Culture, Eduard Sanz, who recalls that the council has commissioned the Council of Nens proposing activities to raise awareness of this heritage city. The Balcazars had no relationship with Esplugues but the fire at the facilities used in the mountains of Montjuïc of Barcelona and the inability to restore them made them look for a new space in the Barcelona area. "The venue was placed in Esplugues where a studio with over 5,500 square meters of sets, and the sets that were recorded outside, with more than 10,000 square meters that used some fields," John recalls. In Esplugas City over forty buildings were recreated, from the saloon to the sheriff's office to the general store, barber, blacksmith, hotel, bank and church. Most of the buildings were complete while others were only built with the fronts and there was nothing inside. Juan Salvador recalls that the village was in full swing between 1964 and 1967. "It rolled all day and even at night," he recalls, and notes that" the construction of the B-23 motorway meant the movement of the village and the construction of a much smaller set across the highway, where currently is the Mallola school." Although the town was in the center of town, it was in an enclosed space that they could not access the neighbors." The economic relationship was anecdotal," says Councillor for Culture." I once walked through the Watcher precinct, as a retired policeman," explains John. The actors but not the workers mingled with the neighbors. Juan Salvador recalls," The company had a hotel in Barcelona where the actors, who moved to Esplugues studios for filming and then to Esplugas City to shoot were staying." The operation of the system itself was a certain relationship with a company and the city, as did Figuls pastry candy with which the living room windows were built so they could break without actors suffering damage. "The students of the school Isidre Martí after school went to collect the remains of crystals and ate them like candy lollipops," says John, who recalls that some neighbors also worked as extras in some of the productions. The locals also lived with the noise form the shooting going on at Esplugas City. The artistic director of the town, Juan Alberto Soler, also had to find resources to avoid the reality of the city that could sneak into the shootings. To do this, for example, he placed a tower with a large water tank to cover the antennas of buildings, or a fireplace two feet high to make sense of the smoke from the nearby pottery factory Pujol i Baussis, which had two chimneys which operated alternately. The move to the new location, in the late 1960s, coincided with the decline of the genre, which revived the series after “They Call Me Trinity”. In the early 1970s, the Balcazar brothers, seeing the decline of the genre, tried to convert the set into a theme park, which would have been the first in Spain. They got the proper permits but they could not make it happen. If fire was the end of the Balcazar studies in Barcelona, it also did the same at Esplugues, albeit for different reasons. The Minister of Information and Tourism Alfredo Sánchez Bella Franco discovered the village one day accessed by car from Barcelona El Prat Airport. He considered that "it was a bad image" and ordered its dismantling. Given the high cost to demolish the town, the officers of the company decided to record one last film, “Now They Call Him Sacramento”, which ends with a fire that destroyed the entire town. "It was a spectacular fire that was recorded with three cameras, in case any failed, because it could not be repeated," John, who considered this a worthy way he remembers Esplugas City. Happy 75th Birthday to Terence Hill Mario Girotti was born on March 29, 1939 in Venice, Veneto, Italy. His mother, Hildegard (Thieme), was German, from Dresden, and his father, Girolamo Girotti, was an Italian chemist. As a child, he lived in the small town of Lommatzsch, Germany from 1943 to 1945 during World War II, surviving the Dresden Bombing. After being discovered by Italian filmmaker Dino Risi for Vacanze col Gangster “Holiday with the Gangster” (1951) at the early age of 12, he had, after 27 movies in Italy including, a major role in Luchino Visconti's “The Leopard” (1963). In 1964, he returned to Germany and there appeared in a series of, adventure and western films, made from the novels of German author Karl May. In 1967, he returned to Italy to act in “God Forgives... I Don't!” (1968). He changed his name to Terence Hill the same year. The name was made up as a publicity stunt by the film producers; he had to choose from a list of twenty names and picked the one with his mother's initials. In the following years, he starred in many action and over nineteen Spaghetti Westerns together with his longtime colleague and friend Bud Spencer. The pair were notable for their comedy films, successful not only in Italy, but also internationally. They made a large number of Italian Westerns and other films together. Many of these have alternate titles, depending upon the country and distributor. Their most famous film is the 1971 western “They Call Me Trinity” and the 1972 sequel “Trinity Is STILL My Name!”. Terence has stated in interviews that “My Name Is Nobody” (1973), in which he co-starred with Henry Fonda, is his personal favorite of all his films. His first American films were “Mr. Billion” and “March or Die” (both 1977), after which he divided his time between Italy and the U.S. Hill's adopted son Ross was killed in an accident in Stockbridge, Massachusetts in 1990 while the actor was preparing to film “Lucky Luke” on the Bonanza Creek Ranch near Santa Fe. Hill later went on to a successful television career in Italy. In 2000, he landed the leading role in the Italian television series ‘Don Matteo’, as a crime fighting parish priest. Terence and Bud Spencer were awarded the David di Donatello Award for Lifetime Achievement in 2010. Today we celebrate Terence Hill’s 75th birthday.
5438	dbpedia	2	29	https://kids.kiddle.co/Sabrina_Ferilli	en	Sabrina Ferilli facts for kids	https://kids.kiddle.co/i…o%2C_2022_14.jpg	https://kids.kiddle.co/i…o%2C_2022_14.jpg	[ "https://kids.kiddle.co/images/wk/kids-robot.svg", "https://kids.kiddle.co/images/wk/kids-search-engine.svg", "https://kids.kiddle.co/images/thumb/1/16/David_di_Donatello%2C_2022_14.jpg/300px-David_di_Donatello%2C_2022_14.jpg", "https://kids.kiddle.co/images/thumb/5/5f/Kids_robot.svg/60px-Kids_robot.svg.png", "https://kids.kiddle.co/images/wk/kids-search-engine.svg" ]	[]	[]	[ "" ]	null	[]	null	Learn Sabrina Ferilli facts for kids	en	/images/wk/favicon-16x16.png		https://kids.kiddle.co/Sabrina_Ferilli	Sabrina Ferilli (born 28 June 1964) is an Italian theatre and film actress. She has won five Nastro d'Argento (including a special award in 2016 for civil engagement for her performance in Me, Myself and Her), a Globo d'oro, six Ciak d'oro and received four nominations for David di Donatello. In 2013, she was a protagonist of the Oscar-winning film La grande bellezza directed by Paolo Sorrentino. Early and personal life Ferilli was born in Rome on 28 June 1964. Her father was also from Rome and a spokesman for the Italian Communist Party in the region of Lazio and her mother, who grew up in Fiano Romano, was a housewife and native of Caserta, Southern Italy. She attended the Liceo Clasico Orazio ("Orazio classical high school") in Rome. After having unsuccessfully attempted to enter the Centro Sperimentale di Cinematografia in Rome, she began her career as a film actress in secondary parts, acting in Sweets from a Stranger by Franco Ferrini, and small roles in second-tier films at the end of 1980s. Ferilli was married to Italian lawyer Andrea Perone from 2003 to 2005. Since 2011, she has been married to manager Flavio Cattaneo. Career In 1990, Alessandro D'Alatri cast her in a small role for the movie Red American. In 1993 she appeared in the comedy Anche i commercialisti hanno un'anima alongside Enrico Montesano and Renato Pozzetto, Il giudice ragazzino with Giulio Scarpati and in Marco Ferreri's Diario di un vizio. The following year she had a breakthrough role in The Beautiful Life by Paolo Virzì, which won her the Silver Ribbon for Best Actress, Best Supporting Actress. During the following years he has been involved in the movie Ricky Tognazzi and continues to appear in good comedies, such as Ferie d'agosto always of Virzì and Return to Home Gori of Alessandro Benvenuti. She hosted the Sanremo Festival 1996 along with Pippo Baudo and Valeria Mazza. Two years later, he has been co-starred in the dramatic film You Laughter and the comedy Francesco Nuti. She later also worked in theatre in some productions of Garinei and Giovannini comedies, including Rugantino and Let's Try More and made appearances in some television comedies. In 2000, she modeled for a Max calendar, which has sold over 1 million copies. On 24 June 2001, to celebrate the scudetto for AS Roma, she performed a dance at Circus Maximus in front of hundreds of thousands of fans. She had a lead role in the controversial 2003 film The Water ... the Fire by Luciano Emmer which debuted at the Venice Film Festival. She later participated in several Italian Christmas comedies known as cinepanettoni: Christmas in Love, Christmas in New York, Christmas in Beverly Hills and Christmas Holiday to Cortina. She defended her work in less serious films by saying, "How do you call them? Cinepanettoni? Well, then I'm happy to be associated with it because I love panettons, turrus and pandora." In 2008, she appeared in Virzì's Your Whole Life Ahead of You, once again winning the Silver Ribbon. In 2013, she was chosen as a judge in the twelfth edition of Friends of Maria De Filippi and also appeared in the subsequent season. In the same year, she starred in Eros Puglielli' TV series We Kiss Our Hands – Palermo New York 1958 on Canale 5, and was chosen as the opening presenter of the Roma Film Festival. Her 2013 performance as one of the protagonists in The Great Beauty by Paolo Sorrentino helped the film to win the Oscar for Best Foreign Film Best Foreign Film on 2 March 2014. In December 2014, she debuted on the new Agon Channel with the talk show Contratto with Luca Zanforlin. On 11 April 2015, she appeared in the fourteenth edition of Amici di Maria De Filippi with Francesco Renga and Loredana Bertè. In 2015, she starred with Margherita Buy in Io e lei by Maria Sole Tognazzi, a lesbian retelling of Édouard Molinaro's Il vizietto. The actress said she was very happy to have participated in a movie like this. She was awarded a Golden Ciak at Best Actress for the film and was nominated for the David of Donatello for Best Actress Starring David of Donatello and Silver Ribbon for Best Actress Starring. Beginning in April 2016, she was again in the jury of the 15th edition of Amici di Maria De Filippi with singers Anna Oxa and Loredana Bertè. Filmography Films Title Year Role(s) Director Notes Sweets from a Stranger 1987 Franco Ferrini Cameo appearance The Rogues Young woman Mario Monicelli Uncredited The Sparrow's Fluttering 1988 The woman of stars Gianfranco Mingozzi Il volpone Rosalba Marignano Maurizio Ponzi Rimini Rimini - Un anno dopo Waitress Bruno Corbucci Segment: "La scelta" Night Club 1989 Erina Sergio Corbucci Red American 1991 Zaira Alessandro D'Alatri Naufraghi sotto costa Jole Marco Colli Donne sottotetto 1992 Diana Roberto Giannarelli Vietato ai minori Barbara Maurizio Ponzi Law of Courage 1994 Angela Guarnera Alessandro Di Robilant Anche i commercialisti hanno un'anima Sonia Maurizio Ponzi La bella vita Mirella Paolo Virzì Strangled Lives 1996 Miriam Ricky Tognazzi August Vacation Marisa Paolo Virzì Arance amare Alice Michel Such Return to Home Gori Sandra Salvini Alessandro Benvenuti You Laugh 1998 Nora Paolo and Vittorio Taviani Mr. Fifteen Balls Sissi Francesco Nuti I fobici 1999 The woman Giancarlo Scarchilli Segment: "Frutto proibito" Le giraffe 2000 Roberta Tiberi Claudio Bonivento Freewheeling Nurse Silvia Vincenzo Salemme L'acqua… il fuoco 2003 Stefania / Elena / Stella Luciano Emmer Christmas in Love 2004 Lisa Pinzoni Neri Parenti Really SSSupercool: Chapter Two 2006 Nunzia Carlo Vanzina Cars Sally Carrera (voice) John Lasseter, Joe Ranft Italian voice-over Natale a New York Barbara Ricacci Neri Parenti Your Whole Life Ahead of You 2008 Daniela Paolo Virzì I mostri oggi 2009 Stefania Enrico Oldoini Segment: "Il malconcio" Sabrina Segment: "La fine del mondo" Alice Segment: "Euro più euro meno" Natale a Beverly Hills Cristina Neri Parenti Cars 2 2011 Sally Carrera (voice) John Lasseter, Brad Lewis Italian voice-over Vacanze di Natale a Cortina Elena Covelli Neri Parenti The Great Beauty 2013 Ramona Paolo Sorrentino Me, Myself and Her 2015 Marina Baldi Maria Sole Tognazzi Forever Young 2016 Angela Fausto Brizzi Ballerina Régine Le Haut (voice) Éric Summer, Éric Warin Italian voice-over Omicidio all'italiana 2017 Donatella Spruzzone Maccio Capatonda Cars 3 Sally Carrera (voice) Brian Free Italian voice-over The Place Angela Paolo Genovese Ricchi di fantasia 2018 Sabrina Francesco Miccichè Onward 2020 Laurel Lightfoot (voice) Dan Scanlon Italian voice-over Il sesso degli angeli 2022 Lena Leonardo Pieraccioni Television Title Year Role(s) Network Notes I ragazzi della 3ª C 1987 Girl from Sardinia Italia 1 Episode: "A Carnevale ogni scherzo vale" The Ogre 1988 Anna Television movie Valentina 1989 Edna Episode: "Rembrant e le streghe" Senza scampo 1990 Lucia Rai 1 Television movie Una storia italiana 1993 Matilde Miniseries Un commissario a Roma Patrizia Spinosi Episode: "Specchio d'acqua" Sanremo Music Festival 1996 1996 Herself / co-host Annual music festival Mai dire Gol 1996–1997 Herself / co-host Italia 1 Sports/comedy show (season 7) Il padre di mia figlia 1997 Lisa Canale 5 Television movie Leo e Beo 1998 Laura Television movie Commesse 1999–2002 Marta De Santis Rai 1 12 episodes Le ali della vita 2000–2001 Rosanna Ranzi Canale 5 4 episodes Almost America 2001 Antonia Rai 1 Television movie Cuore di donna 2002 Flavia Television movie Rivoglio i miei figli 2004 Sonia Canale 5 Miniseries Al di là delle frontiere Angela Ghiglino Rai 1 Television movie Lives of the Saints Cristina Innocente Canale 5 Miniseries Dalida 2005 Iolanda "Dalida" Gigliotti Television movie Angela – Matilde – Lucia 2006 Angela / Matilde / Lucia Trilogy television movies Due imbroglioni e… mezzo! 2007 Gina Television movie Anna e i cinque 2008–2011 Anna Modigliani 12 episodes Due imbroglioni e… mezzo: The Series! 2010 Gina 3 episodes Caldo Criminale Anna Tardelli Television movie Né con te né senza di te 2012 Francesca "Capitana" Sipicciani Rai 1 Miniseries Baciamo le mani – Palermo New York 1958 2013 Gabriella Vitaliano Canale 5 Miniseries Amici di Maria De Filippi 2013–2016, 2019, 2022 Herself / Judge Talent show (seasons 12–15, 18, 21) Contratto 2014–2015 Herself / Host Agon Channel Talk show House Party 2016 Herself / Guest host Canale 5 Variety show (episode 1) Rimbochiamoci le maniche Angela Tusco 8 episodes Storie del genere 2018 Herself / Host Rai 3 Talk show L'amore strappato 2019 Rosa Macaluso Canale 5 Miniseries Tú sí que vales 2019–present Herself / Popular judge Talent show (seasons 6–present) Amici Speciali 2020 Herself / Judge Spin-off of Amici di Maria De Filippi Svegliati amore mio 2021 Nanà Santoro Miniseries Dinner Club Herself Prime Video Docuseries Sanremo Music Festival 2022 2022 Herself / Co-host Rai 1 Annual music festival Stage Title Year Role(s) Theatre Alleluja brava gente 1994–1995 Belcore Teatro Sistina Un paio d'ali 1997 Sgargamella Rugantino 1998–2001 Rosetta Awards and nominations Award Year Category Nominated work Result Ciak d'Oro 1994 Best Supporting Actress Law of Courage Nominated 1995 Best Actress La bella vita Won 2008 Best Supporting Actress Your Whole Life Ahead of You Won 2014 The Great Beauty Won 2016 Best Actress Me, Myself and Her Nominated Comedy Actress of the Year Won David di Donatello 1995 Best Actress La bella vita Nominated 2009 Best Supporting Actress Your Whole Life Ahead of You Nominated 2014 Best Actress The Great Beauty Nominated 2016 Me, Myself and Her Nominated 2022 Prize "Donatello Speciale" Herself Won Flaiano Prizes 1997 Best Performance in a TV Movie or Miniseries Il padre di mia figlia Won 2001 Almost America Won 2005 Dalida Won Globo d'Oro 2008 Best Actress Your Whole Life Ahead of You Won Nastro d'Argento 1993 Best Supporting Actress Donne sottotetto Nominated 1995 Best Actress La bella vita Won 1997 August Vacation Nominated 2008 Best Supporting Actress Your Whole Life Ahead of You Won 2013 The Great Beauty Won 2014 Prize "Nastro Speciale" Won 2016 Best Actress Me, Myself and Her Nominated Best Movie with a Social Theme Won 2017 Best Supporting Actress Omicidio all'italiana Nominated 2018 The Place Nominated Sacher Prize 1995 Best Actress August Vacation Won Telegrolla Prize 2001 Best TV Actress Almost America Won 2004 Al di là delle frontiere Won Venice Film Festival 1993 Prize "Panorama" La bella vita Won 2013 Prize "Kinéo" The Great Beauty Won Vittorio De Sica Prize 2004 Best Actress L'acqua… e il fuoco Nominated See also
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"https://www.pacificpressagency.com/media/image?src=loadmore.png", "https://www.pacificpressagency.com/media/image?src=loadmore.png" ]	[]	[]	[ "Category Content" ]	null	[ "Amlan Biswas", "Shashi Sharma", "salvatore esposito", "Matteo Nardone", "Hugo Ortuño", "Stefano Cappa", "Mariano Montella", "Stefano Dalle Luche", "Corrado Iorfida", "Lev Radin" ]	null	Contenu de la Catégorie	en	https://www.pacificpressagency.com/media/image?src=favicon.png		null	In a series of grand pre-wedding celebrations marking the union of Anant Bhai Ambani and Radhika Merchant, one event stands out for its noble cause and heartfelt execution: the mass wedding for underprivileged couples. Following spectacular celebrations in Jamnagar, Gujarat, and an opulent international cruise in Italy, the Ambani family has once again captured national attention with this philanthropic endeavour. Initially planned to be held at Swami Vivekanand Vidyamandir in Palghar, the mass wedding ceremony was relocated and took place today at the Reliance Corporate Park in Thane. The event highlighted the Ambani family's dedication to providing an unforgettable experience for the happy couples by enabling them to celebrate their union… Final evening with the live performance of the National Jazz Team with special guest Gegè Munari (The Legend) on drums. Followed by Cristiana Polegri & Roberto Spadoni Ensemble with the extraordinary participation of Stefano Fresi in "A Proposito di Henry" Tour tribute to Henry Mancini, which the actor takes around with his wife, voice and sax and guitarist Spadoni. Samjwadi Party Lohia wing national president Abhishek Ysdav host the event with more than 5100 party flag to celebrate 51st birthday of party president Akhilesh Yadav in district Prayagraj. Despite all the preparations being ruined due to rain, all these youths are working very hard and diligently to make their leader's birthday special. Nidhi Yadav, the women wing leader and national spoke person from Samajwadi party said , "This sense of dedication of countless youths towards the National President Shri Akhilesh Yadav makes him the hero of PDA and every youth from all over the country, ready to celebrate their leader's 51th birthday with full zeal on Monday in district Prayagraj, Uttar Pradesh. This morning the former parliamentarian of CinqueStelle Movement Alessandro Di Battista together with the militants of the "Schierarsi" association delivered 80 thousand signatures to the Senate to ask for a law for the recognition of the State of Palestine by the Italian State Veedol, one of India’s leading lubricant brands from Tide Water Oil Co. (India) Ltd., has signed up cricket legend Sourav Ganguly as its brand ambassador. This partnership signifies a pivotal move for Veedol as it seeks to enhance its brand presence and solidify its market position across India. The Río Babel 2024 Festival will be held in Madrid from July 4 to 6, again in the Caja Mágica venue, with an eclectic mix of activities and concerts, among which figures such as Juanes, Andrés Calamaro, Amaral, La Oreja stand out by Van Gogh, Two Door Cinema Club, Carlos Sadness or Delaporte, among others. The first day of the festival, Thursday, July 4, will feature performances by renowned Ibero-American artists such as the Colombian or Andrés Calamaro, a legend of Argentine music. In addition, other popular artists such as Trueno, Nil Moliner, Akriila, Caloncho, Cardellino and Morochos will perform, offering a variety of musical genres for many tastes. The next day, the festival will continue with performances by Amaral, one of Spain's… Gautam Gambhir an Indian former international cricketer, former politician and a philanthropist, presently mentor of IPL team KKR and applicant of new Indian cricket senior men's team coach was in Kolkata at a city hotel to take part in a talk show on young leadership, organized by The Indian Chamber of Commerce (ICC) and the Young Leaders Forum (YLF). Mega functions held across Kashmir to celebrate ‘International Day of Yoga 2024’. On International Yoga Day, the community of Pulwama came together in a vibrant display of unity and wellness. Young adults, children, and families participated in a collective yoga session led by Deputy Commissioner Shri Basharat Qayoom. This event marks a significant moment of peace and harmony following the abrogation of Article 370. Demonstration in Piazza Santi Apostoli in Rome organized by opposition parties to the government to protest in defense of the Italian Constitution against the constitutional reforms that the government majority is approving in recent days. Also participating were the secretary of the Democratic Party Elly Schlein and the President of Cinquestelle Movement Giuseppe Conte President Ranil Wickremesinghe met with Most Rev. Dr. Fidelis Lionel Emmanuel Fernando, the Bishop of Mannar, Diocese of Mannar at the Mannar Bishops House today (16). The bishop of Mannar commended President Ranil Wickremesinghe for his economic reform efforts aimed at rescuing the country from its financial crisis. During their meeting, they also discussed future development plans for the Mannar district. Press conference of the members of "Alleanza Verdi e Sinistra" in the headquarters of the electoral committee in Rome after the outcome of the 2024 European Elections. Also participating were the secretary of Sinistra Italiana Nicola Fratoianni, the secretary of "Europa Verde" Angelo Bonelli, the father of Ilaria Salis Roberto Salis and the former Mayor of Rome Ignazio Marino, candidate in the 2024 European Elections Rino Gaetano Day in Testaccio Summer. The concert was opened by Milano 84, a band strongly supported by Alessandro Gaetano who proposed electronic music revisited from famous songs and various covers. As always they re-proposed the famous songs of the great singer-songwriter who died prematurely in 1981. The lineup is made up of his nephew Alessandro Gaetano – Vocals, acoustic guitar and percussion Michele Amadori – Piano, keyboards and vocals Fabio Fraschini – Bass Alberto Lombardi – Electric guitar and vocals Ivan Almadori – Vocals and acoustic guitar Marco Rovinelli – Drums Special guest Arturo Stalteri in the photos and many others. India Alliance 52-Lok Sabha candidate Ujjwal Raman Singh did public relations in the old city of Prayagraj on the last day of election campaign. Voting is to be held in Prayagraj. For the 2024 battle, the leading contenders are two scions – Congress’ Ujjwal Raman Singh and Bharatiya Janata Party (BJP)’s Neeraj Tripathi. Ujjwal is the son of former Allahabad LS member Rewati Raman Singh and Neeraj’s father was former UP Assembly Speaker and former West Bengal governor Keshari Nath Tripathi. The seat has traditionally been held by members of upper castes, but has a strong presence of Dalits and extremely backward castes, which has made the Bahujan Samaj Party (BSP) field Ramesh Kumar Patel. Workers adjusts lightbulbs on a pandal, a coloured structure that is illuminated with bulbs. Sri Lankan Buddhists are preparing to celebrate Vesak, which commemorates the birth of Buddha, his attaining enlightenment and his passing away, on the full moon day of May which this year falls on May 23.
5438	dbpedia	3	6	https://www.rottentomatoes.com/celebrity/leonardo_benvenuti	en	Leonardo Benvenuti	https://images.fandango.…--newsletter.png		[ "https://images.fandango.com/cms/assets/97c33f00-313f-11ee-9aaf-6762c75465cf--newsletter.png", "https://images.fandango.com/cms/assets/97c33f00-313f-11ee-9aaf-6762c75465cf--newsletter.png", "https://www.rottentomatoes.com/assets/pizza-pie/images/rtlogo.9b892cff3fd.png", "https://images.fandango.com/cms/assets/5d84d010-59b1-11ea-b175-791e911be53d--rt-poster-defaultgif.gif", "https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg", "https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg" ]	[]	[]	[ "" ]	null	[]	null	Explore the filmography of Leonardo Benvenuti on Rotten Tomatoes! Discover ratings, reviews, and more. Click for details!	en	https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico	Rotten Tomatoes	https://www.rottentomatoes.com/celebrity/leonardo_benvenuti	Let's keep in touch! > Sign up for the Rotten Tomatoes newsletter to get weekly updates on: Upcoming Movies and TV shows Rotten Tomatoes Podcast Media News + More Sign me up No thanks
5438	dbpedia	0	26	https://www.mdpi.com/2077-0383/13/13	en	July-1 2024 - Browse Articles	https://pub.mdpi-res.com…6922832c4f546280	https://pub.mdpi-res.com…6922832c4f546280	[ "https://pub.mdpi-res.com/img/design/mdpi-pub-logo-black-small1.svg?da3a8dcae975a41c?1724334283", "https://pub.mdpi-res.com/img/design/mdpi-pub-logo-black-small1.svg?da3a8dcae975a41c?1724334283", "https://pub.mdpi-res.com/img/journal_indexing_logos/CS_no_number.svg?62107aae53c39662?1724334283", "https://pub.mdpi-res.com/img/journal_indexing_logos/PM.svg?d6a69b922515dcf5?1724334283", "https://pub.mdpi-res.com/img/journal_indexing_logos/IF_no_number.svg?af8a884fb765d812?1724334283", "https://pub.mdpi-res.com/img/journals/jcm-logo.png?6922832c4f546280", "https://www.mdpi.com/files/uploaded/covers/jcm/cover-jcm-v13-i13.png", "https://pub.mdpi-res.com/jcm/jcm-13-03991/article_deploy/html/images/jcm-13-03991-g001-550.jpg?1720672011", "https://pub.mdpi-res.com/jcm/jcm-13-03990/article_deploy/html/images/jcm-13-03990-g001-550.jpg?1720661796", "https://pub.mdpi-res.com/jcm/jcm-13-03989/article_deploy/html/images/jcm-13-03989-g001-550.jpg?1720514832", "https://pub.mdpi-res.com/jcm/jcm-13-03988/article_deploy/html/images/jcm-13-03988-g001-550.jpg?1720608180", "https://pub.mdpi-res.com/jcm/jcm-13-03987/article_deploy/html/images/jcm-13-03987-g001-550.jpg?1720446848", "https://pub.mdpi-res.com/jcm/jcm-13-03986/article_deploy/html/images/jcm-13-03986-g001-550.jpg?1720509470", "https://pub.mdpi-res.com/jcm/jcm-13-03982/article_deploy/html/images/jcm-13-03982-g001-550.jpg?1720430378", "https://pub.mdpi-res.com/jcm/jcm-13-03981/article_deploy/html/images/jcm-13-03981-ag-550.jpg?1720429730", "https://pub.mdpi-res.com/jcm/jcm-13-03980/article_deploy/html/images/jcm-13-03980-g001-550.jpg?1720427461", "https://pub.mdpi-res.com/jcm/jcm-13-03979/article_deploy/html/images/jcm-13-03979-g001-550.jpg?1720426061", "https://pub.mdpi-res.com/jcm/jcm-13-03978/article_deploy/html/images/jcm-13-03978-g001-550.jpg?1720423445", "https://pub.mdpi-res.com/jcm/jcm-13-03977/article_deploy/html/images/jcm-13-03977-g001-550.jpg?1720421707", "https://pub.mdpi-res.com/jcm/jcm-13-03976/article_deploy/html/images/jcm-13-03976-g001-550.jpg?1720408707", "https://pub.mdpi-res.com/jcm/jcm-13-03975/article_deploy/html/images/jcm-13-03975-g001-550.jpg?1720420504", "https://pub.mdpi-res.com/jcm/jcm-13-03972/article_deploy/html/images/jcm-13-03972-g001-550.jpg?1720344933", "https://pub.mdpi-res.com/jcm/jcm-13-03970/article_deploy/html/images/jcm-13-03970-g001-550.jpg?1720342284", "https://pub.mdpi-res.com/jcm/jcm-13-03969/article_deploy/html/images/jcm-13-03969-g001-550.jpg?1720791555", "https://pub.mdpi-res.com/jcm/jcm-13-03968/article_deploy/html/images/jcm-13-03968-g001-550.jpg?1720503989", "https://pub.mdpi-res.com/jcm/jcm-13-03966/article_deploy/html/images/jcm-13-03966-g001-550.jpg?1720258773", "https://pub.mdpi-res.com/jcm/jcm-13-03965/article_deploy/html/images/jcm-13-03965-g001-550.jpg?1720686413", "https://pub.mdpi-res.com/jcm/jcm-13-03964/article_deploy/html/images/jcm-13-03964-g001-550.jpg?1720255125", "https://pub.mdpi-res.com/jcm/jcm-13-03963/article_deploy/html/images/jcm-13-03963-g001-550.jpg?1720255280", "https://pub.mdpi-res.com/img/design/mdpi-pub-logo-white-small.png?71d18e5f805839ab?1724334283" ]	[]	[]	[ "" ]	null	[]	null	Journal of Clinical Medicine, an international, peer-reviewed Open Access journal.	en	https://pub.mdpi-res.com…d7013?1724334283		https://www.mdpi.com/2077-0383/13/13	11 pages, 1037 KiB Open AccessArticle The Effect of Revascularization on Lower Limb Circulation Parameters in Symptomatic Peripheral Arterial Disease by Andreas L. H. Gerken, Martin Sigl, Elisa Israel, Christel Weiß, Christoph Reißfelder and Kay Schwenke J. Clin. Med. 2024, 13(13), 3991; https://doi.org/10.3390/jcm13133991 - 8 Jul 2024 Viewed by 756 Abstract Background: The prevalence of peripheral arterial disease and the number of revascularization procedures performed in symptomatic patients are steadily increasing. However, uncertainties remain regarding hemodynamic monitoring after revascularization and the prediction of clinical outcomes. This study aimed to investigate hemodynamic parameters with a [...] Read more. Background: The prevalence of peripheral arterial disease and the number of revascularization procedures performed in symptomatic patients are steadily increasing. However, uncertainties remain regarding hemodynamic monitoring after revascularization and the prediction of clinical outcomes. This study aimed to investigate hemodynamic parameters with a focus on the microvasculature. Methods: This prospective, single-center study included 29 patients (15 with intermittent claudication [IC] and 14 with chronic limb-threatening ischemia [CLTI]). Before and after the revascularization procedure, in addition to the ankle–brachial index (ABI), microperfusion parameters, including microvascular blood flow, capillary oxygen saturation (SO2), and relative hemoglobin content (rHb), were assessed with lightguide spectrophotometry combined with laser Doppler flowmetry using an oxygen-to-see (O2C) device in the horizontal and elevated leg positions. Results: At baseline, SO2 in the elevated leg position was significantly lower in patients with CLTI than in those with IC (p = 0.0189), whereas the other microcirculatory parameters and ABI values were not significantly different. Patients with diabetes mellitus had a higher flow rate than those without in the horizontal leg position (p = 0.0162) but not in the elevated leg position. After successful revascularization, the flow increased immediately and significantly in both positions, whereas SO2, rHb, and the ABI did not. Conclusions: Elevated leg SO2 was significantly lower in CLTI than in clinically compensated peripheral arterial disease, whereas microvascular flow was a suitable surrogate parameter indicating successful revascularization. In studies using surgical or interventional revascularization procedures, noninvasive hemodynamic monitoring of the microcirculation at the foot level might be beneficial. Full article (This article belongs to the Special Issue Clinical Advances and Challenges in Vascular and Endovascular Medicine) ►▼ Show Figures 10 pages, 491 KiB Open AccessArticle Total IgE Trends in Children with Allergic Diseases by Nikolaos Katsanakis, Paraskevi Xepapadaki, Ioannis-Alexios Koumprentziotis, Pavlos Vidalis, John Lakoumentas, Maria Kritikou and Nikolaos G. Papadopoulos J. Clin. Med. 2024, 13(13), 3990; https://doi.org/10.3390/jcm13133990 - 8 Jul 2024 Viewed by 534 Abstract Background/Objectives: The importance of non-invasive biomarkers for the diagnosis and monitoring of allergic diseases in childhood is currently unknown. From this perspective, data on the role of the total (t) immunoglobulin E (IgE) in relation to different allergic diseases across different age groups [...] Read more. Background/Objectives: The importance of non-invasive biomarkers for the diagnosis and monitoring of allergic diseases in childhood is currently unknown. From this perspective, data on the role of the total (t) immunoglobulin E (IgE) in relation to different allergic diseases across different age groups until adulthood remain unclear. The potential association of tIgE levels with types of allergic diseases diagnosed in an specialized tertiary allergy center, in relation to sex and the age group spanning from birth to 20 years, are evaluated in the present study. Methods: In this retrospective study, the tIgE values were obtained from children assessed for allergy-associated symptoms in our department from January 2015 to December 2020. The tIgE values were analyzed in relation to age and diagnosis. Results: Data from 2127 patients (1321 boys (62.1%)), with a median age of 6.31 (3.01–9.95) years, were available. The tIgE median values for the studied population were 132 (37.7–367.5) kU/lt. The tIgE values showed a significant increase from 0–2 years to 2–5 and 5–12 years, but not from 5–12 to 12–20 years. Boys exhibited significantly higher tIgE values compared to girls. Furthermore, the tIgE levels were significantly increased in children with asthma, allergic rhinitis, food allergy, and atopic dermatitis in comparison to children without these diagnoses. Conclusions: The total IgE values exhibit a significant and progressive longitudinal increase in children with allergic diseases, particularly notable in the 0–2 and 5–12 age groups, in boys, and in children diagnosed with atopic conditions. Full article (This article belongs to the Special Issue Allergic and Eosinophilic Diseases: Diagnosis, Treatment, and Management) ►▼ Show Figures 12 pages, 2365 KiB Open AccessArticle Seven-Year Experience of Intramural Surgery in the Middle East: A Safety and Feasibility Analysis by Gabriela Restrepo-Rodas, Juan S. Barajas-Gamboa, Jerry T. Dang, Maja I. Piechowska-Jóźwiak, Mohammed Khan, Gabriel Diaz Del Gobbo, Mohammed Abdallah, Cristobal Moreno, Carlos Abril, Juan Pablo Pantoja, Alfredo D. Guerron, Ricard Corcelles, Matthew Kroh and John Rodriguez J. Clin. Med. 2024, 13(13), 3989; https://doi.org/10.3390/jcm13133989 - 8 Jul 2024 Viewed by 621 Abstract Background: Intramural surgery techniques, particularly esophageal peroral endoscopic myotomy (E-POEM), gastric peroral endoscopic myotomy (G-POEM), and peroral endoscopic myotomy for Zenker’s (Z-POEM), have emerged as forefront minimally invasive endoscopic procedures. While several studies have reported on the outcomes in North America and Asia, [...] Read more. Background: Intramural surgery techniques, particularly esophageal peroral endoscopic myotomy (E-POEM), gastric peroral endoscopic myotomy (G-POEM), and peroral endoscopic myotomy for Zenker’s (Z-POEM), have emerged as forefront minimally invasive endoscopic procedures. While several studies have reported on the outcomes in North America and Asia, evidence in the Middle East and North Africa remains limited. This study aims to evaluate the feasibility and safety of intramural surgery techniques within this region. Methods: This retrospective cohort study was conducted with approval from the institutional review board. All patients who underwent esophageal peroral endoscopic myotomy, gastric peroral endoscopic myotomy, and peroral endoscopic myotomy for Zenker’s from January 2016 to August 2023 were included. Results: In total, 119 patients underwent intramural surgery procedures during this period. The esophageal peroral endoscopic myotomy group had 81 (68%) patients, the gastric peroral endoscopic myotomy had 34 (28.6%) patients, and the peroral endoscopic myotomy for Zenker’s had 4 (3.4%) patients. The full cohort was 48.7% female, with a mean overall age of 40.5 years. The mean overall body mass index was 27.5 kg/m2. The chief complaint was dysphagia (n = 80, 67.2%). All cases were successfully completed endoscopically. During the first 30 days, the most common complications were nausea/vomiting requiring admission (n = 4, 4.76%) and pneumomediastinum (n = 2, 2.38%). At a follow-up of 19 months, there were four mortalities; the causes of death were cardiac arrest (three cases) and end-stage prostate cancer (one case). Conclusions: Intramural surgery techniques are safe and technically feasible with low complication rates. Our study suggests that clinical success in the Middle East and Northern Africa population is comparable to larger international series. Full article (This article belongs to the Section General Surgery) ►▼ Show Figures 19 pages, 751 KiB Open AccessArticle Physical Health in Patients with Post-COVID-19 6 and 12 Months after an Inpatient Rehabilitation: An Observational Study by Katrin Müller, Marcel Ottiger, Iris Poppele, Alois Wastlhuber, Michael Stegbauer and Torsten Schlesinger J. Clin. Med. 2024, 13(13), 3988; https://doi.org/10.3390/jcm13133988 - 8 Jul 2024 Viewed by 1058 Abstract Background: Rehabilitation is an effective and feasible approach for post-COVID patients to improve physical health. However, knowledge regarding the long-term impact of rehabilitation on the physical health of these patients is lacking. Methods: Changes in physical health of 127 patients with COVID-19 as [...] Read more. Background: Rehabilitation is an effective and feasible approach for post-COVID patients to improve physical health. However, knowledge regarding the long-term impact of rehabilitation on the physical health of these patients is lacking. Methods: Changes in physical health of 127 patients with COVID-19 as an occupational disease or work accident were assessed in a longitudinal observational study. Post-COVID symptoms, functional status, functional exercise capacity, endurance capacity, physical performance, quadricep strength, handgrip strength, motor balance ability, and self-reported physical performance were examined at the beginning as well as 6 and 12 months after the rehabilitation. Group differences concerning sex, age, acute COVID status, comorbidities prior to COVID-19, and aftercare interventions were also analysed. Results: Even 12 months after rehabilitation, the prevalence of post-COVID symptoms (28.6–94.7%) remained remarkably high in the study population. Significant improvements in various aspects of physical health were observed 6 (r = 0.288–0.755) and 12 months (r = 0.189–0.681) after the rehabilitation. Participants demonstrated enhanced endurance, strength, and balance function, as well as improvement in subjective physical ability. Significant group differences were observed between younger and older patients, those with mild–moderate and severe–critical COVID-19, and patients with and without pre-existing cardiovascular disease, metabolic disease, psychological disease, neuro-sensory disease, musculoskeletal disease, and exercising in an outpatient group. Conclusions: The study identifies persistent challenges in COVID-19 recovery, despite significant improvements in physical health 6 and 12 months after rehabilitation. Further research and the implementation of standardised approaches are required to enhance the outcomes of post-COVID rehabilitation, with a focus on developing personalised care strategies for long-term recovery. Full article (This article belongs to the Special Issue Long COVID: Current Approaches and Clinical Challenges in Treatment and Rehabilitation—2nd Edition) ►▼ Show Figures 17 pages, 582 KiB Open AccessArticle Safety of High-Dose Vitamin C in Non-Intensive Care Hospitalized Patients with COVID-19: An Open-Label Clinical Study by Salvatore Corrao, Massimo Raspanti, Federica Agugliaro, Francesco Gervasi, Francesca Di Bernardo, Giuseppe Natoli and Christiano Argano J. Clin. Med. 2024, 13(13), 3987; https://doi.org/10.3390/jcm13133987 - 8 Jul 2024 Cited by 1 \| Viewed by 1183 Abstract Background: Vitamin C has been used as an antioxidant and has been proven effective in boosting immunity in different diseases, including coronavirus disease (COVID-19). An increasing awareness was directed to the role of intravenous vitamin C in COVID-19. Methods: In this [...] Read more. Background: Vitamin C has been used as an antioxidant and has been proven effective in boosting immunity in different diseases, including coronavirus disease (COVID-19). An increasing awareness was directed to the role of intravenous vitamin C in COVID-19. Methods: In this study, we aimed to assess the safety of high-dose intravenous vitamin C added to the conventional regimens for patients with different stages of COVID-19. An open-label clinical trial was conducted on patients with COVID-19. One hundred four patients underwent high-dose intravenous administration of vitamin C (in addition to conventional therapy), precisely 10 g in 250 cc of saline solution in slow infusion (60 drops/min) for three consecutive days. At the same time, 42 patients took the standard-of-care therapy. Results: This study showed the safety of high-dose intravenous administration of vitamin C. No adverse reactions were found. When we evaluated the renal function indices and estimated the glomerular filtration rate (eGRF, calculated with the CKD-EPI Creatinine Equation) as the main side effect and contraindication related to chronic renal failure, no statistically significant differences between the two groups were found. High-dose vitamin C treatment was not associated with a statistically significant reduction in mortality and admission to the intensive care unit, even if the result was bound to the statistical significance. On the contrary, age was independently associated with admission to the intensive care unit and in-hospital mortality as well as noninvasive ventilation (N.I.V.) and continuous positive airway pressure (CPAP) (OR 2.17, 95% CI 1.41–3.35; OR 7.50, 95% CI 1.97–28.54; OR 8.84, 95% CI 2.62–29.88, respectively). When considering the length of hospital stay, treatment with high-dose vitamin C predicts shorter hospitalization (OR −4.95 CI −0.21–−9.69). Conclusions: Our findings showed that an intravenous high dose of vitamin C is configured as a safe and promising therapy for patients with moderate to severe COVID-19. Full article (This article belongs to the Special Issue COVID-19 Treatments and Therapeutics) ►▼ Show Figures 11 pages, 2329 KiB Open AccessArticle Reliability of EuroSCORE II on Prediction of Thirty-Day Mortality and Long-Term Results in Patients Treated with Sutureless Valves by Lorenzo Di Bacco, Michele D’Alonzo, Massimo Baudo, Andrea Montisci, Marco Di Eusanio, Thierry Folliguet, Marco Solinas, Antonio Miceli, Theodor Fischlein, Fabrizio Rosati and Claudio Muneretto J. Clin. Med. 2024, 13(13), 3986; https://doi.org/10.3390/jcm13133986 - 8 Jul 2024 Viewed by 578 Abstract Background: EuroSCORE II (ES2) is a reliable tool for preoperative cardiac surgery mortality risk prediction; however, a patient’s age, a surgical procedure’s weight and the new devices available may cause its accuracy to drift. We sought to investigate ES2 performance related to the [...] Read more. Background: EuroSCORE II (ES2) is a reliable tool for preoperative cardiac surgery mortality risk prediction; however, a patient’s age, a surgical procedure’s weight and the new devices available may cause its accuracy to drift. We sought to investigate ES2 performance related to the surgical risk and late mortality estimation in patients who underwent aortic valve replacement (AVR) with sutureless valves. Methods: Between 2012 and 2021, a total of 1126 patients with isolated aortic stenosis who underwent surgical AVR by means of sutureless valves were retrospectively collected from six European centers. Patients were stratified into three groups according to the EuroSCORE II risk classes (ES2 < 4%, ES2 4–8% and ES2 > 8%). The accuracy of ES2 in estimating mortality risk was assessed using the standardized mortality ratio (O/E ratio), ROC curves (AUC) and Hosmer–Lemeshow (HL) test for goodness-of-fit. Results: The overall observed mortality was 3.0% (predicted mortality ES2: 5.39%) with an observed/expected (O/E) ratio of 0.64 (confidential interval (CI): 0.49–0.89). In our population, ES2 showed a moderate discriminating power (AUC 0.65, 95%CI 0.56–0.72, p < 0.001; HL p = 0.798). Good accuracy was found in patients with ES2 < 4% (O/E ratio 0.54, 95%CI 0.23–1.20, AUC 0.75, p < 0.001, HL p = 0.999) and for patients with an age < 75 years (O/E ratio 0.98, 95%CI 0.45–1.96, AUC 0.76, p = 0.004, HL p = 0.762). Moderate discrimination was observed for ES2 in the estimation of long-term risk of mortality (AUC 0.64, 95%CI: 0.60–0.68, p < 0.001). Conclusions: EuroSCORE II showed good accuracy in patients with an age < 75 years and patients with ES2 < 4%, while overestimating risk in the other subgroups. A recalibration of the model should be taken into account based on the complexity of actual patients and impact of new technologies. Full article (This article belongs to the Section Cardiovascular Medicine) ►▼ Show Figures 11 pages, 235 KiB Open AccessArticle Refractive Errors, Amplitude of Accommodation, and Myopia Progression in Kazakhstani Medical Students: 5-Year Follow-Up by Yuliya Semenova, Malika Urazhanova, Lisa Lim and Nazerke Kaiyrzhanova J. Clin. Med. 2024, 13(13), 3985; https://doi.org/10.3390/jcm13133985 - 8 Jul 2024 Viewed by 680 Abstract Background/Objectives: this longitudinal study aimed to investigate the refractive errors, the amplitude of accommodation, and myopia progression in Kazakhstani medical students as they progressed from the first to the fifth course of their studies. Methods: A total of 696 students from Semey Medical [...] Read more. Background/Objectives: this longitudinal study aimed to investigate the refractive errors, the amplitude of accommodation, and myopia progression in Kazakhstani medical students as they progressed from the first to the fifth course of their studies. Methods: A total of 696 students from Semey Medical University underwent non-cycloplegic and cycloplegic autorefraction in the first course, and 655 were available for examination in the fifth year of study. The amplitude of accommodation was measured before the instillation of cycloplegics using the push-up and push-down methods. A self-administered questionnaire was applied to evaluate the risk factors associated with myopia progression. Results: In the first course, the median spherical equivalent was −0.75 Diopters before cycloplegia and −0.25 Diopters after cycloplegia. In the fifth course, it constituted −1.125 Diopters before cycloplegia and −0.5 Diopters after cycloplegia. The proportion of students with myopia following cycloplegic refraction increased from 44.7% in the first course to 47.5% in the fifth course. The proportion of emmetropic students declined from 31.5% to 30.3%, and hyperopia decreased from 23.8% to 16.8%. The dioptric power of accommodative excess increased from 0.375 in the first year to 0.50 in the fifth year. The hours spent on near-work activities, such as reading books, writing, working at a computer, and using a mobile device, were significantly associated with a myopia progression of ≥0.5 Diopters. Conclusions: the findings of this study suggest implications for public health policy and educational practice. Full article (This article belongs to the Special Issue Advanced Research in Myopia and Other Visual Disorders) 17 pages, 286 KiB Open AccessReview Evolution of Pulmonary Embolism Response Teams in the United States: A Review of the Literature by Vidish Pandya, Akhil Avunoori Chandra, Andrea Scotti, Manaf Assafin, Aldo L. Schenone, Azeem Latib, Leandro Slipczuk and Asma Khaliq J. Clin. Med. 2024, 13(13), 3984; https://doi.org/10.3390/jcm13133984 - 8 Jul 2024 Cited by 1 \| Viewed by 914 Abstract Pulmonary embolism (PE) is a significant cause of cardiovascular mortality, with varying presentations and management challenges. Traditional treatment approaches often differ, particularly for submassive/intermediate-risk PEs, because of the lack of clear guidelines and comparative data on treatment efficacy. The introduction of pulmonary embolism [...] Read more. Pulmonary embolism (PE) is a significant cause of cardiovascular mortality, with varying presentations and management challenges. Traditional treatment approaches often differ, particularly for submassive/intermediate-risk PEs, because of the lack of clear guidelines and comparative data on treatment efficacy. The introduction of pulmonary embolism response teams (PERTs) aims to standardize and improve outcomes in acute PE management through multidisciplinary collaboration. This review examines the conception, evolution, and operational mechanisms of PERTs while providing a critical analysis of their implementation and efficacy using retrospective trials and recent randomized trials. The study also explores the integration of advanced therapeutic devices and treatment protocols facilitated by PERTs. PERT programs have significantly influenced the management of both massive and submassive PEs, with notable improvements in clinical outcomes such as decreased mortality and reduced length of hospital stay. The utilization of advanced therapies, including catheter-directed thrombolysis and mechanical thrombectomy, has increased under PERT guidance. Evidence from various studies, including those from the National PERT Consortium, underscores the benefits of these multidisciplinary teams in managing complex PE cases, despite some studies showing no significant difference in mortality. PERT programs have demonstrated potentials to reduce morbidity and mortality, streamlining the use of healthcare resources and fostering a model of sustainable practice across medical centers. PERT program implementation appears to have improved PE treatment protocols and innovated advanced therapy options, which will be further refined as they are employed in clinical practice. The continued expansion of the capabilities of PERTs and the forthcoming results from ongoing randomized trials are expected to further define and optimize management protocols for acute PEs. Full article (This article belongs to the Special Issue Recent Advances in Pulmonary Embolism and Thrombosis) 12 pages, 254 KiB Open AccessArticle A Real-World Safety Profile in Neurological, Skin, and Sexual Disorders of Anti-Seizure Medications Using the Pharmacovigilance Database of the Korea Adverse Event Reporting System (KAERS) by Dajeong Kim and Sukhyang Lee J. Clin. Med. 2024, 13(13), 3983; https://doi.org/10.3390/jcm13133983 - 8 Jul 2024 Viewed by 727 Abstract (1) Background: The utilization of high-quality evidence regarding the safety of anti-seizure medications (ASMs) is constrained by the absence of standardized reporting. This study aims to examine the safety profile of ASMs using real-world data. (2) Methods: The data were collected [...] Read more. (1) Background: The utilization of high-quality evidence regarding the safety of anti-seizure medications (ASMs) is constrained by the absence of standardized reporting. This study aims to examine the safety profile of ASMs using real-world data. (2) Methods: The data were collected from the Korea Adverse Event Reporting System Database (KAERS-DB) between 2012 and 2021. In total, 46,963 adverse drug reaction (ADR)–drug pairs were analyzed. (3) Results: At the system organ class level, the most frequently reported classes for sodium channel blockers (SCBs) were skin (37.9%), neurological (16.7%), and psychiatric disorders (9.7%). For non-SCBs, these were neurological (31.2%), gastrointestinal (22.0%), and psychiatric disorders (18.2%). The most common ADRs induced by SCBs were rash (17.8%), pruritus (8.2%), and dizziness (6.7%). Non-SCBs were associated with dizziness (23.7%), somnolence (13.0%), and nausea (6.3%). Rash, pruritus, and urticaria occurred, on average, two days later with SCBs compared to non-SCBs. Sexual/reproductive disorders were reported at a frequency of 0.23%. SCBs were reported as the cause more frequently than non-SCBs (59.8% vs. 40.2%, Fisher’s exact test, p < 0.0001). (4) Conclusions: Based on real-world data, the safety profiles of ASMs were identified. The ADRs induced by SCBs exhibited different patterns when compared to those induced by non-SCBs. Full article (This article belongs to the Section Pharmacology) 13 pages, 1123 KiB Open AccessArticle Influence of Neoadjuvant Therapy on Success of Endoscopic Vacuum Therapy in Anastomotic Leakage after Rectal Resection Because of Rectal Cancer by Rahel M. Strobel, Julia E. Wellner, Konrad Neumann, Susanne D. Otto, Sophie M. Eschlboeck, Claudia Seifarth, Christian H. W. Schineis, Katharina Beyer, Martin E. Kreis and Johannes C. Lauscher J. Clin. Med. 2024, 13(13), 3982; https://doi.org/10.3390/jcm13133982 - 8 Jul 2024 Viewed by 686 Abstract Background: For locally advanced rectal cancer, neoadjuvant therapy (NT) is an established element of therapy. Endoscopic vacuum therapy (EVT) has been a relevant treatment option for anastomotic leakage after rectal resection since 2008. The aim was to evaluate the influence of NT on [...] Read more. Background: For locally advanced rectal cancer, neoadjuvant therapy (NT) is an established element of therapy. Endoscopic vacuum therapy (EVT) has been a relevant treatment option for anastomotic leakage after rectal resection since 2008. The aim was to evaluate the influence of NT on the duration and success of EVT in anastomotic leakage after rectal resection for rectal cancer. Methods: This was a monocentric, retrospective cohort study including patients who underwent rectal resection with primary anastomosis because of histologically proven carcinoma of the rectum in the Department for General and Visceral Surgery of Charité—Universitätsmedizin Berlin, Campus Benjamin Franklin over a period of ten years (2012 to 2022). Results: Overall, 243 patients were included, of which 47 patients (19.3%) suffered from anastomotic leakage grade B with consecutive EVT. A total of 29 (61.7%) patients received NT and 18 patients (38.3%) did not. The median duration of EVT until the removal of the sponge did not differ between patients with and without NT: 24.0 days (95% CI 6.44–41.56) versus 20.0 days (95% CI 17.03–22.97); p = 0.273. The median duration from insertion of EVT until complete healing was 74.0 days with NT (95% CI 10.07–137.93) versus 62.0 days without NT (95% CI 45.99–78.01); p = 0.490. Treatment failure—including early persistence and late onset of recurrent anastomotic leakage—was evident in 27.6% of patients with NT versus 27.8% without NT; p = 0.989. Ostomy was reversed in 19 patients (79.2%) with NT compared to 11 patients (68.8%) without NT; p = 0.456. Overall, continuity was restored in 75% of patients in the long term after EVT. Conclusion: This trial comprised—to our knowledge—the largest study cohort to analyze the outcome of EVT in anastomotic leakage after rectal resection for rectal cancer. We conclude that neoadjuvant therapy neither prolongs EVT nor the time to healing from anastomotic leakage. The rates of treatment failure of EVT and permanent ostomy were not higher when neoadjuvant therapy was used. Full article (This article belongs to the Section Gastroenterology & Hepatopancreatobiliary Medicine) ►▼ Show Figures 9 pages, 832 KiB Open AccessArticle Oncologic Outcomes of Patients with Early-Stage Cervical Cancer after Minimally Invasive Radical Hysterectomy and Sentinel Lymph Node Biopsy by Tomohito Tanaka, Ruri Nishie, Hikaru Murakami, Hiromitsu Tsuchihashi, Akihiko Toji, Shoko Ueda, Natsuko Morita, Sousuke Hashida, Shinichi Terada, Hiroshi Maruoka, Kohei Taniguchi, Kazumasa Komura and Masahide Ohmichi J. Clin. Med. 2024, 13(13), 3981; https://doi.org/10.3390/jcm13133981 - 8 Jul 2024 Viewed by 721 Abstract Background: The sentinel lymph node is the first node that cancer cells reach when migrating from the primary site. However, oncological outcomes after sentinel lymph node biopsy (SNB) have not been reported for cervical cancer. In this study, oncological outcomes were compared [...] Read more. Background: The sentinel lymph node is the first node that cancer cells reach when migrating from the primary site. However, oncological outcomes after sentinel lymph node biopsy (SNB) have not been reported for cervical cancer. In this study, oncological outcomes were compared between patients receiving SNB and pelvic lymphadenectomy (PLD) for early-stage cervical cancer. Methods: One hundred and four patients with clinical stage 1A2, 1B1, and 2A1 cervical cancer were included in this study. All patients underwent laparoscopic or robot-assisted radical hysterectomy with SNB or PLD. Fifty-two patients with tumors ≤2 cm underwent SNB. Disease-free survival (DFS) and overall survival (OS) were compared between the groups. Results: The median (interquartile range) tumor size was 12 (7–20) mm in the SNB group and 20 (13–25) mm in the PLD group. Lymph node metastasis occurred in one patient in the SNB group and in nine patients in the PLD group. The median follow-up periods were 42 (24–60) and 82 (19–101) months in the SNB group and PLD group, respectively. The 3-year DFS rates were 100% in SNB and 91.5% in PLD. The 3-year OS was 100% in both groups. Conclusions: SNB was sufficient in cervical cancer patients with tumors ≤2 cm, suggesting that PLD might not be necessary for these patients. Full article (This article belongs to the Special Issue Gynecological Cancers: Surgical Treatment and Novel Radiotherapy) ►▼ Show Figures 11 pages, 617 KiB Open AccessArticle Prediction of Back Disability Using Clinical, Functional, and Biomechanical Variables in Adults with Chronic Nonspecific Low Back Pain by Omar M. Elabd, Paul A. Oakley and Aliaa M. Elabd J. Clin. Med. 2024, 13(13), 3980; https://doi.org/10.3390/jcm13133980 - 8 Jul 2024 Viewed by 884 Abstract Background: Researchers are focusing on understanding the etiology and predisposing factors of chronic nonspecific low back pain (CNSLBP), a costly prevalent and disabling disorder. Related clinical, functional, and biomechanical variables are often studied, but in isolation. We aimed to identify key factors for [...] Read more. Background: Researchers are focusing on understanding the etiology and predisposing factors of chronic nonspecific low back pain (CNSLBP), a costly prevalent and disabling disorder. Related clinical, functional, and biomechanical variables are often studied, but in isolation. We aimed to identify key factors for managing CNSLBP by examining the relationship between back disability and related clinical, functional, and biomechanical variables and developed prediction models to estimate disability using various variables. Methods: We performed a cross-sectional correlational study on 100 recruited patients with CNSLBP. Clinical variables of pain intensity (visual analog score), back extensor endurance (Sorenson test), functional variables of the back performance scale, 6 min walk test, and the biomechanical variable C7-S1 sagittal vertical axis were analyzed to predict disability (Oswestry disability index). Results: All variables independently, as well as in multi-correlation, were significantly correlated to disability (p < 0.05). The bivariate regression models were significant between back disability and pain intensity (Y = 11.24 + 2.189x), Sorensen results (Y = 105.48 − 0.911x), the back performance scale (Y = 6.65 + 2.486x), 6 min walk test (Y = 49.20 − 0.060x), and sagittal vertical axis (Y = 0.72 + 4.23x). The multi-regression model showed significant contributions from pain (p = 0.001) and Sorensen results (p = 0.028) in predicting back disability, whereas no significant effect was found for other variables. Conclusions: A multidisciplinary approach is essential not only for the management of but also for the assessment of chronic nonspecific low back pain, including its clinical, functional, and biomechanical characteristics. However, special emphasis should be placed on clinical characteristics, including the intensity of pain and back extensor endurance. Full article (This article belongs to the Special Issue Structural Rehabilitation of the Spine and Posture: Analysis, Techniques, and Outcomes in Clinical Research) ►▼ Show Figures 11 pages, 2878 KiB Open AccessArticle Multimorbidity in Incident Heart Failure: Characterisation and Impact on 1-Year Outcomes by Anyuli Gracia Gutiérrez, Aida Moreno-Juste, Clara Laguna-Berna, Alejandro Santos-Mejías, Beatriz Poblador-Plou, Antonio Gimeno-Miguel and Fernando J. Ruiz Laiglesia J. Clin. Med. 2024, 13(13), 3979; https://doi.org/10.3390/jcm13133979 - 8 Jul 2024 Viewed by 721 Abstract Background/Objectives: Heart failure (HF) is usually accompanied by other comorbidities, which, altogether, have a major impact on patients and healthcare systems. Our aim was to analyse the demographic and clinical characteristics of incident HF patients and the effect of comorbidities on one-year [...] Read more. Background/Objectives: Heart failure (HF) is usually accompanied by other comorbidities, which, altogether, have a major impact on patients and healthcare systems. Our aim was to analyse the demographic and clinical characteristics of incident HF patients and the effect of comorbidities on one-year health outcomes. Methods: This was an observational, retrospective, population-based study of incident HF patients between 2014 and 2018 in the EpiChron Cohort, Spain. The included population contained all primary and hospital care patients with a diagnosis of HF. All chronic diseases in their electronic health records were pooled into three comorbidity clusters (cardiovascular, mental, other physical). These comorbidity groups and the health outcomes were analysed until 31 December 2018. A descriptive analysis was performed. Cox regression models and survival curves were calculated to determine the hazard risk (HR) of all-cause mortality, all-cause and HF-related hospital admissions, hospital readmissions, and emergency room visits for each comorbidity group. Results: In total, 13,062 incident HF patients were identified (mean age = 82.0 years; 54.8% women; 93.7% multimorbid; mean of 4.52 ± 2.06 chronic diseases). After one-year follow-up, there were 3316 deaths (25.3%) and 4630 all-cause hospitalisations (35.4%). After adjusting by gender, age, and inpatient/outpatient status, the mental cluster was associated (HR; 95% confidence interval) with a higher HR of death (1.08; 1.01–1.16) and all-cause hospitalisation (1.09; 1.02–1.16). Conclusions: Cardiovascular comorbidities are the most common and studied ones in HF patients; however, they are not the most strongly associated with negative impacts on health outcomes in these patients. Our findings suggest the importance of a holistic and integral approach in the care of HF patients and the need to take into account the entire spectrum of comorbidities for improving HF management in clinical practice. Full article (This article belongs to the Section Cardiology) ►▼ Show Figures 13 pages, 864 KiB Open AccessArticle Intra- and Early Post-Operative Factors Affecting Spinal Cord Ischemia in Patients Undergoing Fenestrated and Branched Endovascular Aortic Repair by Allegra Doering, Petroula Nana, José I. Torrealba, Giuseppe Panuccio, Constantin Trepte, Viorel Chindris and Tilo Kölbel J. Clin. Med. 2024, 13(13), 3978; https://doi.org/10.3390/jcm13133978 - 8 Jul 2024 Viewed by 586 Abstract Background: Spinal cord ischemia (SCI) is a severe complication after fenestrated/branched endovascular repair (f/bEVAR). The underlying causes of SCI are still under investigation. This study aimed to evaluate intra- and early post-operative parameters that may affect SCI evolution. Methods: A single-center retrospective [...] Read more. Background: Spinal cord ischemia (SCI) is a severe complication after fenestrated/branched endovascular repair (f/bEVAR). The underlying causes of SCI are still under investigation. This study aimed to evaluate intra- and early post-operative parameters that may affect SCI evolution. Methods: A single-center retrospective analysis was conducted including SCI patients with complete anesthesiologic records (1 January 2011 to 31 December 2023). Values of intra-operative glucose, hemoglobin, lactate, activated clotting time (ACT), and the need for transfusion were collected. The cohort was compared to a matched cohort of non-SCI patients. Results: Fifty-one patients with SCI and complete anesthesiologic records were included (mean age: 69.8 ± 6.2 years; 39.2% male). Intra-operative glucose value < 110 mg/dL (AUC: 0.73; sensitivity 91%, specificity of 83%) and hemoglobin value > 8.5 mg/dL (AUC: 0.61; sensitivity 83%, specificity 78%) were protective for Grade 3 SCI. Twenty-three patients with SCI were matched to 23 patients without SCI. SCI patients presented significantly higher glucose levels intra-operatively (glucose mean value: SCI 150 ± 46 mg/dL vs. non-SCI: 122 ± 30 mg/dL, p = 0.005). ACT (SCI 259 ± 31 svs. non-SCI 288 ± 28 s, p = 0.001), volume input (SCI 4030 ± 1430 mL vs. non-SCI 3020 ± 113 mL, p = 0.009), and need for transfusion (SCI: 52.5% vs. 4.3%, p < 0.001) were related to SCI. Higher glucose levels were detected among patients with SCI, at 24 (SCI: 142 ± 30 mg/dL vs. non-SCI: 118 ± 26 mg/dL, p=0.004) and 48 h (SCI: 140 ± 29 mg/dL vs. non-SCI: 112 ± 20 mg/dL, p < 0.001) post-operatively. Conclusions: SCI is a multifactorial complication after f/bEVAR. Intra-operative and early post-operative glucose levels may be related to SCI evolution. Targeted glucose < 110 mg/dL may be protective for Grade 3 SCI. Full article (This article belongs to the Special Issue Aortic Aneurysm: Latest Insights into Therapeutic Approaches) ►▼ Show Figures 21 pages, 1314 KiB Open AccessReview Revolutionizing Gastrointestinal Disorder Management: Cutting-Edge Advances and Future Prospects by Chahat Suri, Babita Pande, Tarun Sahu, Lakkakula Suhasini Sahithi and Henu Kumar Verma J. Clin. Med. 2024, 13(13), 3977; https://doi.org/10.3390/jcm13133977 - 8 Jul 2024 Viewed by 1207 Abstract In recent years, remarkable strides have been made in the management of gastrointestinal disorders, transforming the landscape of patient care and outcomes. This article explores the latest breakthroughs in the field, encompassing innovative diagnostic techniques, personalized treatment approaches, and novel therapeutic interventions. Additionally, [...] Read more. In recent years, remarkable strides have been made in the management of gastrointestinal disorders, transforming the landscape of patient care and outcomes. This article explores the latest breakthroughs in the field, encompassing innovative diagnostic techniques, personalized treatment approaches, and novel therapeutic interventions. Additionally, this article emphasizes the use of precision medicine tailored to individual genetic and microbiome profiles, and the application of artificial intelligence in disease prediction and monitoring. This review highlights the dynamic progress in managing conditions such as inflammatory bowel disease, gastroesophageal reflux disease, irritable bowel syndrome, and gastrointestinal cancers. By delving into these advancements, we offer a glimpse into the promising future of gastroenterology, where multidisciplinary collaborations and cutting-edge technologies converge to provide more effective, patient-centric solutions for individuals grappling with gastrointestinal disorders. Full article (This article belongs to the Special Issue Diagnosis, Treatment, and Management of Gastrointestinal Oncology) ►▼ Show Figures 13 pages, 5158 KiB Open AccessReview US-Guided Interventional Procedures for Total Hip Arthroplasty by Domenico Albano, Roberto Cintioli, Carmelo Messina, Francesca Serpi, Salvatore Gitto, Laura Mascitti, Giacomo Vignati, Pierluigi Glielmo, Paolo Vitali, Luigi Zagra, Žiga Snoj and Luca Maria Sconfienza J. Clin. Med. 2024, 13(13), 3976; https://doi.org/10.3390/jcm13133976 - 8 Jul 2024 Viewed by 745 Abstract In patients with total hip arthroplasty (THA) with recurrent pain, symptoms may be caused by several conditions involving not just the joint, but also the surrounding soft tissues including tendons, muscles, bursae, and peripheral nerves. US and US-guided interventional procedures are important tools [...] Read more. In patients with total hip arthroplasty (THA) with recurrent pain, symptoms may be caused by several conditions involving not just the joint, but also the surrounding soft tissues including tendons, muscles, bursae, and peripheral nerves. US and US-guided interventional procedures are important tools in the diagnostic work-up of patients with painful THA given that it is possible to reach a prompt diagnosis both directly identifying the pathological changes of periprosthetic structures and indirectly evaluating the response and pain relief to local injection of anesthetics under US monitoring. Then, US guidance can be used for the aspiration of fluid from the joint or periarticular collections, or alternatively to follow the biopsy needle to collect samples for culture analysis in the suspicion of prosthetic joint infection. Furthermore, US-guided percutaneous interventions may be used to treat several conditions with well-established minimally invasive procedures that involve injections of corticosteroid, local anesthetics, and platelet-rich plasma or other autologous products. In this review, we will discuss the clinical and technical applications of US-guided percutaneous interventional procedures in painful THA that can be used in routine daily practice for diagnostic and therapeutic purposes. Full article (This article belongs to the Special Issue Total Joint Arthroplasty: Management and Future Opportunities) ►▼ Show Figures 13 pages, 3589 KiB Open AccessArticle Assessment of Blood Flow Velocity in Retinal Vasculitis Using the Retinal Function Imager—A Pilot Study by Nicole Stuebiger, Wen-Hsiang Lee, Johannes Birtel, Vasyl Druchkiv, Janet L. Davis and Delia Cabrera DeBuc J. Clin. Med. 2024, 13(13), 3975; https://doi.org/10.3390/jcm13133975 - 8 Jul 2024 Viewed by 636 Abstract Background: This pilot study aimed to evaluate the Retinal Function Imager (RFI) for visualizing retinal vasculature and assessment of blood flow characteristics in patients with retinal vasculitis. The RFI is a non-invasive imaging device measuring the blood flow velocity (BFV) in secondary and [...] Read more. Background: This pilot study aimed to evaluate the Retinal Function Imager (RFI) for visualizing retinal vasculature and assessment of blood flow characteristics in patients with retinal vasculitis. The RFI is a non-invasive imaging device measuring the blood flow velocity (BFV) in secondary and tertiary retinal vessels using hemoglobin as an intrinsic motion-contrast agent. Methods: To test the feasibility of the RFI for patients with retinal vasculitis, capillary perfusion maps (nCPMs) were generated from 15 eyes of eight patients (five females; mean age: 49 ± 12 years) with a mean uveitis duration of 74 ± 85 months. Five of these patients had birdshot chorioretinopathy, and three had primarily non-occlusive venous retinal vasculitis of unknown origin. To reflect that the BFV may be more reduced in patients with prolonged disease, patients were classified into a short-term (uveitis duration: 8–15 months) and a long-term uveitis group (uveitis duration: 60–264 months). Data were compared with healthy controls (16 eyes of 11 patients; mean age 45 ± 12 years; 8 females). Results: The mean BFV in the controls was 3.79 ± 0.50 mm/s in the retinal arteries and 2.35 ± 0.44 mm/s in the retinal veins, which was significantly higher compared to the retinal vasculitis group. Patients revealed an arterial BFV of 2.75 ± 0.74 mm/s (p < 0.001) and a venous BFV of 1.75 ± 0.51 mm/s (p = 0.016). In the short-term group, a trend towards a decreased venular and arteriolar BFV was seen, while a significant reduction was observed in the long-term group. The patients’ microvasculature anatomy revealed by the nCPMs appeared unevenly distributed and a lower number of blood vessels were seen, along with a lower degree of complexity of their branching patterns, when compared with controls. Conclusions: This study demonstrated a reduction in venular and arteriolar BFVs in patients with retinal vasculitis. BFV alterations were already observed in early disease stages and became more pronounced in progressed disease. Additionally, we showed that retinal microvasculature changes may be observed by nCPMs. Retinal imaging with the RFI may serve as a diagnostic and quantifying tool in retinal vasculitis. Full article (This article belongs to the Special Issue Clinical Advances in the Diagnosis and Treatment of Uveitis—2nd Edition) ►▼ Show Figures 13 pages, 257 KiB Open AccessArticle Cognitive Distortions as Barriers to Seeking Smoking Cessation Treatment: A Comparative Study by Selim Arpacıoğlu, Erkal Erzincan, Mine Ergelen, Beyza Arpacıoğlu, Salih Cihat Paltun, Murat Yalçın and Rabia Bilici J. Clin. Med. 2024, 13(13), 3974; https://doi.org/10.3390/jcm13133974 - 7 Jul 2024 Viewed by 894 Abstract Background/Objectives: Despite the availability of effective pharmacotherapy and evidence-based treatments, a substantial proportion of smokers do not seek treatment. This study aims to explore the cognitive distortions associated with not seeking evidence-based smoking cessation treatment and to identify cognitive barriers. Methods: The research [...] Read more. Background/Objectives: Despite the availability of effective pharmacotherapy and evidence-based treatments, a substantial proportion of smokers do not seek treatment. This study aims to explore the cognitive distortions associated with not seeking evidence-based smoking cessation treatment and to identify cognitive barriers. Methods: The research conducted in Istanbul between October and December 2017 employs a cross-sectional design and includes two groups: a treatment-seeking group comprising 156 patients diagnosed with tobacco use disorder and a non-treatment seeking group of 78 patients with tobacco use disorder who had never sought professional help for smoking cessation. A comprehensive data collection process was used, including sociodemographic information, cognitive distortion assessment using the cognitive distortions scale, a smoking-related cognitive distortions interview and the Fagerström Test for Nicotine Dependence. Results: While no significant sociodemographic differences were observed between the treatment-seeking and non-treatment-seeking groups, the study found that higher nicotine dependence was associated with a higher likelihood of seeking treatment. The treatment-seeking group displayed significantly higher levels of “all-or-nothing thinking” cognitive distortions related to smoking and smoking cessation. Conversely, the non-treatment-seeking group exhibited elevated levels of cognitive distortions such as “labeling”, “mental filtering”, “should statements” and “minimizing the positive” regarding receiving smoking cessation treatment. Conclusions: Understanding the cognitive distortions associated with treatment-seeking behavior for tobacco use disorder is crucial for developing targeted public-based interventions, public service announcements for tobacco use prevention and encouraging individuals to seek evidence-based treatment. Addressing these cognitive distortions can also potentially enhance the effectiveness of smoking cessation programs and reduce the global burden of tobacco-related diseases and mortality. Full article (This article belongs to the Special Issue Psychiatry and Addiction: A Multi-faceted Issue) 14 pages, 285 KiB Open AccessReview Emerging Evidence in Out-of-Hospital Cardiac Arrest—A Critical Appraisal of the Cardiac Arrest Center by Felix Memenga and Christoph Sinning J. Clin. Med. 2024, 13(13), 3973; https://doi.org/10.3390/jcm13133973 - 7 Jul 2024 Viewed by 1007 Abstract The morbidity and mortality of out-of-hospital cardiac arrest (OHCA) due to presumed cardiac causes have remained unwaveringly high over the last few decades. Less than 10% of patients survive until hospital discharge. Treatment of OHCA patients has traditionally relied on expert opinions. However, [...] Read more. The morbidity and mortality of out-of-hospital cardiac arrest (OHCA) due to presumed cardiac causes have remained unwaveringly high over the last few decades. Less than 10% of patients survive until hospital discharge. Treatment of OHCA patients has traditionally relied on expert opinions. However, there is growing evidence on managing OHCA patients favorably during the prehospital phase, coronary and intensive care, and even beyond hospital discharge. To improve outcomes in OHCA, experts have proposed the establishment of cardiac arrest centers (CACs) as pivotal elements. CACs are expert facilities that pool resources and staff, provide infrastructure, treatment pathways, and networks to deliver comprehensive and guideline-recommended post-cardiac arrest care, as well as promote research. This review aims to address knowledge gaps in the 2020 consensus on CACs of major European medical associations, considering novel evidence on critical issues in both pre- and in-hospital OHCA management, such as the timing of coronary angiography and the use of extracorporeal cardiopulmonary resuscitation (eCPR). The goal is to harmonize new evidence with the concept of CACs. Full article (This article belongs to the Special Issue New Insights and Prospects of Cardiac Arrest) 17 pages, 2621 KiB Open AccessArticle Algorithm-Guided Treatment of Ulna Impaction Syndrome: A 10-Year Follow-Up Study of Ulna Shortening Osteotomy and Wafer Procedure by Irene Mesas Aranda, Elisabeth Maria Haas-Lützenberger, Sara Imam, Riccardo E. Giunta and Elias Volkmer J. Clin. Med. 2024, 13(13), 3972; https://doi.org/10.3390/jcm13133972 - 7 Jul 2024 Viewed by 689 Abstract Background: Ulnar impaction syndrome (UIS) is a common degenerative wrist condition which results from positive ulnar variance, leading to an overload on the ulnar carpus. Ulnar shortening osteotomy (USO) and the arthroscopic wafer procedure (AWP) are established therapies for UIS if conservative [...] Read more. Background: Ulnar impaction syndrome (UIS) is a common degenerative wrist condition which results from positive ulnar variance, leading to an overload on the ulnar carpus. Ulnar shortening osteotomy (USO) and the arthroscopic wafer procedure (AWP) are established therapies for UIS if conservative management fails. This study assessed an algorithm-guided treatment of UIS over a period of 10 years. Methods: This prospective observational study compared the outcome of 54 patients who underwent either USO or AWP for UIS based on a predefined treatment algorithm. The mean follow-up period was 10 years. Primary outcome parameters were the visual analogue scale (VAS) for pain and the Disabilities of the Arm, Shoulder, and Hand questionnaire (DASH), whereas secondary outcome parameters were grip and pinch strength and range of motion. Results: The median preoperative ulnar variance was 2.6 mm in the USO group and 2.0 mm in the AWP group. The postoperative average ulnar variance was 0 mm in both groups. The preoperative pain at rest was 3.4 in the USO group and 2.3 in the AWP group. One year after surgery, there was a significant reduction to VAS 0.7 and 0.2, respectively. These results persisted to the 10-year follow-up (VAS 0.9 and 0.2). The pain in motion also decreased significantly in the first year (from 6.8 and 6.7 to 2.2 and 2.1), as well as after 10 years (2.4 and 1.0). The preoperative DASH score averaged 31.3 in the USO group and 35.8 in the AWP group. At the 10-year follow-up, the DASH of both groups decreased significantly to 4.35 in the AWP group compared to 12.7 in the USO group. Conclusions: Our data show that, when using our algorithm, both USO and AWP, two common operative treatment options of UIS, reliably reduce pain and significantly reduce the DASH score over at least a period of ten years. The results after 10 years differ from short-term results in so far as after one year, the USO group showed to some degree similar outcome parameters compared to AWP, whereas at the 10-year follow-up, AWP reached slightly better primary outcome parameters. The algorithm presented, thus, produced excellent short- and long-term outcomes. Our findings and the applied algorithm can assist in decision-making and patient education. Full article (This article belongs to the Special Issue Clinical Advances in Plastic Surgery) ►▼ Show Figures 12 pages, 251 KiB Open AccessArticle Predictors of Headaches and Quality of Life in Women with Ophthalmologically Resolved Idiopathic Intracranial Hypertension by Anat Horev, Sapir Aharoni-Bar, Mark Katson, Erez Tsumi, Tamir Regev, Yair Zlotnik, Ron Biederko, Gal Ifergane, Ilan Shelef, Tal Eliav, Gal Ben-Arie and Asaf Honig J. Clin. Med. 2024, 13(13), 3971; https://doi.org/10.3390/jcm13133971 - 7 Jul 2024 Viewed by 602 Abstract Background/objectives: The aim of this study was to evaluate the long-term outcomes of a cohort of ophthalmologically resolved female idiopathic intracranial hypertension (IIH) patients. Methods: Our cross-sectional study included adult females with at least 6 months of ophthalmologically resolved IIH. Patients with papilledema [...] Read more. Background/objectives: The aim of this study was to evaluate the long-term outcomes of a cohort of ophthalmologically resolved female idiopathic intracranial hypertension (IIH) patients. Methods: Our cross-sectional study included adult females with at least 6 months of ophthalmologically resolved IIH. Patients with papilledema or who underwent IIH-targeted surgical intervention were excluded. Participants completed a questionnaire consisting of medical information, the Migraine Disability Assessment Scale (MIDAS) and the Headache Impact Test (HIT-6). Electronic medical records and the results of imaging upon diagnosis were retrospectively reviewed. Results: One-hundred-and-four participants (mean age 35.5 ± 11.9 years) were included (7.85 ± 7 years post-IIH diagnosis). Patients with moderate–severe disability according to the MIDAS scale (n = 68, 65.4%) were younger (32.4 ± 8.9 vs. 41.5 ± 14.4 year-old, p < 0.001), had a shorter time interval from IIH diagnosis (5.9 ± 5.3 vs. 11.7 ± 8.5 years, p < 0.001), and had lower FARB scores (indicating a more narrowed transverse-sigmoid junction; 1.28 ± 1.82 vs. 2.47 ± 2.3, p = 0.02) in comparison to patients with low–mild disability scores. In multivariate analysis, a lower FARB score (OR 1.28, 95% CI 0.89–1.75, p = 0.12) and younger age (OR 1.09, 95% CI 0.98–1.19, p = 0.13) showed a trend toward an association with a moderate–severe MIDAS score. Moreover, in the sub-analysis of patients with a moderate–severe MIDAS scale score, the 10 patients with the highest MIDAS scores had a low FARB score (1.6 ± 1.1 vs. 2.7 ± 2.4, p = 0.041). Conclusions: High numbers of patients with ophthalmologically resolved IIH continue to suffer from related symptoms. Symptoms may be associated with the length of time from the diagnosis of IIH and a lower FARB score. Full article (This article belongs to the Special Issue Headache Disorders: New Advances in Management and Treatment Strategies) 13 pages, 2726 KiB Open AccessArticle Epithelial Remodeling and Epithelial Wavefront Aberrometry after Spherical vs. Cylindrical Myopic Small Incision Lenticule Extraction (SMILE) by Barbara S. Brunner, Lukas Feldhaus, Wolfgang J. Mayer, Jakob Siedlecki, Martin Dirisamer, Siegfried G. Priglinger, Stefan Kassumeh and Nikolaus Luft J. Clin. Med. 2024, 13(13), 3970; https://doi.org/10.3390/jcm13133970 - 7 Jul 2024 Viewed by 619 Abstract Background/Objectives: To compare the epithelial thickness changes and the changes in epithelial wavefront aberrometry following spherical versus astigmatic myopic small incision lenticule extraction (SMILE). Methods: Eighty-six eyes of 86 patients who underwent SMILE were included in this retrospective study. A total [...] Read more. Background/Objectives: To compare the epithelial thickness changes and the changes in epithelial wavefront aberrometry following spherical versus astigmatic myopic small incision lenticule extraction (SMILE). Methods: Eighty-six eyes of 86 patients who underwent SMILE were included in this retrospective study. A total of 43 eyes underwent myopic spherical correction (spherical group) and 43 eyes underwent myopic cylindrical correction (cylindrical group). The groups were matched according to the spherical equivalent of surgically corrected refraction. Subjective manifest refraction as well as high-resolution anterior segment optical coherence tomography (MS-39; CSO; Florence, Italy) were obtained preoperatively as well as 3 months postoperatively. The latter was utilized for computing epithelial wavefront aberrometry in addition to epithelial thickness mapping. Results: Epithelial thickness increased significantly in both groups after SMILE (p < 0.01). In the cylindrical group, epithelial thickening was more pronounced on the flat meridian compared to the steep meridian (p = 0.04). In both groups, epithelial wavefront aberrometry showed a significant postoperative increase in the epithelium’s spherical refractive power, causing a myopization of −0.24 ± 0.42 diopters (D) in the spherical group (p < 0.01) and −0.41 ± 0.52 D in the cylindrical group (p < 0.0001). While no significant changes in epithelial cylindrical refractive power were observed in the spherical group, a significant increase was noted in the cylindrical group from −0.21 ± 0.24 D to −0.37 ± 0.31 D (p = 0.01). In both groups, epithelial higher-order aberrations increased significantly (p < 0.001). Conclusions: Postoperative epithelial remodeling after SMILE alters lower-order (sphere and cylinder) and higher-order aberrations of the corneal epithelial wavefront and might contribute to refractive undercorrection, especially in astigmatic corrections. Epithelial wavefront aberrometry can be used to quantify the refractive effect of epithelial remodeling processes after keratorefractive surgery. Full article (This article belongs to the Special Issue Refractive Surgery—Where Are We Now?) ►▼ Show Figures 53 pages, 1398 KiB Open AccessArticle Prediction of Osteoporotic Hip Fracture Outcome: Comparative Accuracy of 27 Immune–Inflammatory–Metabolic Markers and Related Conceptual Issues by Alexander Fisher, Leon Fisher and Wichat Srikusalanukul J. Clin. Med. 2024, 13(13), 3969; https://doi.org/10.3390/jcm13133969 - 7 Jul 2024 Viewed by 634 Abstract Objectives: This study, based on the concept of immuno-inflammatory–metabolic (IIM) dysregulation, investigated and compared the prognostic impact of 27 indices at admission for prediction of postoperative myocardial injury (PMI) and/or hospital death in hip fracture (HF) patients. Methods: In consecutive HF [...] Read more. Objectives: This study, based on the concept of immuno-inflammatory–metabolic (IIM) dysregulation, investigated and compared the prognostic impact of 27 indices at admission for prediction of postoperative myocardial injury (PMI) and/or hospital death in hip fracture (HF) patients. Methods: In consecutive HF patient (n = 1273, mean age 82.9 ± 8.7 years, 73.5% females) demographics, medical history, laboratory parameters, and outcomes were recorded prospectively. Multiple logistic regression and receiver-operating characteristic analyses (the area under the curve, AUC) were used to establish the predictive role for each biomarker. Results: Among 27 IIM biomarkers, 10 indices were significantly associated with development of PMI and 16 were indicative of a fatal outcome; in the subset of patients aged >80 years with ischaemic heart disease (IHD, the highest risk group: 90.2% of all deaths), the corresponding figures were 26 and 20. In the latter group, the five strongest preoperative predictors for PMI were anaemia (AUC 0.7879), monocyte/eosinophil ratio > 13.0 (AUC 0.7814), neutrophil/lymphocyte ratio > 7.5 (AUC 0.7784), eosinophil count < 1.1 × 109/L (AUC 0.7780), and neutrophil/albumin × 10 > 2.4 (AUC 0.7732); additionally, sensitivity was 83.1–75.4% and specificity was 82.1–75.0%. The highest predictors of in-hospital death were platelet/lymphocyte ratio > 280.0 (AUC 0.8390), lymphocyte/monocyte ratio < 1.1 (AUC 0.8375), albumin < 33 g/L (AUC 0.7889), red cell distribution width > 14.5% (AUC 0.7739), and anaemia (AUC 0.7604), sensitivity 88.2% and above, and specificity 85.1–79.3%. Internal validation confirmed the predictive value of the models. Conclusions: Comparison of 27 IIM indices in HF patients identified several simple, widely available, and inexpensive parameters highly predictive for PMI and/or in-hospital death. The applicability of IIM biomarkers to diagnose and predict risks for chronic diseases, including OP/OF, in the preclinical stages is discussed. Full article (This article belongs to the Special Issue Clinical Management and Future Perspectives in Osteoporosis and Fractures) ►▼ Show Figures 16 pages, 8058 KiB Open AccessArticle 3D Printing for Customized Bone Reconstruction in Spheno-Orbital Meningiomas: A Systematic Literature Review and Institutional Experience by Simona Serioli, Alberto Pietrantoni, Alberto Benato, Marco Galeazzi, Amedeo Piazza, Liverana Lauretti, Pier Paolo Mattogno, Alessandro Olivi, Marco Maria Fontanella and Francesco Doglietto J. Clin. Med. 2024, 13(13), 3968; https://doi.org/10.3390/jcm13133968 - 6 Jul 2024 Viewed by 810 Abstract Background: The treatment of spheno-orbital meningiomas (SOMs) requires extensive bone resections, creating significant defects in a complex geometrical space. Bone reconstruction represents a fundamental step that optimizes long-term aesthetic and functional outcomes. In recent years, 3D printing technology has also been exploited [...] Read more. Background: The treatment of spheno-orbital meningiomas (SOMs) requires extensive bone resections, creating significant defects in a complex geometrical space. Bone reconstruction represents a fundamental step that optimizes long-term aesthetic and functional outcomes. In recent years, 3D printing technology has also been exploited for complex skull base reconstructions, but reports remain scarce. Methods: We retrospectively analyzed four consecutive patients who underwent SOM resection and one-step 3D PEEK customized reconstruction from 2019 to 2023. A systematic review of 3D printing customized implants for SOM was then performed. Results: All patients underwent a frontotemporal craniotomy, removal of SOM, and reconstruction of the superolateral orbital wall and pterional region. The aesthetic outcome was extremely satisfactory in all cases. No orbital implant malposition or infectious complications were documented. Eleven papers were included in the literature review, describing 27 patients. Most (23) patients underwent a single-stage reconstruction; in three cases, the implant was positioned to correct postoperative delayed enophthalmos. Porous titanium was the most used material (16 patients), while PEEK was used in three cases. Prosthesis malposition was described in two (7.4%) patients. Conclusions: Single-step reconstruction with a personalized 3D PEEK prosthesis represents a valid reconstruction technique for the treatment of SOMs with good aesthetic outcomes. Full article (This article belongs to the Special Issue State of the Art—Treatment of Skull Base Diseases (Second Edition)) ►▼ Show Figures 11 pages, 255 KiB Open AccessFeature PaperArticle Associations of Intact and C-Terminal FGF23 with Inflammatory Markers in Older Patients Affected by Advanced Chronic Kidney Disease by Matteo Abinti, Simone Vettoretti, Lara Caldiroli, Deborah Mattinzoli, Masami Ikehata, Silvia Armelloni, Paolo Molinari, Carlo Maria Alfieri, Giuseppe Castellano and Piergiorgio Messa J. Clin. Med. 2024, 13(13), 3967; https://doi.org/10.3390/jcm13133967 - 6 Jul 2024 Viewed by 632 Abstract Background: In patients with chronic kidney disease (CKD), Fibroblast Growth Factor 23 (FGF23) is markedly increased and has been proposed to interact with systemic inflammation. Methods: In this cross-sectional study, we evaluated the correlations of intact FGF23, c-terminal FGF23, and the [...] Read more. Background: In patients with chronic kidney disease (CKD), Fibroblast Growth Factor 23 (FGF23) is markedly increased and has been proposed to interact with systemic inflammation. Methods: In this cross-sectional study, we evaluated the correlations of intact FGF23, c-terminal FGF23, and the FGF23 ratio (c-terminal to intact) with some inflammatory cytokines in 111 elderly patients with advanced CKD not yet in dialysis. Results: Estimated glomerular filtration rate (eGFR) was inversely correlated with intact FGF23 and c-terminal FGF23, as well as with interleukin 6 (IL-6), tumor necrosis factor alpha (TNFα), and monocyte chemoattractant protein-1 (MCP-1). Intact FGF23 levels were directly correlated with IL-6 (r = 0.403; p < 0.001) and TNFα (r = 0.401; p < 0.001) while c-terminal FGF23 was directly correlated with MCP-1 (r = 0.264; p = 0.005). The FGF23 ratio was, instead, inversely correlated with IL-6 (r = −0.326; p < 0.001). Multivariate analysis revealed that intact FGF23 was directly associated with TNFα [B = 0.012 (95% CI 0.006, 0.019); p = 0.003] and c-terminal FGF23 was directly associated with MCP-1 [B = 0.001 (95% CI 0.000, 0.002); p = 0.038], while the FGF23 ratio was inversely correlated with IL-6 [B = −0.028 (95% CI −0.047, −0.010); p = 0.002]. Conclusions: Our data demonstrate that, in CKD patients, intact FGF23 and the metabolites deriving from its proteolytic cleavage are differently associated with some inflammatory pathways. In particular, intact FGF23 is mainly associated with IL-6 and TNFα, c-terminal FGF23 with MCP-1, and the FGF23 ratio with IL6. Full article (This article belongs to the Special Issue Chronic Kidney Disease: Clinical Updates and Perspectives, Opportunities and Challenges) 12 pages, 1977 KiB Open AccessArticle Young Women with Early-Stage Breast Cancer Treated with Upfront Surgery: Overview of Oncological Outcomes by Lorenzo Scardina, Beatrice Carnassale, Alba Di Leone, Alejandro Martin Sanchez, Ersilia Biondi, Francesca Moschella, Sabatino D’Archi, Antonio Franco, Flavia De Lauretis, Enrico Di Guglielmo, Eleonora Petrazzuolo, Stefano Magno, Riccardo Masetti and Gianluca Franceschini J. Clin. Med. 2024, 13(13), 3966; https://doi.org/10.3390/jcm13133966 - 6 Jul 2024 Viewed by 754 Abstract Background: Breast cancer in young women aged < 40 years is rare and often aggressive with less favorable survival rates. The lack of systematic screening, later stage at diagnosis, and a more aggressive disease biology may all contribute to their poor prognosis. [...] Read more. Background: Breast cancer in young women aged < 40 years is rare and often aggressive with less favorable survival rates. The lack of systematic screening, later stage at diagnosis, and a more aggressive disease biology may all contribute to their poor prognosis. Data on the best management remain conflicting, especially those regarding surgical management, either breast-conserving or mastectomy. To our knowledge, there are limited studies surrounding the treatment of young women with early breast cancer, and this analysis evaluated the oncological outcomes for those patients who underwent surgery upfront. Methods: We conducted a retrospective study including 130 young women with early breast cancer from a total of 373 consecutive patients treated with upfront surgery between January 2016 and December 2021 at our institution. Local recurrence-free survival (LR-FS), distant metastasis-free survival (DMFS), disease-free survival (DFS), and overall survival (OS) were evaluated. Results: The median follow-up was 61.1 months (range, 25–95). A total of 92 (70.8%) patients underwent breast-conserving surgery, while 38 (29.2%) patients underwent conservative mastectomy with immediate implant breast reconstruction. In total, 8 of 130 patients (6.2%) developed a local recurrence in the treated breast, an7 (5.4%) patients presented distant metastasis. Overall, two (1.6%) patients died due to breast cancer recurrence. Conclusions: The results of our study interestingly support breast-conserving surgery in young patients with early-stage breast cancer. While appropriate breast-conserving surgery can achieve favorable oncological outcomes and can always be considered a valid alternative to conservative mastectomy in upfront surgery, a younger age at diagnosis should never be used alone to choose the type of surgery. Full article (This article belongs to the Special Issue Emerging Trends and Debates in Breast Cancer: Impact of Research on Surgical Strategies) ►▼ Show Figures 11 pages, 858 KiB Open AccessArticle Final Results from the First European Real-World Experience on Lusutrombopag Treatment in Cirrhotic Patients with Severe Thrombocytopenia: Insights from the REAl-World Lusutrombopag Treatment in ITalY Study by Paolo Gallo, Antonio De Vincentis, Francesca Terracciani, Andrea Falcomatà, Valeria Pace Palitti, Maurizio Russello, Anthony Vignone, Domenico Alvaro, Raffaella Tortora, Marco Biolato, Maurizio Pompili, Vincenza Calvaruso, Veneziano Marzia, Marco Tizzani, Alessandro Caneglias, Francesco Frigo, Marcantonio Gesualdo, Alfredo Marzano, Valerio Rosato, Ernesto Claar, Rosanna Villani, Antonio Izzi, Raffaele Cozzolongo, Antonio Cozzolino, Aldo Airoldi, Chiara Mazzarelli, Marco Distefano, Claudia Iegri, Stefano Fagiuoli, Vincenzo Messina, Enrico Ragone, Rodolfo Sacco, Pierluigi Cacciatore, Flora Masutti, Saveria Lory Crocé, Alessandra Moretti, Valentina Flagiello, Giulia Di Pasquale, Antonio Picardi and Umberto Vespasiani-Gentilucciadd Show full author list remove Hide full author list J. Clin. Med. 2024, 13(13), 3965; https://doi.org/10.3390/jcm13133965 - 6 Jul 2024 Viewed by 686 Abstract Background and aims: Management of severe thrombocytopenia poses significant challenges in patients with chronic liver disease. Here, we aimed to evaluate the first real-world European post-marketing cohort of cirrhotic patients treated with lusutrombopag, a thrombopoietin receptor agonist, verifying the efficacy and safety of [...] Read more. Background and aims: Management of severe thrombocytopenia poses significant challenges in patients with chronic liver disease. Here, we aimed to evaluate the first real-world European post-marketing cohort of cirrhotic patients treated with lusutrombopag, a thrombopoietin receptor agonist, verifying the efficacy and safety of the drug. Methods: In the REAl-world Lusutrombopag treatment in ITalY (REALITY) study, we collected data from consecutive cirrhotic patients treated with lusutrombopag in 19 Italian hepatology centers, mostly joined to the “Club Epatologi Ospedalieri” (CLEO). Primary and secondary efficacy endpoints were the ability of lusutrombopag to avoid platelet transfusions and to raise the platelet count to ≥50,000/μL, respectively. Treatment-associated adverse events were also collected. Results: A total of 66 patients and 73 cycles of treatment were included in the study, since 5 patients received multiple doses of lusutrombopag over time for different invasive procedures. Fourteen patients (19%) had a history of portal vein thrombosis (PVT). Lusutrombopag determined a significant increase in platelet count [from 37,000 (33,000–44,000/μL) to 58,000 (49,000–82,000), p < 0.001]. The primary endpoint was met in 84% of patients and the secondary endpoint in 74% of patients. Baseline platelet count was the only independent factor associated with response in multivariate logistic regression analysis (OR for any 1000 uL of 1.13, CI95% 1.04–1.26, p 0.01), with a good discrimination power (AUROC: 0.78). Notably, a baseline platelet count ≤ 29,000/μL was identified as the threshold for identifying patients unlikely to respond to the drug (sensitivity of 91%). Finally, de novo PVT was observed in four patients (5%), none of whom had undergone repeated treatment, and no other safety or hemorrhagic events were recorded in the entire population analyzed. Conclusions: In this first European real-world series, lusutrombopag demonstrated efficacy and safety consistent with the results of registrational studies. According to our results, patients with baseline platelet counts ≤29,000/μL are unlikely to respond to the drug. Full article (This article belongs to the Special Issue Updates in Liver Cirrhosis) ►▼ Show Figures 18 pages, 804 KiB Open AccessSystematic Review Work-Related Musculoskeletal Disorders: A Systematic Review and Meta-Analysis by Chiara Greggi, Virginia Veronica Visconti, Marco Albanese, Beatrice Gasperini, Angela Chiavoghilefu, Caterina Prezioso, Benedetta Persechino, Sergio Iavicoli, Elena Gasbarra, Riccardo Iundusi and Umberto Tarantino J. Clin. Med. 2024, 13(13), 3964; https://doi.org/10.3390/jcm13133964 - 6 Jul 2024 Viewed by 1304 Abstract Background: Musculoskeletal disorders (MSDs) involve muscles, nerves, tendons, joints, cartilage, and spinal discs. These conditions can be triggered by both the work environment and the type of work performed, factors that, in some cases, can also exacerbate pre-existing conditions. This systematic review aims [...] Read more. Background: Musculoskeletal disorders (MSDs) involve muscles, nerves, tendons, joints, cartilage, and spinal discs. These conditions can be triggered by both the work environment and the type of work performed, factors that, in some cases, can also exacerbate pre-existing conditions. This systematic review aims to provide an overview of the impact that different work-related activities have on the musculoskeletal system. Methods: A global search of publications was conducted using the following international bibliographic web databases: PubMed and Web of Science. The search strategies combined terms for musculoskeletal disorders and workers. In addition, a meta-analysis was conducted to estimate the prevalence of MSDs within the healthcare sector. Results: A total of 10,805 non-duplicated articles were identified, and finally, 32 studies were reviewed in this article. Once the literature search was completed, occupational figures were categorized into healthcare, farming, industrial, and computer sectors. In the healthcare sector, the prevalence estimate for degenerative diseases of the lumbar spine was 21% (497 out of 2547 physicians and dentists) (95% CI, 17–26%), while for osteoarthritis of the hand, it was 37% (382 out of 1013 dentists) (95% CI, 23–51%). Conclusions: Musculoskeletal disorders significantly impair workers’ quality of life, especially in healthcare sector. These conditions are also associated with high costs for employers, such as absenteeism, lost productivity, and increased costs for healthcare, disability, and workers’ compensation. Full article (This article belongs to the Section Orthopedics) ►▼ Show Figures 14 pages, 3276 KiB Open AccessFeature PaperArticle Comparative Uptake Patterns of Radioactive Iodine and [18F]-Fluorodeoxyglucose (FDG) in Metastatic Differentiated Thyroid Cancers by Devan Diwanji, Emmanuel Carrodeguas, Youngho Seo, Hyunseok Kang, Myat Han Soe, Janet M. Chiang, Li Zhang, Chienying Liu, Spencer C. Behr and Robert R. Flavell J. Clin. Med. 2024, 13(13), 3963; https://doi.org/10.3390/jcm13133963 - 6 Jul 2024 Viewed by 736 Abstract Background: Metastatic differentiated thyroid cancer (DTC) represents a molecularly heterogeneous group of cancers with varying radioactive iodine (RAI) and [18F]-fluorodeoxyglucose (FDG) uptake patterns potentially correlated with the degree of de-differentiation through the so-called “flip-flop” phenomenon. However, it is unknown if RAI [...] Read more. Background: Metastatic differentiated thyroid cancer (DTC) represents a molecularly heterogeneous group of cancers with varying radioactive iodine (RAI) and [18F]-fluorodeoxyglucose (FDG) uptake patterns potentially correlated with the degree of de-differentiation through the so-called “flip-flop” phenomenon. However, it is unknown if RAI and FDG uptake patterns correlate with molecular status or metastatic site. Materials and Methods: A retrospective analysis of metastatic DTC patients (n = 46) with radioactive 131-iodine whole body scan (WBS) and FDG-PET imaging between 2008 and 2022 was performed. The inclusion criteria included accessible FDG-PET and WBS studies within 1 year of each other. Studies were interpreted by two blinded radiologists for iodine or FDG uptake in extrathyroidal sites including lungs, lymph nodes, and bone. Cases were stratified by BRAF V600E mutation status, histology, and a combination of tumor genotype and histology. The data were analyzed by McNemar’s Chi-square test. Results: Lung metastasis FDG uptake was significantly more common than iodine uptake (WBS: 52%, FDG: 84%, p = 0.04), but no significant differences were found for lymph or bone metastases. Lung metastasis FDG uptake was significantly more prevalent in the papillary pattern sub-cohort (WBS: 37%, FDG: 89%, p = 0.02) than the follicular pattern sub-cohort (WBS: 75%, FDG: 75%, p = 1.00). Similarly, BRAF V600E+ tumors with lung metastases also demonstrated a preponderance of FDG uptake (WBS: 29%, FDG: 93%, p = 0.02) than BRAF V600E− tumors (WBS: 83%, FDG: 83%, p = 1.00) with lung metastases. Papillary histology featured higher FDG uptake in lung metastasis (WBS: 39%, FDG: 89%, p = 0.03) compared with follicular histology (WBS: 69%, FDG: 77%, p = 1.00). Patients with papillary pattern disease, BRAF V600E+ mutation, or papillary histology had reduced agreement between both modalities in uptake at all metastatic sites compared with those with follicular pattern disease, BRAF V600E− mutation, or follicular histology. Low agreement in lymph node uptake was observed in all patients irrespective of molecular status or histology. Conclusions: The pattern of FDG-PET and radioiodine uptake is dependent on molecular status and metastatic site, with those with papillary histology or BRAF V600E+ mutation featuring increased FDG uptake in distant metastasis. Further study with an expanded cohort may identify which patients may benefit from specific imaging modalities to recognize and surveil metastases. Full article (This article belongs to the Section Oncology) ►▼ Show Figures
5438	dbpedia	2	68	http://www.issp.ac.ru/iao/2022/italy.html	en	XXV International Astronomy Olympiad, Italy			[]	[]	[]	[ "" ]	null	[]	null			../ico/iaoico.gif		null
5438	dbpedia	1	46	https://www.wikiwand.com/en/Io_e_mia_sorella	en	Io e mia sorella	https://wikiwandv2-19431…s/icon-32x32.png	https://wikiwandv2-19431…s/icon-32x32.png	[ "https://upload.wikimedia.org/wikipedia/en/thumb/d/d1/Io_e_mia_sorella.jpg/220px-Io_e_mia_sorella.jpg" ]	[]	[]	[ "" ]	null	[]	null	Io e mia sorella is a 1987 Italian romantic comedy-drama film written, directed and starred by Carlo Verdone. For this film Elena Sofia Ricci was awarded with a David di Donatello for Best Supporting Actress and a Silver Ribbon in the same category. The film also won a Silver Ribbon for best actress and a David di Donatello for Best Script.	en	https://wikiwandv2-19431…icon-180x180.png	Wikiwand	https://www.wikiwand.com/en/Io_e_mia_sorella	1987 Italian film / From Wikipedia, the free encyclopedia Dear Wikiwand AI, let's keep it short by simply answering these key questions: Can you list the top facts and stats about Io e mia sorella? Summarize this article for a 10 year old SHOW ALL QUESTIONS
5438	dbpedia	1	11	https://www.intramovies.com/production/super-fantozzi/	en	Super Fantozzi – Intramovies	https://www.intramovies.…tozzi_poster.jpg	https://www.intramovies.…tozzi_poster.jpg	[ "https://www.intramovies.com/wp-content/themes/intramovies/assets/img/logo.png?v=1614162643", "https://www.intramovies.com/wp-content/themes/intramovies/assets/img/logo.png?v=1614162643", "https://www.intramovies.com/wp-content/uploads/2024/08/Super-Fantozzi_poster-560x800.jpg", "https://www.intramovies.com/wp-content/uploads/2024/08/Super-Fantozzi_poster-560x800.jpg", "https://www.intramovies.com/wp-content/themes/intramovies/assets/img/logo-white.png?v=1614162643", "https://www.intramovies.com/wp-content/themes/intramovies/assets/img/logo-unefa.png?v=1614162643", "https://www.facebook.com/tr?id=374571317558917&ev=PageView&noscript=1" ]	[]	[]	[ "" ]	null	[]	2024-08-01T10:08:06+00:00	Fantozzi, an unlucky character, traces his ill-fated lineage from being expelled from Eden through various humiliating adventures across time periods until reaching the future Space Age.	en	https://www.intramovies.…s-icon-32x32.png	Intramovies	https://www.intramovies.com/production/super-fantozzi/	Super Fantozzi Super Fantozzi Synopsis Fantozzi, an unlucky character, traces his ill-fated lineage from being expelled from Eden through various humiliating adventures across time periods until reaching the future Space Age.
5438	dbpedia	3	49	https://www.radiotimes.com/tv/soaps/coronation-street/coronation-street-cast/	en	Coronation Street cast: who is leaving, returning to and joining the soap?	https://images.immediate…esize=1200%2C630	https://images.immediate…esize=1200%2C630	[ "https://images.immediate.co.uk/production/volatile/sites/3/2021/07/cropped-cropped-cropped-radiotimescom-logo2-2c180e8-63292d2-8ec420d-7a7587d.png?quality=90&resize=120,23", "https://images.immediate.co.uk/production/volatile/sites/3/2021/07/cropped-cropped-cropped-radiotimescom-logo2-2c180e8-63292d2-8ec420d-7a7587d.png?quality=90&resize=265,50", "https://images.immediate.co.uk/production/volatile/sites/3/2023/03/corrie-paul-mnd-1-1ccc529.jpg?quality=90&fit=700,466", "https://images.immediate.co.uk/production/volatile/sites/3/2024/03/1503coroleannerowan041-b3d9bb3.jpg?quality=90&fit=700,394", "https://images.immediate.co.uk/production/volatile/sites/3/2021/06/06_or_07_07_coro_gail_leave_02-97b9f7f.jpg?quality=90&fit=700,394", "https://images.immediate.co.uk/production/volatile/sites/3/2018/03/CORO_MARTIN_PLATT-7b25e24.jpg?quality=90&fit=700,452", "https://images.immediate.co.uk/production/volatile/sites/3/2021/10/25_10_coro_simon_1st_ep_01-8a6db18.jpg?quality=90&fit=700,465", "https://images.immediate.co.uk/production/volatile/sites/3/2023/02/0103coropaulpeter02-9a14e22.jpg?quality=90&fit=700,394", "https://images.immediate.co.uk/production/volatile/sites/3/2022/09/Kelly-Neelan-Corrie-af67de9.jpg?quality=90&crop=1149px,145px,1239px,825px&fit=700,466", "https://images.immediate.co.uk/production/volatile/sites/3/2024/08/Untitled-design-36-f153341.png?quality=90&resize=93,84", "https://images.immediate.co.uk/production/volatile/sites/3/2024/08/RT-Shop-Products-301-x-198-px-1-e03ec24.png?quality=90&resize=93,84", "https://images.immediate.co.uk/production/volatile/sites/3/2024/08/couple-outside-home-tea-290-GettyImages-98109140-1-8c7faaa.jpg?quality=90&resize=93,84", "https://images.immediate.co.uk/production/volatile/sites/3/2023/07/cropped-RadioTimes01-01-1-b003bef-d698844.png?quality=90&resize=220,30", "https://images.immediate.co.uk/production/volatile/sites/3/2024/03/ImmediateLogoRGBWhite-30678ec.png?quality=90&resize=3873,767", "https://images.immediate.co.uk/production/volatile/sites/3/2019/12/ipso-sq-7800070.png?quality=90&resize=80,80" ]	[ "https://media.delight.video/f0cf5e3e9068d9a4affa36d5c8962eaf1a0662ba/c783aa3b2504c934adbdaa64d517b77b5c0486bd/MEDIA/v0/HD/media.mp4" ]	[]	[ "" ]	null	[ "Lewis Knight" ]	2024-07-21T13:05:01+01:00	Your complete guide to the Coronation Street cast, including all characters who are joining, leaving and returning to the ITV soap in 2024.	en		Radio Times	https://www.radiotimes.com/tv/soaps/coronation-street/coronation-street-cast/	RadioTimes.com is here with a handy update on which characters are leaving, joining and returning to the cobbles of Coronation Street in the coming months. So who's in? Who's out? And which rumours are true? Read on for all the latest details on cast changes. Coronation Street cast 2024 The full present regular cast for Coronation Street can be found below. More like this William Roache as Ken Barlow Barbara Knox as Rita Sullivan Helen Worth as Gail Rodwell Kate Ford as Tracy McDonald Sue Nicholls as Audrey Roberts Ben Price as Nick Tilsley Michael La Vell as Kevin Webster Sue Devaney as Debbie Webster Sally Ann Matthews as Jenny Connor Sally Dynevor as Sally Metcalfe Tina O'Brien as Sarah Barlow Simon Gregson as Steve McDonald Jack P. Shepherd as David Platt Rob Mallard as Daniel Osbourne David Neilson as Roy Cropper Jane Danson as Leanne Battersby Georgia Taylor as Toyah Battersby Alan Halsall as Tyrone Dobbs Jimmi Harkishin as Dev Alahan Sue Cleaver as Eileen Grimshaw Samia Longchambon as Maria Windass Andy Whyment as Kirk Sutherland Gareth Pierce as Todd Grimshaw Sam Robertson as Adam Barlow Jennie McAlpine as Fiz Dobbs Alex Bain as Simon Barlow Antony Cotton as Sean Tully Sam Aston as Chesney Brown Elle Mulvaney as Amy Barlow Adam Hussain as Aadi Alahan Tanisha Gorey as Asha Alahan Ryan Prescott as Ryan Connor Alison King as Carla Barlow Liam McCheyne as Dylan Wilson Mikey North as Gary Windass Patti Clare as Mary Taylor Charlie Wrenshall as Liam Connor Jr. Peter Gunn as Brian Packham Cherylee Houston as Izzy Armstrong Paddy Bever as Max Turner Kyran Bowes as Jack Webster Isabella Flanagan as Hope Stape Lisa George as Beth Tinker Colson Smith as PC Craig Tinker William Flanagan as Joseph Brown Macy Alabi as Ruby Dobbs Joe Duttine as Tim Metcalfe Bobby Bradshaw as Jake Windass Brooke Malonie as Lily Platt Sair Khan as Alya Nazir Shelley King as Yasmeen Nazir Freddie and Isaac Rhodes as Harry Platt Dolly-Rose Campbell as Gemma Winter Daniel Brocklebank as Billy Mayhew Jacqueline Leonard as Linda Hancock Liam Bairstow as Alex Warner Matt Milburn as Tommy Orpington Julie Goulding as Shona Platt Harriet Bibby as Summer Spellman Sally Carman as Abi Webster Peter Ash as Paul Foreman Maureen Lipman as Evelyn Plummer Trevor Michael Georges as Ed Bailey Ryan Russell as Michael Bailey Jane Hazlegrove as Bernie Winter Mollie Gallagher as Nina Lucas Paula Wilcox as Elaine Jones Tony Maudsley as George Shuttleworth Jude Riordan as Sam Blakeman Charlotte Jordan as Daisy Midgeley Vinta Morgan as Ronnie Bailey Vicky Myers as DS Lisa Swain Bill Fellows as Stu Carpenter Jodie Prenger as Glenda Shuttleworth Channique Sterling-Brown as Dee Dee Bailey Cait Fitton as Lauren Bolton Noah Olaoye as Gav Adetiba Luana Santos as Sabrina Adetiba Claire Sweeney as Cassie Plummer Calum Lill as Joel Deering Jack Carroll as Bobby Crawford Emrhys Cooper as Rowan Cunliffe Jacob Roberts as DC Kit Green Sydney Martin as Betsy Swain Below are the upcoming changes to the regular cast. LEAVING Paul Foreman (Peter Ash) When is Paul Foreman leaving? Summer 2024. Coronation Street favourite Paul Foreman will be killed off later this year after the character is diagnosed with Motor Neurone Disease (MND). The soap is working closely with the MND Association on this storyline and will explore the impact of the diagnosis on Paul and his loved ones as his condition progresses. MND is a fatal, rapidly progressing disease that affects the brain and spinal cord, attacking the nerves that control movement so muscles no longer work, often impacting the patient's senses such as sight, sound and feeling. Actor Peter Ash said: "Paul is completely blindsided by the diagnosis and he decides to keep it from his family and friends as he tries to come to terms with the news. "I knew very little about MND before embarking on the storyline and I am hugely grateful to the MND Association for all their help and support. For any actor playing a role which examines a real life issue or condition there comes a huge sense of responsibility and we are aware that some people watching this storyline are experiencing it in reality, it is their life. "Awareness and education are really important. I have learned so much even in the short time I have been involved in this storyline. We hope Paul’s journey can make people more aware of the symptoms and what it is like for someone to live with MND." The character will therefore die when the storyline concludes. Rowan Cunliffe (Emrhys Cooper) When is Rowan Cunliffe leaving? 2024. It seems the Institute storyline is coming to an end - at some point - with Emrhys Cooper reportedly leaving his role as Rowan Cunliffe. While there is still much of the story to play out on-screen, The Mirror reports that Rowan will leave at the end of the storyline. It is understood that this was always the plan with the storyline with Rowan having a fixed shelf life to serve the plot. So, how will the villainous Rowan depart? Gail Rodwell (Helen Worth) When is Gail Rodwell leaving? Late 2024. Coronation Street legend Helen Worth is leaving the soap after 50 years in the role of Gail Rodwell. The actress decided to leave the role after half a century on the street and will depart following a major exit storyline for the Platt family. Helen will start filming her exit story next month and the emotional scenes will be on screen at the end of the year. Helen said: “This year felt like the perfect time to leave the show after celebrating 50 years in the most wonderful job on the most wonderful street in the world. I made the decision at the start of the year and spoke to the producers who were very kind and understanding. “I have been truly blessed to have been given the most incredible scripts week in week out, and to have worked with fantastic actors, directors and a brilliant crew. “The past 50 years have flown by and I don't think the fact that I am leaving has quite sunk in yet.” Executive Producer Iain Macleod said: “The words ‘legend’ and ‘icon’ get used a lot these days but they genuinely do apply to Gail and to Helen Worth. However, given her humility, I know Helen won’t thank me for saying so! In Helen’s hands, Gail has been a huge part of Coronation Street for five decades and at the centre of some of the most memorable storylines - often deriving from her catastrophically bad luck in choosing husbands!" He added: “Gail has given us countless hours of entertainment but it should also be said that Helen herself is a consummate professional and a thoroughly good egg. Everyone connected to the show will miss having her around the place just as much as the viewers will miss having her on their screens and we wish her all the very best for the future.” RETURNING Martin Platt (Sean Wilson) When is Martin Platt returning? October 2024. Sean Wilson has been confirmed to be reprising his role as classic character Martin Platt for ex-wife Gail Rodwell's exit storyline later this year. Wilson began filming on Wednesday 24th July and his return will air in October. Speaking about his comeback, the actor said: "It was great to be invited back to Coro St again, to contribute to Helen’s exit story. "We’ll have a few months to catch up with Martin and Gail again, following the ebbs and flows of the unfolding storyline. "Playing Martin has been a joy since day one, and in a way, I’ll be slipping back to where I left off, which no doubt will throw a spanner into the heart of the Platt family," Wilson teased. "It’s just like slipping on an old and comfortable jumper from the back of the wardrobe… I’m looking forward to reuniting with my TV family." The Sun reports that it is only a fixed-term return and it will provide Gail with a romantic, happy ending; reuniting Gail with arguably her most stable husband. ITV has yet to confirm Martin's return. Martin originally appeared in the soap over two decades from 1985 and 2005, making some guest returns to visit son David Platt, last being seen in 2018. We wonder what David will make of Martin's comeback and reunion with his mum! Who has left Coronation Street in 2024? The following regular characters have departed Coronation Street in 2024. Sarge Bailey (Guest) Moses Ekundayo Harvey Gaskell Damon Hay Violet Wilson (Guest) Eliza Woodrow Simon Barlow Who has left Coronation Street in 2023? The following regular characters have departed Coronation Street in 2023. Griff Reynolds Jacob Hay Mike Hargrave Esther Hargrave Teddy Thompkins Cilla the Cincilla Daryan Zahawi Rufus Donahue Justin Rutherford Karen Rutherford Aaron Sandford Geoffrey "Spider" Nugent Isabella Benvenuti Henry Newton Shelly Rossington Stephen Reid Darren Vance Courtney Vance Crystal Hyde Peter Barlow Who left Coronation Street in 2022? The following regular characters have departed Coronation Street in 2022. Ted Spear Marrium Nazier Clint Stubbins Linda Hancock Grace Vickers Lydia Chambers Jon Spear Emma Brooker Laura Neelan Elsie Ben Chancellor Imran Habeeb Cathy Matthews Nicky Wheatley Camilla Perrin Mimi Halliday Frank Bardsley Phill Whittaker Geoff Metcalfe (Guest, hallucination) Saira Habeeb Rick Neelan (Guest, hallucination) Kelly Neelan Leo Thompkins James Bailey Martha Fraser Wendy Crozier Harvey Gaskell Who else will remain in Weatherfield by the end of the year? Visit our dedicated Coronation Street page for all the latest news, interviews and spoilers. If you’re looking for more to watch check out our TV Guide. Take part in the Screen Test, a project from Radio Times and the Universities of Sussex and Brighton, to explore the role of television and audio in our lives.
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5438	dbpedia	1	89	https://duomo.firenze.it/en/opera-magazine/post/6520/the-stained-glass-windows-of-the-drum-of-the-dome-of-santa-maria-del-fiore	en	The stained glass windows of the drum of the dome of Santa Maria del Fiore	https://duomo.firenze.it/getFile.php?id=2244	https://duomo.firenze.it/getFile.php?id=2244	[ "https://duomo.firenze.it/en/opera-magazine/post/6520/static/metacms/templates/opa/images/logo.svg", "https://duomo.firenze.it/en/opera-magazine/post/6520/getImage.php?id=79070&w=560&h=512&c=1&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/6520/getImage.php?id=2715&w=560&h=512&c=1&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/6520/getImage.php?id=2737&w=560&h=512&c=1&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/6520/getImage.php?id=79177&w=560&h=512&c=1&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/6520/getImage.php?id=2714&w=560&h=512&c=1&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/6520/getImage.php?id=1892&w=560&h=512&c=1&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/6520/getImage.php?id=2713&w=560&h=512&c=1&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/6520/application/mediaArchive/Image/380899a18b9437e532f647099ef20662_orazione.jpg", "https://duomo.firenze.it/en/opera-magazine/post/6520/getImage.php?id=2247&w=400&h=356&c=0&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/6520/getImage.php?id=2245&w=400&h=379&c=0&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/6520/getImage.php?id=2244&w=400&h=389&c=0&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/6520/getImage.php?id=2249&w=400&h=375&c=0&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/6520/getImage.php?id=2246&w=400&h=370&c=0&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/6520/getImage.php?id=2251&w=400&h=380&c=0&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/6520/static/metacms/templates/opa/images/logo-footer.svg" ]	[]	[]	[ "" ]	null	[ "Antonella Chiari" ]	2022-01-20T00:00:00	The stained glass windows of the drum of the dome of Santa Maria del Fiore	en	https://duomo.firenze.it…png?v=3eBXPz8jdk		https://duomo.firenze.it/en/opera-magazine/post/6520/the-stained-glass-windows-of-the-drum-of-the-dome-of-santa-maria-del-fiore	Reading time: 15’ In the space below the Dome of the Cathedral, the sunrays fall tinged with colour and filtered by eight painted circular windows, which like eight eyes pierce the stone of the drum walls joining the light of the sky to the interior space. These eight stained glass windows were made between 1434 and 1445 by great glass masters based on designs by the major artists of the Florentine Renaissance (Donatello, Ghiberti, Andrea del Castagno and Paolo Uccello). Of almost 5 meters in diameter they depict stories of Mary and Christ and complete the cycle of 44 stained glass windows of the Cathedral (depicting saints and characters from the Old Testament), painted between the end of the fourteenth century and the first half of the fifteenth century by the most important Florentine painters. In 1434, the vault of the dome was almost completed and the need felt to decorate the oculi of the drum. The first stained glass window to be commissioned was the one facing east with the Coronation of Mary, which is the most visible from the aisles and celebrates the holders of the Cathedral. Ghiberti and Donatello were asked to make a 1:1 size test cartoon, which was placed in the oculus to observe its effect. Donatello won and for the first time introduced the use of linear perspective in a stained glass window: the throne of the Virgin marks the depth of the space and the figures seem to move back from the frame, which is no longer just a decorative element but gives the illusion of to be an shortened with seraphs and cherubs. After this competition, Ghiberti found himself, in 1443, having to overcome a contest for the commission of the stained glass window depicting the Ascension of Christ. This time the rival was the master painter of perspective par excellence: Paolo Uccello, fresh from the success of the fresco with the equestrian monument of Giovanni Acuto in the Cathedral. Ghiberti prevailed and was entrusted with this stained glass window and those of the Presentation of Jesus in the Temple and the Prayer in the garden. These three were the last stained glass windows designed by the master, who had signed 33 for the Cathedral. The great goldsmith and sculptor had worked on these works for almost 40 years, evolving as an artist while, at the same time, he modelled and cast the doors of the Baptistery. As a young man, around 1405-15, he had designed the three circular windows of the counter-façade - including the largest, that of the rose window, depicting the Assumption of the Madonna - and twenty years later those of the presbyterial chapels. In these last stained glass windows for the drum, Ghiberti combined in his style the meticulous elegance of the late Gothic of his youth with the innovations of Donatello and Brunelleschi learned in previous decades. In his Ascension, we see Christ rising between the apostles in a circle and his figure stands out in a blue background that becomes more intense towards the centre to give the effect of an enlarged space towards the bottom. In the Oration in the Garden Ghiberti gave shape to an irrational representation of the scene where the distances and proportional relationships between the figures and the landscape dissolve. Christ praying, the angel who descends and the sleeping apostles look like giants set in a tiny theatrical scenography painted with lot of detail: trees, houses, streams... Still different stylistically is the stained glass window with the Presentation of Jesus in the temple, which is much more harmonious and clear both in the arrangement of the elements and in the poses of the characters. We see the Holy Family, Simeon and the other protagonists of this Gospel episode, arranged in symmetrical pairs around the altar and the priest. The cartoon proposed by Paolo Uccello in 1443 must in any case have impressed those responsible for the Opera del Duomo because between 1443 and 1444 he was commissioned to design the stained glass windows of three other oculi: the one with the Resurrection of Christ, the one with the Nativity and the one with the Annunciation. His windows are distinguished by the presence of geometric solids put in perspective and by the dreamy atmosphere of the stories. In the Resurrection, everything takes place in an indefinite space, inside which Christ resurrects covered by a floral robe, rising above the foreshortened sepulchre, while on the sides, the soldiers placed on a picket, sleep in their armour made of spheres and cylinders. The Nativity has been greatly altered over the centuries by inaccurate restorations, but by Paolo Uccello we recognize the beautiful jutting out of the snouts of the ox and the donkey and the invention of the hut made of rough wooden beams, placed in perfect geometric perspective. The Annunciation was located in the oculus facing west and is the only window that has been entirely lost, destroyed by lightning in 1828. The Opera di Santa Maria del Fiore at the time announced a competition for the construction of a new stained glass window depicting the same subject in Renaissance style. Ulisse Forni, a famous restorer from Siena, won but for various reasons it was never carried out. The beautiful preparatory drawings are still preserved in the warehouses of the Opera di Santa Maria del Fiore. Finally, the eighth stained glass window, depicting the Lamentation over Christ taken down from the Cross, was made in 1444 based on a design by another artist: Andrea del Castagno, who ten years later would have frescoed the equestrian monument to Niccolò da Tolentino in the left aisle. A. del Castagno gave shape to a very clear representation of the scene in the orderly arrangement of the figures around the base of the cross but also dramatic in the glimpses of the desperate faces and in the twisted pose of the dead body of Christ. Although there were four hands who worked on it at different times, the cycle of stained glass windows is homogeneous. Almost certainly, one or more scholars of the time had drawn up an iconographic program for all the windows from the beginning before the individual commissions were entrusted. Have you noticed that the arrangement of the episodes does not respect the chronological order of the story? The choice of the episodes is also particular and aims to celebrate both the figure of Mary and that of Jesus. A logic based on the theological meanings of the stories was probably followed and particular correspondences were studied in the arrangement of the scenes. To the east, for example, there is the Coronation of Mary, so that the splendour of the sun at dawn sets the image of the Virgin alight when she is welcomed into the glory of Heaven. Furthermore, this representation is aligned with the large rose window in the counter-façade, where Ghiberti thirty years earlier had depicted an almost identical subject: the Assumption of the Madonna, which lights up at sunset. In this way, the two celebratory stained glass windows of the Mother of God ideally open and close the body of the Cathedral, which is dedicated to her. The Birth of Christ, that is, the beginning of Jesus' life as a man (north-west) is mirroring his Ascension (south-east), that is, his return to Heaven. Moreover, the episodes of the Oration of the Garden (in the southern wall) and of the Deposition from the Cross-(in the northern one) are one in front of the other. These are dominated by the theme of pain and death. Incredible that there was this attention to the meanings of the works! It should be borne in mind that just the priests who were in the choir enclosure saw the entire circle of stained glass and that they had the theological preparation to notice and understand these meanings. Today's scholars have the task of deepening the reading of the works, while we enjoy the beauty of these gigantic iridescent circles.
5438	dbpedia	0	1	https://en.wikipedia.org/wiki/David_(Michelangelo)	en	David (Michelangelo)	https://upload.wikimedia…o_Fir_JBU004.jpg	https://upload.wikimedia…o_Fir_JBU004.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/%27David%27_by_Michelangelo_Fir_JBU004.jpg/220px-%27David%27_by_Michelangelo_Fir_JBU004.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/7/74/Michelangelo_David_Philpot.jpg/220px-Michelangelo_David_Philpot.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b3/Moving_Michelangelo%27s_statue_of_David_from_Piazza_della_Signoria_to_Galleria.jpg/300px-Moving_Michelangelo%27s_statue_of_David_from_Piazza_della_Signoria_to_Galleria.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/5/51/Florence%2C_Italy_-_panoramio_%2873%29.jpg/220px-Florence%2C_Italy_-_panoramio_%2873%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/%27David%27_by_Michelangelo_FI_Acca_JBU_014.jpg/165px-%27David%27_by_Michelangelo_FI_Acca_JBU_014.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6d/Galleria_dell%27Accademia_Michelangelo%E2%80%99s_David%2C_Florence_2019_-_48170232147.jpg/165px-Galleria_dell%27Accademia_Michelangelo%E2%80%99s_David%2C_Florence_2019_-_48170232147.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/0/07/Galleria_dell%27Accademia_Michelangelo%E2%80%99s_David%2C_Florence_2019_-_48170171006.jpg/165px-Galleria_dell%27Accademia_Michelangelo%E2%80%99s_David%2C_Florence_2019_-_48170171006.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/c/c7/%27David%27_by_Michelangelo_FI_Acca_JBS_069.jpg/185px-%27David%27_by_Michelangelo_FI_Acca_JBS_069.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/d/d6/%27David%27_by_Michelangelo_FI_Acca_JBS_086.jpg/185px-%27David%27_by_Michelangelo_FI_Acca_JBS_086.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/1/1f/%27David%27_by_Michelangelo_FI_Acca_JBS_059.jpg/185px-%27David%27_by_Michelangelo_FI_Acca_JBS_059.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/1/1b/%27David%27_by_Michelangelo_FI_Acca_JBS_031.jpg/185px-%27David%27_by_Michelangelo_FI_Acca_JBS_031.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/%27David%27_by_Michelangelo_JBU11.JPG/220px-%27David%27_by_Michelangelo_JBU11.JPG", "https://upload.wikimedia.org/wikipedia/commons/thumb/8/88/Michelangelo%27s_David_with_pedestal.jpg/220px-Michelangelo%27s_David_with_pedestal.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5c/Detail_of_David%27s_damaged_left_foot..jpg/220px-Detail_of_David%27s_damaged_left_foot..jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/6/61/David_di_Michelangelo2.jpg/210px-David_di_Michelangelo2.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/1/1b/Nuvola_apps_kaboodle.svg/16px-Nuvola_apps_kaboodle.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ae/FlorenceCoA.svg/60px-FlorenceCoA.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/9/96/Symbol_category_class.svg/16px-Symbol_category_class.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2002-01-22T03:15:23+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/David_(Michelangelo)	Renaissance statue in Florence, Italy DavidArtistMichelangeloYearc. 1501 – June 8, 1504MediumCarrara marbleSubjectBiblical DavidDimensions517 cm × 199 cm (17 ft × 6.5 ft)LocationGalleria dell'Accademia, Florence, ItalyPreceded byPietàFollowed byMadonna of Bruges David is a masterpiece[1][2] of Italian Renaissance sculpture, created from 1501 to 1504 by Michelangelo. With a height of 5.17 metres (17 ft 0 in), the David was the first colossal marble statue made in the early modern period following classical antiquity, a precedent for the 16th century and beyond. David was originally commissioned as one of a series of statues of twelve prophets to be positioned along the roofline of the east end of Florence Cathedral (Duomo di Firenze), but was instead placed in the public square in front of the Palazzo della Signoria, the seat of civic government in Florence, where it was unveiled on 8 September 1504. In 1873, the statue was moved to the Galleria dell'Accademia, Florence. In 1910 a replica was installed at the original site on the public square. The biblical figure David was a favoured subject in the art of Florence.[3] Because of the nature of the figure it represented, the statue soon came to symbolize the defence of civil liberties embodied in the 1494 constitution of the Republic of Florence,[4] an independent city-state threatened on all sides by more powerful rival states and by the political aspirations of the Medici family. History [edit] Commission [edit] The history of the statue of David begins before Michelangelo's work on it from 1501 to 1504.[5] The commission was made during a decisive period in the history of the Florentine republic established after the expulsion of the Medici. The advantages of democratic government never materialized, and internal circumstances grew worse as dangers from without increased. Lorenzo de' Medici's successors and their supporters were a constant threat to the republic, and it was in defiance of the menace they represented that the project of a marble David was renewed.[6] The Overseers of the Office of Works, known as the Operai del Duomo, were officers of the Opera di Santa Maria del Fiore, the organization charged with the construction and maintenance of the new Cathedral of Florence.[7] The Operai consisted of a 12-member committee that organized competitions, chose the best entries, commissioned the prevailing artists, and paid for the finished work.[8] Most of them were members of the influential woolen cloth guild,[9] the Arte della Lana. They had plans long before Michelangelo's involvement to commission a series of twelve large sculptures of Old Testament prophets for the twelve spurs, or protrusions, generated by the four diagonal buttresses that helped support the enormous weight of the cathedral dome.[10] In 1410, Donatello had made the first of the series of statues, a colossal figure of Joshua in terracotta, gessoed and painted white to give it the appearance of marble at a distance.[11] Although Charles Seymour Jr says Donatello's protégé Agostino di Duccio was commissioned in 1463 to create a terracotta figure of Hercules for the series, almost certainly under the supervision of Donatello,[12] Paoletti writes that "The term 'hercules' may not be a specific indication of the subject of the figure but simply a synonym... used at the time for a 'giant' or very large figure."[13] Ready to continue their project, in 1464 the Operai contracted Agostino to create a marble sculpture of the young David,[14] a symbol of Florence, to be mounted high on the eastern end of the Duomo. This was to be formed in the Roman manner from several blocks of marble, but in 1465 Agostino himself went to Carrara, a town in the Apuan Alps, and acquired a very large block of bianco ordinario from the Fantiscritti quarry.[15] He began work on the statue but got only as far as beginning to shape the torso, legs, and feet, roughing out drapery, and possibly hollowing a hole between the legs. For unknown reasons his work on the block of marble halted with the death of his master Donatello in 1466. Antonio Rossellino, also a Florentine, was commissioned in 1476 to resume the work, but the contract was apparently rescinded, and the block lay neglected and exposed to the weather in the yard of the cathedral workshop for another twenty-five years. This was of great concern to the Operai authorities, as such a large piece of marble was not only costly, but represented considerable labour and difficulty in its transportation to Florence.[9] In 1500, an inventory of the cathedral workshops described the piece[16] as "a certain figure of marble called David, badly blocked out and supine."[17][18][19][9] A year later, documents showed that the Operai were determined to find an artist who could take this large piece of marble and turn it into a finished work of art. They ordered that the block of stone, which they called il gigante (the giant),[20][21] be "raised on its feet" so that a master experienced in this kind of work might examine it and express an opinion. Though Leonardo da Vinci among others was consulted, and Andrea Sansovino was also keen to get the commission,[22] it was Michelangelo, at 26 years of age, who convinced the Operai that he deserved the commission.[23] On 16 August 1501, Michelangelo was given the official contract to undertake this task. It said (English translation of the Latin text): ... the Consuls of the Arte della Lana and the Lords Overseers being met, have chosen as sculptor to the said Cathedral the worthy master, Michelangelo, the son of Lodovico Buonarrotti, a citizen of Florence, to the end that he may make, finish and bring to perfection the male figure known as the Giant, nine braccia in height, already blocked out in marble by Maestro Agostino grande, of Florence, and badly blocked; and now stored in the workshops of the Cathedral. The work shall be completed within the period and term of two years next ensuing, beginning from the first day of September ...[24] He began carving the statue early in the morning on 13 September,[25] a month after he was awarded the contract. The contract provided him a workspace in the Opera di Santa Maria del Fiore behind the Duomo, paid him a salary of six fiorini per month, and allowed him two years to complete the sculpture.[26] When the finished statue was moved from the Opera del Duomo to the Piazza della Signoria over the course of four days, as reported by two contemporary diarists, Luca Landucci and Pietro di Marco Parenti, a guard was placed to protect it from violence by other artists in Florence who had hoped for the commission.[27][28] They were hostile to Michelangelo because of his bold request to the wardens of the Cathedral and the governor of the city, Piero Soderini.[29] Despite the precaution, the sculpture was damaged by stones, leaving still visible marks on the upper part of its back.[30] Four youths from prominent Florentine families were subsequently arrested by the Otto di Guardia and all but one were imprisoned for what may have been simple vandalism without a political motive.[28][27] Process [edit] Michelangelo regarded a single block of stone as containing all the possible conceptions for a work of art, and believed that the artist's task is sculpting the marble block to reveal the ideal form within, an expression of his Neo-Platonic belief that body and mind are separate, and must work in concert and strive to attain union with one another and with the divine.[31][32] In later years, speaking of his early commissions sculpting marble, he contended that he was merely liberating figures that were already existent in the stone, and that he could see them in his mind's eye.[33] Giorgio Vasari wrote of Michelangelo sculpting the Prisoners that his method was to chisel the parts in highest relief first, then gradually revealing the lower parts. According to Franca Falletti, the passage describes Michelangelo's process of working marble in general. Lengthy preparatory work was done before the actual sculpting began – this included sketches, drawings and the making of small-scale terracotta or wax models. After these preliminary studies he went directly to sculpting the marble, using the method described by Vasari. He chiseled layer after layer from the main face of the stone, and then gradually more and more of the other sides. The unfinished state of the Prisoners demonstrates this process, and David must have been sculpted in the same manner.[30] The massive block of white marble that was to become the David, measuring nine braccia in length, was of bianco ordinario grade stone, rather than the superior statuario. It came from the old Roman Fantiscritti quarry at the centre of the Carrara marble basins,[15] and had been transported by oxen-pulled carts to the sea, whence it was carried on barges dragged by oxen up the river Arno to Florence.[30][34] The Operai del Duomo had raised the block to an upright position prior to the first inspection of their purchase, but a scaffolding had to be built so that Michelangelo could reach every part. The artist, who made his steel chisels himself,[15] began cutting the stone with the subbia, a heavy, pointed iron tool used to rough out the main mass, before he employed the two-toothed shorter blade called the calcagnuolo.[25] By the time he began to use the three-toothed gradina,[35] a serrated claw chisel whose marks are seen in his unfinished sculptures,[36] the basic form of the statue was emerging from the matrix. When he sculpted David's hair and the pupils of his eyes, he used the trapano, a drill worked with a bow,[37] like the ancient sculptors.[39] Michelangelo did without flat chisels in his sculpturing, and brought his pieces to the state of non finito almost entirely with toothed chisels. During the 2003 restoration of David, Italian researchers observed marks of the subbia, the sharpened subbia da taglio, the slightly flattened unghietto (fingernail), and the gradina, as well as marks from a smaller-toothed chisel, the dente di cane (dog's tooth). They found no evidence of Michelangelo using flat chisels in the work.[35] A node of marble on the gigante that Michelangelo chiseled away before he began work on David in earnest has been interpreted by historians as a knot of drapery, based on the surmise that Agostino di Duccio's figure was intended to be clothed. Irving Lavin proposes that the node may have been a point, that is, a knob of marble left purposely by Agostino as a fixed reference for a mechanical transfer measuring off his statue from the model.[40] Lavin suggests that Agostino's aborted attempt was the result of an error in his pointing system, and that if his conjecture is correct, it may illuminate a note added in the margin next to the passage in the commission giving il gigante to Michelangelo:[41] The said Michelangelo began to work on the said giant on the morning of 13 September 1501, although a few days earlier, on 9 September, he had with one or two blows of the chisel (uno vel duo ictibus) removed a certain nodus (quoddam nodum) that it had on its chest.[41] Placement [edit] On 25 January 1504, when the sculpture was nearing completion, Florentine authorities had to acknowledge there would be little possibility of raising the 5.17 metre high statue[42] weighing approximately 8.5 tons[43] to the roof of the cathedral. They convened a committee of 30 Florentine citizens that included many artists, including Leonardo da Vinci and Sandro Botticelli, to decide on an appropriate site for David.[44][45] While nine different locations for the statue were discussed, the majority of members seem to have been closely split between two sites.[44] One group, led by Giuliano da Sangallo and supported by Leonardo and Piero di Cosimo, among others, believed that, due to the imperfections in the marble, the sculpture should be placed under the roof of the Loggia dei Lanzi on Piazza della Signoria; the other group thought it should stand at the entrance to the Palazzo della Signoria, the city's town hall (now known as Palazzo Vecchio). Another opinion, shared by Botticelli and Cosimo Rosselli, was that the sculpture should be situated in front of the cathedral.[46][47] In June 1504, David was installed next to the entrance to the Palazzo della Signoria, replacing Donatello's bronze sculpture of Judith and Holofernes,[48] which also embodied a theme of heroic resistance.[49][50] It took four days to move it the half mile from the cathedral's workshop into the Piazza della Signoria. The statue was suspended in a wooden frame and rolled on fourteen greased logs by more than 40 men.[51] Later that summer, the sling and tree-stump support were gilded, and the figure was given a gilt loin-garland.[53] Later history [edit] In 1525 the block of marble intended to be the pendant for the David fell off a barge into the river Arno as it was being transported to Florence. Vasari wrote that it had jumped into the river in despair when it heard that Baccio Bandinelli would be carving it rather than Michelangelo, to whom the commission for a colossal statue of Hercules and Cacus at the entrance to the Palazzo della Signoria had originally been given.[54][55] In the mid-1800s, small cracks were noticed on the left leg on the David, which can possibly be attributed to an uneven sinking of the ground under the massive statue.[56] In 1873, it was removed from the piazza to protect it from damage, and was moved to the Accademia Gallery where it would attract many visitors. The sculpture was secured in a wheeled wooden crate, and moved slowly across the city from 30 July to 10 August that year. Its 16th-century base, said to be decrepit in contemporary reports, was lost when the crate was disassembled. A model of the crate is in the Museo di Casa Buonarroti, the house-museum in Florence's Via Ghibellina where Michelangelo lived. The statue was not placed in its permanent setting in the Accademia until 1882. The architect Emilio De Fabris, professor at the Accademia, designed a tribune to house the David in a vaulted interior exedra, towards the apse, where it was bathed in light that streamed in through windows in the dome above.[57] A replica was placed in the Piazza della Signoria in 1910.[58][59] In 1991, Piero Cannata, an artist whom the police described as deranged, attacked the statue with a hammer he had concealed beneath his jacket and damaged the second toe of the left foot. He later said that a 16th-century Venetian painter's model ordered him to do so. Cannata was restrained by museum patrons until the police arrived.[60] Fragments fell to the floor, and three tourists were caught by guards as they were trying to leave the gallery with pieces in their pockets.[61] The state of preservation of the David has been monitored and evaluated since 2000 using high-resolution 3D scanning, photogrammetry, finite element method (FEM) analyses, and in situ fracture monitoring through fibre optic Bragg gratings. These observations have shown that in its present vertical orientation, with the basal plinth horizontal, the centre of gravity of the base does not align with the David's centre of gravity. Nevertheless, FEM analysis suggests that the statue is stable in its current position and indicates that its forward inclination of 1 degree to 3 degrees has played a major part in the development of cracks in the ankles. In 2006, Borri and Grazini, using historical analysis and a finite element model of the David, identified the probable cause of the cracks in its legs as a slight forward inclination of the statue that developed after the flood of 1844 in Florence.[62] The statue being located outdoors in front of the Palazzo della Signoria (Palazzo Vecchio) from 1504 to 1873, this inclination likely occurred because of the "uneven subsidence and rotation of the statue's foundations".[63] Further damage occurred with the additional weight placed on the statue when, in 1847,[64] Clemente Papi made a plaster mould composed of more than 1,500 separate segments, some weighing as much as 680 kg.[65] The sculpture was also inclined on other occasions, such as when it was moved in 1873 to its placement in the Galleria dell'Accademia,[63] after which the tilt was corrected.[64] Ultrasonic crack assessment tests carried out by Pascale and Lolli in 2014 determined that cracks in the broncone, the tree trunk against which the David's right leg rests, are the most worrisome of those in the statue. The left ankle and the area where the left heel and the base are attached also show cracks of critical concern.[66] Some scholars have suggested that the relative weakness caused by the cracks in its legs could make the statue vulnerable to the vibrations of foot traffic from visitors to the gallery. Nearly a million and a half tourists (about four thousand people each day it is open) visit the Accademia Gallery annually to see the David. In 2015, Pieraccini et al. measured its dynamic movements with interferometric radar. Measurements were made of such displacements on two days: Monday, 27 July and Tuesday, 28 July 2015;[64] on Monday the Accademia is closed, while Tuesday is statistically the peak attendance day. Their results did not show a significant increase in the vibration amplitude on days the Accademia was open, compared to days it was closed.[62] In 2010, a dispute over the ownership of David arose when, based on a legal review of historical documents, the municipality of Florence claimed ownership of the statue in opposition to the Italian Culture Ministry, which disputes the municipal claim.[67][68] Interpretation [edit] The pose of Michelangelo's David is unlike that of earlier Renaissance depictions of David. The bronze statues by Donatello and Verrocchio represented the hero standing victorious over the head of Goliath,[69] and the painter Andrea del Castagno had shown the boy in mid-swing, even as Goliath's head rested between his legs,[70] but no earlier Florentine artist had omitted the giant altogether. According to such scholars as Howard Hibbard, David is depicted before his battle with Goliath.[71] Rather than being shown victorious over a foe much larger than he, David looks wary as he sizes up the giant Goliath before the battle has actually taken place. His brow is drawn, his neck tense, and the veins bulge out of his lowered right hand.[72] His left hand holds a sling that is draped over his shoulder and down to his right hand, which holds the handle of the sling.[73][21] The twist of his body in contrapposto, standing with most of its weight on his right foot and the other leg forward, effectively conveys to the viewer a sense of potential energy, the feeling that he is about to move.[74] The statue is a Renaissance interpretation of a common ancient Greek theme of the standing heroic male nude. In the Renaissance, contrapposto poses were thought of as a distinctive feature of antique sculpture, initially manifested in the Doryphoros of Polykleitos (c. 440 BC). This is typified in David; this classic pose causes both hips and shoulders to rest at opposing angles, giving a slight s-curve to the entire torso. The contrapposto stance is emphasized by the left leg stepping forward,[58] and by the contrasting positions of the arms: the left arm raised with its hand to the shoulder and the other hand touching the thigh.[75] Michelangelo's David has become one of the most recognized works of Renaissance sculpture; a symbol of strength and youthful beauty. The colossal size of the statue alone impressed Michelangelo's contemporaries. Vasari described it as "certainly a miracle that Michelangelo was able to raise up one who had died",[76] and then listed all of the largest and most grand of the ancient statues that he had ever seen, concluding that Michelangelo's work surpassed "all ancient and modern statues, whether Greek or Latin, that have ever existed."[77] The proportions of the David are atypical of Michelangelo's work as well as of antique models; the figure has an unusually large head and hands (particularly apparent in the right hand).[78] These enlargements may be due to the fact that the statue was originally intended to be placed on the cathedral roofline, where the important parts of the sculpture may have been accentuated in order to be visible from below. The small size of the genitals, though, is in line with his other works and with Renaissance conventions in general. The statue is unusually slender (front to back) in comparison to its height, which may be a result of the work done on the block before Michelangelo began carving it. A naturalistic rendition of the nude human body, if rendered successfully, has an erotic aspect.[76] Vasari alludes to the statue's sexual locus when he acclaims the figure's "very divine flanks". The flanks (fianchi) frame this part of the body, the nexus of its carnality.[79] Antonio Forcellino calls the David's sexual organs "the most disquieting genitals of Renaissance sculpture", referring to the manner in which the small bulge, typical of adolescence, frames a tuft of pubic hair that "supports a penis full of energy and displays the testicles, also full of vigour".[80] Commentators have noted the presence of foreskin on David's penis, which may appear at odds with the Judaic practice of circumcision. An artistic deviation from what very likely would have been accurately portrayed as a circumcised penis, it is in keeping with the conventions of Renaissance art,[81][82] in which the Christ Child, for example, is represented as being uncircumcised, although clearly older than the eight days compelled by Jewish scripture.[83] Political implications [edit] David the giant-killer had long been seen as a political symbol in Florence, and images of the biblical hero already carried political implications there.[84] Donatello's bronze David, made for Cosimo de' Medici, perhaps c. 1440, had been appropriated by the Signoria in 1494, when the Medici were exiled from Florence, and the statue was installed in the courtyard of the Palazzo della Signoria, where it symbolized the Republican government of the city. According to Levine, by placing Michelangelo's statue in the same general location, it is likely that the David was conceived as politically controversial before Michelangelo began work on it,[85][6] as well as an artistic response to that earlier work. While the originally intended location for the David was high up on the cathedral, its location was still in question. The commission, consisting of the most prominent artists of the day, debated in great detail the best placement for the colossal figure to be seen and appreciated, with consideration for its aria, moda, and qualità (its aura, style, and excellence).[47] The political overtones led to the statue being attacked twice in its early days. Protesters pelted it with stones the year it debuted, and, in 1527, an anti-Medici riot resulted in its left arm being broken into three pieces. Giorgio Vasari later claimed that he and his friend Francesco Silviati, although just boys, braved the violence and saved the pieces, storing them in Silviati's father's house.[86] Machiavelli wrote of the long Florentine tradition that represented David as defender of the patria, a convention most completely developed in the arts – especially in the series of statues, from Donatello's to Michelangelo's, depicting him as the protector of his people. Having returned the armour given him by King Saul, and choosing to fight Goliath with his own weapons – a sling and a knife – David personified the citizen soldier of Florence,[69] and the city's ability to defend itself with its own arms.[87] Rather than placing Goliath's severed head between or underneath the David's feet, Michelangelo carved the stump of a tree on the back of the right leg, a device conventionally employed by sculptors in ancient times to help support the weight of a statue. In a contemporary document the stump was called broncone, the same Italian word used for Lorenzo de' Medici's personal emblem, or impresa – a dead branch of laurel sprouting new green growth. Soon after David's installation in front of the Palazzo della Signoria, certain adornments were added that have since disappeared: the stump and the strap of the sling were gilded, a vine of copper leaves was strung around the groin covering the genitals, and a laurel wreath of gilt bronze was added.[88][89] The gilt garland of leaves did not entirely negate the figure's erotic aura. Machiavelli penned a brief text in satirical vein describing the laws of an imaginary society devoted to seeking pleasure. Its people were required to violate all the normal rules of society and decorum, and were punished with even more pleasurable tasks if they failed to satisfy these demands. For example, women offenders would be forced to gaze at the David closely, "with eyeglasses" (a notable product of the city).[90][91] According to Paoletti, a naked colossus situated in the primary public space of the city was necessarily politically charged, the David's nakedness being more than merely a reference to the sculpture of antiquity that inspired the arts in the Italian Renaissance. Standing at the entrance to Florence's town hall, it had power as a political symbol, using an image of the sexualized human body to represent the corporality of the Florentine body politic. As a civic metaphor, it resonated with the everyday life experiences of 16th-century Florentine people among all the social classes.[92] Pedestal [edit] Kathleen Weil-Garris Brandt makes the case that pedestals are of great significance for Renaissance sculpture, and, following Rosalind Krauss,[93] that it is the support, not the statue itself that decides the monumentality of a work of sculpture. She describes how the pedestal that supports the David has been neglected in the literature as a component of Michelangelo's extraordinary achievement with his completion of the statue, and is usually not seen in photographs. The bases of most Renaissance statues have historically suffered a similar fate.[94] When Michelangelo was young, pedestals were seldom a matter of much consideration to the sculptor; free‑standing sculpture executed by contemporaries was rare and was made to surmount antique or new columns. Imbasamento is the Italian word generally used for the supports of sculpture; these and other kinds of pedestals were customarily made by scarpellini, that is, professional carvers of architectural ornament, or ideally by other sculptors.[94] On 11 June 1504, the architects in charge of the transportation of the statue to the Palazzo della Signoria, Simone del Pollaiolo and Antonio da Sangallo the Elder, were ordered by the Operai of the Cathedral to make a marble base subtus et circum circa pedes gigantis (underneath and around the feet of the giant). Because the David was already situated, the pedestal apparently consisted of a sheath surrounding a core rather than a solid block of stone meant to support the weight of the statue. As it was architects who built and installed the pedestal, they have been credited entirely for its execution, but Brandt thinks it more likely to have been Michelangelo's idea.[94] According to Brandt, the David marked a pivotal event in the history of pedestals: the first still existent use in the Renaissance of an antique architectural socle form to support a sculptural colossus. Practical considerations such as the support's ability to bear the weight and the difficulty of installation were necessarily taken into account, but otherwise its dimensions and form were a matter of free discretion. Nevertheless, the pedestal was not an arbitrary decorative element that could be exchanged for another. In one sense it was an extension of the architectural surroundings, but its form responded to the figure it supports. Thereafter, pedestals would become integral parts of sculptures.[94] Alison Wright, drawing on the work of social historian Richard Trexler, calls the innovative installation of statues in the Piazza della Signoria in 16th-century Florence the "greatest public forum for the display of modern freestanding sculpture in Renaissance Italy", a reflection of the importance given in the city to upholding collective and personal honour. The pedestal created for Michelangelo's colossus was novel in this social context, installed as the terminus of the balustrade that stood before the town hall, the Palazzo della Signoria. Considered within this framing of the performative and ritual functions of the city's important sites, pedestals expressed the will to do honour in public and sacred spaces.[93] Conservation [edit] Officials responsible for the artistic heritage of Florence had become concerned about the David's physical state by the middle of the 19th century. A cleaning of the statue had apparently occurred about 1746, and in 1813 the sculptor Stefano Ricci gave the statue a gentle cleaning and applied a thin coat of encaustic,[95] consisting of beeswax, possibly mixed with linseed oil, to its surface as a protective coating.[96] The sculptor Lorenzo Bartolini recommended in 1842 that a thorough conservation of the statue should be performed,[57] and, like most of the advisory committee formed in 1504, that the David be moved to the Loggia della Signoria for its protection. In 1843 the sculptor Aristodemo Costoli cleaned the statue with a 50 per cent hydrochloric acid solution that removed the encaustic coating and left the marble surface pitted and porous, damaging the statue far more than the weathering it had suffered in the previous 400 years.[95] During World War II, David, along with Michelangelo's other sculptures in the Accademia, was packed in sand and entombed in brick to protect it from being damaged.[97] In 1991, the left foot of the statue was damaged by an unemployed Italian man named Piero Cannata, who was carrying a hammer he had hidden under his jacket[60] and broke off the tip of the second toe.[98] The samples obtained from that incident allowed scientists, utilising spectroscopic, isotopic and petrographic analysis simultaneously, to determine that the marble used was obtained from the Fantiscritti quarries in Miseglia, the central of three small valleys in Carrara.[99] The chemists and spectroscopists who conducted these tests say the marble of the David consists entirely of the mineral calcite.[100] Because of the marble's surface degradation, on the eve of the 500th anniversary of the sculpture's unveiling in 2004 the statue was given its first major cleaning since 1843.[101] A scientific committee was formed to advise in the restoration. The committee was composed of university professors and scientists from the Consiglio Nazionale delle Ricerche (National Research Council) and the Opificio delle Pietre Dure, a government art-restoration department. They carried out tests and analyses and determined that the statue should be cleaned by poultices soaked in distilled water and applied to the sculpture's surface.[102] Agnese Parronchi, the restorer originally selected by Florentine museums superintendent Antonio Paolucci, assessed the David's condition herself by examining hundreds of photographs and performing a series of tests. Consequently, she opposed the committee's pre-specified method, fearing further deterioration, and insisted that it should be cleaned dry, with soft brushes and motorized erasers. Paolucci demanded that she use the wet pack method instead, but Parronchi refused.[103] After Parronchi resigned, restorer Cinzia Parnigoni undertook the job of restoring the statue under the direction of Franca Falletti, director of the Accademia Gallery.[104] Researchers at the University of Siena (Università di Siena) performed an investigation of the small cavities, about a millimetre in diameter and of irregular distribution, with which the marble surface of the David is covered. Their macroscopic examination determined that the cavities have not resulted from deterioration of the stone, but rather that they can be attributed to the mineralogical structure of the marble taken from quarries in the Apuan Alps. The local quarrymen in their dialect call those less than a millimetre in size taròli and those several millimetres or larger they call tarme. Observation with optical fibres and magnifying lenses shows that the marble immediately surrounding the cavity may present milky white or greyish "halos" averaging a few millimetres wide. Many of them are completely or partly filled with various substances; this deposition is caused by the statue's exposure over centuries to atmospheric agents or to past restoration processes.[105] As of 2024 temporary scaffolding is erected around the statue every two months and in an operation that takes a half a day, dust and spider's webs are removed using soft-bristled brushes of various sizes and a bristle tipped vacuum cleaner.[106] Replicas [edit] Main article: Replicas of Michelangelo's David Michelangelo's David has stood on display at Florence's Galleria dell'Accademia since 1873.[107][108] On 29 August 1846, Grand Duke Leopold II of Tuscany commissioned Clemente Papi, a student of Stefano Ricci,[95] to make a plaster cast of the David. Papi, a master bronze caster, was experienced in making moulds and reproductions, and set about the project in the summer of 1847. He probably used wax to release the mould rather than oil or fat. This was less damaging than the encaustic wax used by Ricci in 1813, but residue from the gypsum of the plaster mould appears to be present in places where removing coatings is difficult, such as between the David's toes.[109] This cast was to be moved to various locations in the city to determine their suitability for the statue. Papi first made two plaster replicas of the marble David from his moulds, one of which was given in 1857 by Leopold II to Queen Victoria of England.[109] A decree by the Tuscan state on 2 October 1858 ordered the casting of the entire figure of the David, which Papi completed in August 1866, sending the finished statue to the 1867 Paris Exposition the next year. His intention had always been to cast a bronze replica, and this cast was eventually raised on the Piazzale Michelangelo in 1875 to commemorate the fourth centenary of Michelangelo's birth.[95] The statue sent to Queen Victoria was intended as a diplomatic gesture by Duke Leopoldo II to assuage any ill feelings caused by his refusal to allow the sending of a notable Domenico Ghirlandaio painting from Florence to London. Apparently Queen Victoria was surprised to receive such a gift, and gave the statue to the newly opened South Kensington Museum, now the Victoria and Albert Museum.[109] Papi's copy, which was sent to the Accademia di delle Belle Arti of Florence where it resides in the Gipsoteca (Gallery of Plaster Casts) of the Istituto Statale d'Arte, has been used to make all subsequent casts of the David.[110] The plaster cast of David at the Victoria and Albert Museum has a detachable plaster fig leaf which is displayed nearby. The fig leaf was created in response to Queen Victoria's apparent shock upon first viewing the statue's nudity, and was hung on the figure by means of two strategically placed hooks prior to royal visits.[111] On 12 November 2010, a fibreglass replica of David was installed atop a buttress on a corner of the north tribune below the roofline of Florence Cathedral for a week.[112] Photographs of the installation reveal the statue the way the Operai who commissioned the work originally expected it to be seen.[113] Michelangelo's statue is the best known and the most often reproduced of all the artistic works created in Florence.[114] Later reproductions have been made in plaster and in simulated marble fibreglass, signifying an attempt to lend an atmosphere of culture even in some unlikely settings such as beach resorts, gambling casinos and model railroads.[115] Some parody reproductions feature uncharacteristic embellishments, such as a 1966 reproduction that captured attention in San Francisco for portraying David in leather attire.[116][117] See also [edit] List of works by Michelangelo List of tallest statues Sculpture in the Renaissance period Bibliography [edit] External videos Michelangelo's David, Smarthistory Coonin, Arnold Victor (2014). From Marble to Flesh: The Biography of Michelangelo's David. Florence: B'Gruppo. ISBN 978-88-97696-02-5. Goffen, Rona (2002). Renaissance Rivals: Michelangelo, Leonardo, Raphael, Titian. Yale University Press. ISBN 0300105894. Hall, James (2005). Michelangelo and the Reinvention of the Human Body. New York: Farrar, Straus and Giroux. Hartt, Frederick (1982). Michelangelo: The Complete Sculpture. New York: Abrams Books. Hibbard, Howard (1974). Michelangelo. New York: Harper & Row. Hirst, Michael (2000), "Michelangelo in Florence: David in 1503 and Hercules in 1506", The Burlington Magazine, vol. 142, pp. 487–492 Hughes, Anthony (1997). Michelangelo. London: Phaidon. Levine, Saul (1974), "The Location of Michelangelo's David: The Meeting of January 25, 1504", The Art Bulletin, vol. 56, pp. 31–49 Natali, Antonio; Michelangelo (2014). Michelangelo Inside and Outside the Uffizi. Florence: Maschietto. ISBN 978-88-6394-085-5. Poeschke, Joachim (1996). Michelangelo and His World: Sculpture of the Italian Renaissance. Harry N. Abrams. ISBN 978-0-8109-4276-9. Pope-Hennessy, John (1996). Italian High Renaissance and Baroque Sculpture. An Introduction to Italian Sculpture. Vol. III (Revised 4th ed.). London: Phaidon. Seymour, Jr., Charles (1967). Michelangelo's David: A Search for Identity. Mellon Studies in the Humanities. Pittsburgh: University of Pittsburgh Press. Vasari, Giorgio (1963) [First published 1550/1568]. "Life of Michelangelo". The Lives of the Artists (? ed.). London: Penguin. pp. 325–442.
5438	dbpedia	1	8	https://www.hollywoodreporter.com/movies/movie-news/italys-davide-di-donatello-nominations-176076/	en	Italy’s Davide di Donatello Nominations Announced	https://www.hollywoodrep…icon-512x512.png	https://www.hollywoodrep…icon-512x512.png	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/24cover.lores_.jpg?w=1154", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/24cover.lores_.jpg?w=1154", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/uploads/2024/07/Toxic.jpg?w=260&h=150&crop=1", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/New-Dawn-Fades-2.jpg?w=260&h=150&crop=1", "https://www.hollywoodreporter.com/wp-content/uploads/2024/05/Competition-Anora-171954-H-2024.jpg?w=260&h=150&crop=1", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/Blake-Lively-It-Ends-With-Us-publicity-H-2024.jpg?w=260&h=150&crop=1", "https://www.hollywoodreporter.com/wp-content/uploads/2024/06/GettyImages-1456051466.jpg?w=260&h=150&crop=1", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/Gena-Rowlands-obit-temp-getty-H-2024-1.jpg?w=260&h=150&crop=1", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://cdn.shopify.com/s/files/1/0238/6647/products/2019_37_540x.jpg", "https://pixel.quantserve.com/pixel?a.1=&a.2=p-31f3D02tYU8zY" ]	[]	[]	[ "" ]	null	[ "Eric J. Lyman" ]	2011-04-07T07:42:38+00:00	"We Believed" by Mario Martone is the top title with 13 nominations.	en	https://www.hollywoodrep…cons/favicon.png	The Hollywood Reporter	https://www.hollywoodreporter.com/movies/movie-news/italys-davide-di-donatello-nominations-176076/	ROME — Noi Credevamo (We Believed), a epic historical drama that tells the story of Italy’s 1861 unification, was the most nominated film for the David di Donatello awards, which were announced Thursday. The film, which premiered at last year’s Venice Film Festival and released ahead of the 150th anniversary of the country’s unification, garnered 13 nominations, the most nominated film in a year where the honors were spread out, with 24 Italian films receiving a nomination in at least one category. Noi Credevamo, directed by Mario Martone, was one of just four films named in both the best film and best director category, two sets of nominations that usually see near complete overlap. Martone and Giancarlo de Cataldo were also nominated in the best screenplay category, and the film’s producer, Carlo Degli Esposti, was nominated in his category. But the film was shut out of the four main acting categories. The other two films nominated in both the best film and best director category were Luca Miniero’s Benvenuti al Sud (Welcome to the South), the second most nominated film with ten nods, La Nostra Vita (Our Life) from Daniele Luchetti, and Claudio Cupellini’s Una Vita Tranquilla (A Tranquil Life). Films named in just one of the categories were Basilicata Coast to Coast from Rocco Papaleo, Marco Bellocchio’s Sorelle mai (Never Sisters), Saverio Costanzo’s La Solitudine dei Numeri Primi (The Solitude of the First Numnbers), La Quattro Volte (the Four Times) from Michalangelo Frammartino, and Immaturi (The Immature Ones), directed by Paolo Genovese. In addition to Noi Credevamo, Basilicata Coast to Coast, Immaturi, La Nostra Vita, and Una Vita Tranquilla were all named in the best screenplay section. In the best non-Italian film category, Darren Aronofsky’s Black Swan, Hereafter from Clint Eastwood, The Social Network from David Fincher, Christopher Nolan’s Inception, and Incendies from Denis Villeneuve were nominated. The awards will be presented May 6 in Rome.
5438	dbpedia	3	12	https://awards.wga.org/awards/awards-recipients/special-achievement/suso-damico	en	Suso D’amico			[ "https://awards.wga.org/NewWGAAwards/images/AwardsLogo23NoYear.png", "https://awards.wga.org/newwgaawards/images/wga-logo-17-2945-whitetype-borderbox.png" ]	[]	[]	[ "" ]	null	[]	null		en			null	2009 Award Recipient Legendary Italian screenwriter Suso D’Amico has been chosen as the first recipient of the WGAW’s newly created Jean Renoir Award for Screenwriting Achievement. D’Amico is credited with writing more than 100 films, including The Bicycle Thief, Rocco and His Brothers, and Big Deal on Madonna Street. Named after the immortal filmmaker Renoir, who wrote almost all of his films, the lifetime achievement award will be given on an occasional basis to honor screenwriters working outside the U.S. and in other languages. “Renoir used to say ‘everyone has his reasons.’ No other observation, it seems to me, has said more about the way to view humanity or suggested a better way for writers to humanize their creations,” said screenwriter Robert Towne, who served on the Guild committee which established the new international award. “Renoir was that rarest of beings, a great artist and a great teacher. And though Suso D'Amico has famously referred to herself as an artisan not an artist, may this award help disabuse her of that notion. My heartfelt congratulations to Ms. D'Amico.” “We felt that Ms. D’Amico deserved this honor for The Bicycle Thief alone,” commented WGAW Board of Directors member Nicholas Kazan, who also served on the committee. “In light of her astonishing list of credits, our only regret is that we can’t give it to her twice.” Along with other honorees, D’Amico will be feted at the 2009 Writers Guild Awards’ West Coast ceremony on Saturday, February 7, 2009, in Los Angeles. Nominated for an Academy Award in 1966 for her screenplay for Casanova ’70 (shared with Agenore Incrocci, Furio Scarpelli, Mario Monicelli, Tonino Guerra, and Giorgio Salvioni), D’Amico has previously earned David di Donatello Awards for Best Screenplay for Speriamo che sia femmina (Let’s Hope It’s a Girl, 1986, shared with Tullio Pinelli, Mario Monicelli, Leonardo Benvenuti, and Piero De Bernardi) and Il Male oscuro (The Obscure Illness, 1990, shared with Tonino Guerra), as well as receiving a Special David Award in 1980 and a 50th Anniversary Special David Award in 2006, as well as the Luchino Visconti Award, a special honor given on the tenth anniversary of Visconti’s death. Over the past six decades, D’Amico has garnered a stunning eight Silver Ribbon Awards for her screenwriting work from the Italian National Syndicate of Film Journalists, including shared nods for Il Male oscuro (The Obscure Illness, 1991), L’Inchiesta (The Inquiry, 1987), Speriamo che sia Femmina (Let’s Hope It’s a Girl, 1986), Rocco e i suoi fratelli (Rocco and His Brothers, 1960), La Sfida (The Challenge) and I Soliti ignoti (Big Deal on Madonna Street, 1959, tied that year), E primavera… (It’s Forever Springtime, 1950), Ladri di biciclette (The Bicycle Thief, 1949), and Vivere in pace (To Live in Peace, 1947). D’Amico has also received a pair of honorary awards from the Venice Film Festival for lifetime achievement: the Career Golden Lion in 1994 and the Pietro Bianchi Award in 1993. D’Amico’s other writing credits include writing or co-writing classic Italian films such as Bruno Is Waiting on the Car, Private Affairs, History, White Nights, Husbands in the City, The Anatomy of Love, and Red Shirts, as well as television miniseries including Jesus of Nazareth and The Adventures of Pinocchio. The Guild’s inaugural Jean Renoir Award for Screenwriting Achievement is given to “that international writer who has advanced the literature of motion pictures through the years and who has made outstanding contributions to the profession of screenwriter.”
5438	dbpedia	2	2	https://en.wikipedia.org/wiki/David_di_Donatello_for_Best_Director	en	David di Donatello for Best Director	https://en.wikipedia.org/static/favicon/wikipedia.ico	https://en.wikipedia.org/static/favicon/wikipedia.ico	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4b/Anna_Maria_Ferrero_and_Gianni_Franciolini%2C_1953.jpg/145px-Anna_Maria_Ferrero_and_Gianni_Franciolini%2C_1953.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/2/21/Federico_Fellini_in_the_Seventies.jpg/145px-Federico_Fellini_in_the_Seventies.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/1/1e/Michelangelo_Antonioni_Cropped.jpg/145px-Michelangelo_Antonioni_Cropped.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/f8/Ermanno_Olmi.jpg/145px-Ermanno_Olmi.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/Vittorio_De_Sica_%281962%29.jpg/145px-Vittorio_De_Sica_%281962%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/2/24/Pietro_Germi_%281960%29.tif/lossy-page1-145px-Pietro_Germi_%281960%29.tif.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/8/8e/Zeffirelli_%28cropped%29.jpg/145px-Zeffirelli_%28cropped%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/2/23/Luchino_Visconti_1972.jpg/145px-Luchino_Visconti_1972.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/5/59/Dino_Risi_Cannes.jpg/145px-Dino_Risi_Cannes.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ed/MarioMonicelli.jpg/145px-MarioMonicelli.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/fe/Ettore_Scola_%281983%29.jpg/145px-Ettore_Scola_%281983%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3e/Marco_Bellocchio_70.jpg/145px-Marco_Bellocchio_70.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/1/1e/Taviani_brothers_Cannes_2015_%28cropped%2C_retouched%29.jpg/145px-Taviani_brothers_Cannes_2015_%28cropped%2C_retouched%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/c/c0/Bernardo_Bertolucci.jpg/145px-Bernardo_Bertolucci.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/f8/Giuseppe_Tornatore_Cannes_1994.jpg/145px-Giuseppe_Tornatore_Cannes_1994.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/2/28/Roberto_Benigni_%281998%29_cropped.jpg/145px-Roberto_Benigni_%281998%29_cropped.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/9/99/Avati_%28cropped%29.jpg/145px-Avati_%28cropped%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/8/88/Paolo_Sorrentino_Cannes_2017.jpg/145px-Paolo_Sorrentino_Cannes_2017.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6c/Nanni_Moretti_%282007%29.jpg/145px-Nanni_Moretti_%282007%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/8/85/Matteo_Garrone_cropped.jpg/145px-Matteo_Garrone_cropped.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/c/c7/Francesco_Rosi_Cannes.jpg/155px-Francesco_Rosi_Cannes.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/0/06/Ferzan_Ozpetek_3.jpg/155px-Ferzan_Ozpetek_3.jpg", "https://upload.wikimedia.org/wikipedia/en/thumb/9/96/Symbol_category_class.svg/16px-Symbol_category_class.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2007-06-01T08:48:26+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/David_di_Donatello_for_Best_Director	Award David di Donatello Award for Best DirectorAwarded forBest director of an Italian filmCountryItalyPresented byAccademia del Cinema ItalianoFirst awarded1956 (for direction in films released during the 1955/1956 film season)Currently held byGiorgio Diritti — Hidden Away (2020)Websitedaviddidonatello .it The David di Donatello Award for Best Director (Italian: David di Donatello per il miglior regista) is a film award presented annually by the Accademia del Cinema Italiano (ACI, Academy of Italian Cinema) to recognize the outstanding direction of a film director who has worked within the Italian film industry during the year preceding the ceremony.[1] The award was first given in 1956, and became competitive in 1981.[2] Nominees and winners are selected via runoff voting by all the members of the Accademia.[3][4] Francesco Rosi is the record holder with six awards in the category, received from 1965 to 1997, followed by Mario Monicelli and Giuseppe Tornatore with four. Winners and nominees [edit] Below, winners are listed first in the colored row, followed by other nominees.[1] 1950s [edit] Year Director Film Ref. 1955/56 (1st) Gianni Franciolini Roman Tales 1956/57 (2nd) Federico Fellini Nights of Cabiria 1958/59 (4th) Alberto Lattuada Tempest 1960s [edit] Year Director Film Ref. 1959/60 (5th) Federico Fellini La dolce vita 1960/61 (6th) Michelangelo Antonioni La notte 1961/62 (7th) Ermanno Olmi Il posto 1962/63 (8th) Vittorio De Sica The Condemned of Altona 1963/64 (9th) Pietro Germi Seduced and Abandoned 1964/65 (10th) Vittorio De Sica Marriage Italian-Style Francesco Rosi The Moment of Truth 1965/66 (11th) Alessandro Blasetti Me, Me, Me... and the Others Pietro Germi The Birds, the Bees and the Italians 1966/67 (12th) Luigi Comencini Misunderstood 1967/68 (13th) Carlo Lizzani Bandits in Milan 1968/69 (14th) Franco Zeffirelli Romeo and Juliet 1970s [edit] Year Director Film Ref. 1969/70 (15th) Gillo Pontecorvo Burn! 1970/71 (16th) Luchino Visconti Death in Venice 1971/72 (17th) Sergio Leone Duck, You Sucker! Franco Zeffirelli Brother Sun, Sister Moon 1972/73 (18th) Luchino Visconti Ludwig 1973/74 (19th) Federico Fellini Amarcord 1974/75 (20th) Dino Risi Scent of a Woman 1975/76 (21st) Mario Monicelli My Friends Francesco Rosi Illustrious Corpses 1976/77 (22nd) Mario Monicelli An Average Little Man Valerio Zurlini The Desert of the Tartars 1977/78 (23rd) Ettore Scola A Special Day 1978/79 (24th) Francesco Rosi Christ Stopped at Eboli 1980s [edit] Year Director Film Ref. 1979/80 (25th) Marco Bellocchio A Leap in the Dark Gillo Pontecorvo Ogro 1980/81 (26th) Francesco Rosi Three Brothers Luigi Comencini Voltati Eugenio Ettore Scola Passion of Love 1981/82 (27th) Marco Ferreri Tales of Ordinary Madness Salvatore Piscicelli The Opportunities of Rosa Carlo Verdone Talcum Powder 1982/83 (28th) Paolo and Vittorio Taviani The Night of the Shooting Stars Gianni Amelio Blow to the Heart Ettore Scola That Night in Varennes 1983/84 (29th) Ettore Scola Le Bal Federico Fellini And the Ship Sails On Nanni Loy Where's Picone? 1984/85 (30th) Francesco Rosi Carmen Pupi Avati Bank Clerks Paolo and Vittorio Taviani Kaos 1985/86 (31st) Mario Monicelli Let's Hope It's a Girl Federico Fellini Ginger and Fred Nanni Moretti The Mass Is Ended 1986/87 (32nd) Ettore Scola The Family Pupi Avati Christmas Present Francesco Maselli A Tale of Love 1987/88 (33rd) Bernardo Bertolucci The Last Emperor Federico Fellini Intervista Nikita Sergeevič Mikhalkov Dark Eyes 1988/89 (34th) Ermanno Olmi The Legend of the Holy Drinker Marco Risi Forever Mery Giuseppe Tornatore Cinema Paradiso 1990s [edit] Year Director Film Ref. 1989/90 (35th) Mario Monicelli Dark Illness Gianni Amelio Open Doors Pupi Avati The Story of Boys & Girls Federico Fellini The Voice of the Moon Nanni Loy Scugnizzi Nanni Moretti Red Wood Pigeon 1990/91 (36th) Marco Risi Boys on the Outside Ricky Tognazzi Ultrà Francesca Archibugi Towards Evening Daniele Luchetti The Yes Man Gabriele Salvatores Mediterraneo 1991/92 (37th) Gianni Amelio The Stolen Children Marco Risi The Rubber Wall Carlo Verdone Maledetto il giorno che t'ho incontrato 1992/93 (38th) Roberto Faenza Jonah Who Lived in the Whale Ricky Tognazzi The Escort Francesca Archibugi The Great Pumpkin 1993/94 (39th) Carlo Verdone Let's Not Keep in Touch Nanni Moretti Caro diario Pasquale Pozzessere Father and Son 1994/95 (40th) Mario Martone Nasty Love Gianni Amelio Lamerica Alessandro D'Alatri No Skin 1995/96 (41st) Giuseppe Tornatore The Star Maker Bernardo Bertolucci Stealing Beauty Carlo Lizzani Celluloide Paolo Virzì August Vacation 1996/97 (42nd) Francesco Rosi The Truce Roberto Faenza Marianna Ucrìa Wilma Labate My Generation Gabriele Salvatores Nirvana Maurizio Zaccaro The Game Bag 1997/98 (43rd) Roberto Benigni Life Is Beautiful Mario Martone Rehearsals for War Paolo Virzì Ovosodo 1998/99 (44th) Giuseppe Tornatore The Legend of 1900 Bernardo Bertolucci Besieged Giuseppe Piccioni Fuori dal mondo 2000s [edit] Year Director Film Ref. 1999/00 (45th) Silvio Soldini Bread and Tulips Marco Bechis Olympic Garage Ricky Tognazzi Canone inverso 2000/01 (46th) Gabriele Muccino The Last Kiss Marco Tullio Giordana One Hundred Steps Nanni Moretti The Son's Room 2001/02 (47th) Ermanno Olmi The Profession of Arms Giuseppe Piccioni Light of My Eyes Silvio Soldini Burning in the Wind 2002/03 (48th) Pupi Avati Incantato Marco Bellocchio My Mother's Smile Matteo Garrone The Embalmer Gabriele Muccino Remember Me, My Love Ferzan Özpetek Facing Windows 2003/04 (49th) Marco Tullio Giordana The Best of Youth Pupi Avati Christmas Rematch Marco Bellocchio Good Morning, Night Sergio Castellitto Don't Move Matteo Garrone First Love 2004/05 (50th) Paolo Sorrentino The Consequences of Love Gianni Amelio The Keys to the House Davide Ferrario After Midnight Andrea and Antonio Frazzi A Children's Story Ferzan Özpetek Cuore Sacro 2005/06 (51st) Nanni Moretti The Caiman Antonio Capuano Mario's War Michele Placido Romanzo Criminale Sergio Rubini Our Land Carlo Verdone My Best Enemy 2006/07 (52nd) Giuseppe Tornatore The Unknown Woman Marco Bellocchio The Wedding Director Emanuele Crialese Nuovomondo Daniele Luchetti My Brother is an Only Child Ermanno Olmi One Hundred Nails 2007/08 (53rd) Andrea Molaioli The Girl by the Lake Cristina Comencini Black and White Antonello Grimaldi Quiet Chaos Carlo Mazzacurati The Right Distance Silvio Soldini Days and Clouds 2008/09 (54th) Matteo Garrone Gomorrah Pupi Avati Giovanna's Father Fausto Brizzi Many Kisses Later Giulio Manfredonia We Can Do That Paolo Sorrentino Il Divo 2010s [edit] Year Director Film Ref. 2009/10 (55th) Marco Bellocchio Vincere Giorgio Diritti The Man Who Will Come Ferzan Özpetek Loose Cannons Giuseppe Tornatore Baarìa Paolo Virzì The First Beautiful Thing 2010/11 (56th) Daniele Luchetti La nostra vita Marco Bellocchio Sorelle Mai Saverio Costanzo The Solitude of Prime Numbers Claudio Cupellini A Quiet Life Michelangelo Frammartino Le Quattro Volte Paolo Genovese The Immature Mario Martone Noi credevamo Luca Miniero Benvenuti al Sud 2011/12 (57th) Paolo and Vittorio Taviani Caesar Must Die Emanuele Crialese Terraferma Marco Tullio Giordana Piazza Fontana: The Italian Conspiracy Nanni Moretti We Have a Pope Ferzan Özpetek Magnificent Presence Paolo Sorrentino This Must Be the Place 2012/13 (58th) Giuseppe Tornatore The Best Offer Bernardo Bertolucci Me and You Matteo Garrone Reality Gabriele Salvatores Siberian Education Daniele Vicari Diaz – Don't Clean Up This Blood 2013/14 (59th) Paolo Sorrentino The Great Beauty Carlo Mazzacurati The Chair of Happiness Ferzan Özpetek Fasten Your Seatbelt Ettore Scola How Strange to Be Named Federico Paolo Virzì Human Capital 2014/15 (60th) Francesco Munzi Black Souls Saverio Costanzo Hungry Hearts Mario Martone Leopardi Nanni Moretti Mia Madre Ermanno Olmi Greenery Will Bloom Again 2015/16 (61st) Matteo Garrone Tale of Tales Claudio Caligari Don't Be Bad Paolo Genovese Perfect Strangers Gianfranco Rosi Fire at Sea Paolo Sorrentino Youth 2016 (62nd) Paolo Virzì Like Crazy Marco Bellocchio Sweet Dreams Edoardo De Angelis Indivisible Claudio Giovannesi Fiore Matteo Rovere Italian Race 2017 (63rd) Jonas Carpignano A Ciambra Gianni Amelio Tenderness Paolo Genovese The Place Manetti Bros. Love and Bullets Ferzan Özpetek Napoli velata 2018 (64th) Matteo Garrone Dogman Valeria Golino Euphoria Luca Guadagnino Call Me By Your Name Mario Martone Capri-Revolution Alice Rohrwacher Happy as Lazzaro 2019 (65th) Marco Bellocchio The Traitor Matteo Garrone Pinocchio Claudio Giovannesi Piranhas Pietro Marcello Martin Eden Matteo Rovere The First King: Birth of an Empire 2020s [edit] Year Director Film Ref. 2020 (66th) Giorgio Diritti Hidden Away Gianni Amelio Hammamet Emma Dante The Macaluso Sisters Damiano and Fabio D'Innocenzo Bad Tales Susanna Nicchiarelli Miss Marx 2021 (67th) Paolo Sorrentino The Hand of God Leonardo Di Costanzo The Inner Cage Giuseppe Tornatore Ennio Gabriele Mainetti Freaks Out Mario Martone The King of Laughter 2022 (68th) Marco Bellocchio Exterior Night Gianni Amelio Lord of the Ants Roberto Andò Strangeness Felix Van Groeningen and Charlotte Vandermeersch The Eight Mountains Mario Martone Nostalgia Multiple wins and nominations [edit] See also [edit] Nastro d'Argento for Best Director Academy Award for Best Director Cinema of Italy References [edit]
5438	dbpedia	3	13	https://en.wikipedia.org/wiki/Fun_Is_Beautiful	en	Fun Is Beautiful	https://upload.wikimedia…Is_Beautiful.jpg	https://upload.wikimedia…Is_Beautiful.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/thumb/1/14/Fun_Is_Beautiful.jpg/220px-Fun_Is_Beautiful.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Italy_film_clapperboard.svg/35px-Italy_film_clapperboard.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2013-12-30T09:05:46+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Fun_Is_Beautiful	(Un sacco bello)Directed byCarlo VerdoneWritten byLeonardo Benvenuti Piero De Bernardi Carlo VerdoneProduced byRomano Caldarelli and Sergio LeoneStarringCarlo Verdone, Mario Brega, Renato ScarpaCinematographyEnnio GuarnieriEdited byEugenio AlabisoMusic byEnnio Morricone Release date Running time 97 minutesCountryItalyLanguageItalian Un sacco bello, internationally released as Fun Is Beautiful, is a 1980 Italian comedy film. The film, produced by Sergio Leone, marked the directorial debut of Carlo Verdone, as well his debut as main actor and as screenwriter.[1][2][3] For this film Verdone won a special David di Donatello Awards and the Nastro d'Argento for best new actor.[4] Plot [edit] Carlo Verdone plays three roles in three episodes joined together. In the first, the Roman hick Enzo organizes a trip to Poland for Ferragosto, hoping to ingratiate himself with the sexual favors of some beautiful Polish girl with the help of a generous supply of nylon stockings (in those years considered a luxury commodity in countries behind the Iron Curtain). In the second episode, the post-hippie Ruggero by some days in his native Rome, while at the traffic light distributing leaflets and asking for an offer of money for a new commune that his group is forming in Citta della Pieve, meets his father (Mario Brega) by chance, in the middle of traffic. His father believes that the guy has psychological problems, and so he asks the help of a priest, a teacher and a very problematic nephew. Mr. Mario then is going to change the mentality of the guy with the help of these wise people, in the hope that Ruggero and his girlfriend (who is also a flower child) find themselves the right way to live in a modern society. Finally the shy and awkward Leo find the love in a Spanish girl, but she gives him a lot of problems. In fact she is not alone and intends to recover an affair with her ex. Cast [edit] Carlo Verdone: Enzo/ Ruggero/ Leo/ Don Alfio/ Anselmo/ professor Mario Brega: Mario Renato Scarpa: Sergio Veronica Miriel: Marisol Isabella De Bernardi: Fiorenza Sandro Ghiani: Cristiano References [edit]
5438	dbpedia	2	49	https://www.m9museum.it/over-the-limits-testi-eng/	en	Over the Limits	https://www.m9museum.it/…icon-192x192.png	https://www.m9museum.it/…icon-192x192.png	[ "https://www.m9museum.it/wp-content/themes/m92022/imgs/KEY0.CC.png", "https://www.m9museum.it/wp-content/uploads/2023/04/logo_m9museum_2023-1.png", "https://www.m9museum.it/wp-content/uploads/2019/10/museo-ico.svg", "https://www.m9museum.it/wp-content/uploads/2019/10/mostre-ico.svg", "https://www.m9museum.it/wp-content/uploads/2022/08/membership.svg", "https://www.m9museum.it/wp-content/uploads/2019/10/distretto-ico.svg", "https://www.m9museum.it/wp-content/uploads/2019/10/visita-ico.svg", "https://www.m9museum.it/wp-content/uploads/2022/08/edu.svg", "https://www.m9museum.it/wp-content/uploads/2019/10/events-ico.svg", "https://www.m9museum.it/wp-content/uploads/2019/11/link-pencil.png", "https://www.m9museum.it/wp-content/uploads/2023/04/Logo_M9_Museum_1080_bianco_trasparente.png", "https://www.m9museum.it/wp-content/uploads/2019/11/logo-fondazione-venezia.svg", "https://www.m9museum.it/wp-content/uploads/2024/02/Venezia-Rovigo-marchio-nero.png" ]	[]	[]	[ "" ]	null	[]	2024-07-01T13:48:59+00:00	OVER THE LIMITS 1900-2024 Sport Italia. Choral portrait of a changing country. An initiative of Directorate General for the […]	it	https://www.m9museum.it/…e-icon-57x57.png	M9 Museum	https://www.m9museum.it/over-the-limits-testi-eng/	1900-2024 Sport Italia. Choral portrait of a changing country. An initiative of Directorate General for the Promotion of the Country System General Manager Mauro Battocchi Deputy Director General / Central Director for Integrated Promotion and Innovation Giuseppe Pastorelli Head of Office X – Sports Diplomacy Silvia Marrara Coordination for the Ministry of Foreign Affairs and International Cooperation Silvia Marrara Raffaello Barbieri MariaTiziana Coletta An exhibition conceived and produced by M9 – Museum of the 20th Century President Vincenzo Marinese Director Serena Bertolucci In collaboration with Italian Sport History Society Italian Touring Club Istituto Luce Home Movies – National Family Film Archive Edited by Michelangela Di Giacomo with Elena Dekic Nicola Sbetti Daniele Serapiglia INTRODUCTION Sport. One of the great Italian passions. To watch, to practice, to play, to applaud. An exhibition on the history, present and future of sport in Italy is an opportunity to recount not only the great Italian achievements in the various competitive disciplines but also the entire transformation of the country through a unique lens. Its great economic, social, cultural and urban changes, its vices and virtues, its strengths and weaknesses: its great loves and antipathies. There is no sport that does not reflect the profound changes taking place in the country, and the issues and doubts that our sport raises are the litmus test for as many open questions about Italy’s present and future. Not just an exhibition about sport, but an exhibition that tells the great choral story of a country that underwent profound changes in the 20th century and is changing ever more rapidly. A country that, thanks to its communities of Italians abroad and its rich international collective imagination, enjoys a projection that transcends national borders and spans the globe. QUOTE “The Republic recognises the educational, social value and promotion of psychophysical well-being of sporting activity in all its forms”. Art. 33 Constitution of the Italian Republic —————————————— Twentieth Century The twentieth century was the century that changed Italy the most. A century characterised by great economic, socio-professional and cultural transformations, of great movements of people, the century of urbanisation and the conquest of wealth. We went from peasants to office workers, from hunger to obesity, but the inequalities remained, between north and south, between town and country, between rich and poor, between men and women. It was also the century in which Italians discovered and fell in love with sport. It was a bumpy road, but one that led to a general expansion of the presence of sport in our society. This section is therefore a great tribute to all those Italians who, day after day, in the midst of their daily lives, practise sport, out of passion, out of love, in order to live a better life. It is a wish for more and more of them in the future. ITALY – YEAR 1900 On 1 January 1900, Italy was a backward country with a GDP half that of Great Britain. 44% of Italians lived below the poverty line, 30% were undernourished. 9 out of 10 Italians worked in the fields, 1 in 4 children died before the age of 5, and life expectancy was 30. It was not an ideal environment for sport: bodies were shaped by hard labour, manual farming and industrial activities that relied on the exploitation of workers’ physical strength. Within twenty years, Italy began a first phase of transformation. During the so-called ‘Giolittian Age’, with the creation of the first modern infrastructure networks and the first large industries, the industrial and financial bourgeoisie emerged in the cities of the north and began to imitate the lifestyles of the rest of Europe, including the practice of sport. DISCOVERING THE COUNTRY In 1894, a group of young entrepreneurs from Milan founded the Touring Club Ciclistico Italiano – the future Touring Club Italiano – with the aim of providing its members with a network of contacts and services for travelling by bicycle, car, train and on foot. The CAI-Club Alpino Italiano was founded in 1863, following the ascent of the Monviso in the same year, with the intention of imitating similar organisations that already existed in other European countries. Its activities involved both tourist trekking and sports mountaineering, with the opening of new routes and the construction of a dense network of refuges. While holidays at the seaside were limited to health treatments, those in the mountains multiplied: all activities which, until the First World War, were reserved for a very limited and wealthy section of the population, but which by the 1920s were already attracting a much wider audience. FROM PLAY TO SPORT Games and agonism have ancient origins, but it was not until the Industrial Revolution that sport took on a modern character, establishing itself in Victorian England and spreading first inside and then outside the British Empire. For the first time, sport displayed characteristics such as secularism, equality of opportunity and conditions, specialisation, rationalisation, bureaucratisation, quantification of performance and, above all, the concept of the record. It was horse-racing that led the way until the ‘Games’ arrived in Italy at the end of the 19th century: although they achieved rapid success, they needed national founding myths to legitimise them. Legends immediately sprang up claiming a direct link between football and Florentine football, or tracing the birth of golf to Roman legionnaires and basketball to the Italian Middle Ages. FROM THE BATTLEFIELD TO THE PITCH In the newly unified Italy, the sporting experience was borrowed from the habits of the Piedmontese elite, linked to military life and the education of the aristocracy, such as hunting, fencing, target shooting or horse riding. Soon the idea spread that these disciplines could contribute to ‘making Italians’ and thus began a commitment by the new state to their dissemination in the rest of the peninsula. In the ‘Spring of Shooting’, Garibaldi himself travelled around Italy to promote their practice and in 1861 the National Shooting Society was founded. The various regional fencing schools were ‘nationalised’ in 1883, thanks to the Neapolitan master Masaniello Parise, who standardised teaching methods, while the Italian Fencing Federation was only founded in 1909. In horsemanship, Federico Caprilli was the protagonist of a real revolution that would lead to the birth of modern horsemanship, through the invention of a method to make the rider’s movement more coherent with the horse, leaning forward and improving the effectiveness and the safety of jumping. ‘GYMNASTICS’ Gymnastics can be considered the discipline par excellence in liberal Italy, given the large number of practitioners. After an initial diffidence, the public authorities attributed civic and civil significance to it and gave it widespread support. In March 1844, the Swiss instructor Rodolfo Obermann, together with the former officer Count Ernesto Ricardi di Netro, Doctor Luigi Balestra and other illustrious Turin personalities founded the Turin Gymnastics Society for educational purposes. From that moment until 1869, when the Gymnastics Federation was founded, Turin became the driving force behind gymnastics, first in the Kingdom of Piedmont and then in Italy. After the Unification, courses were also organised to train the first physical education teachers of the new kingdom. THE MYTH OF SPEED The automobile immediately fascinated the Italians. In 1895, Michele Lanza from Piedmont built the first Italian car and in 1900 the Motor Show was inaugurated in Turin. Speed calls for competition and the first races were immediately born: in France in 1894 with cars reaching the ‘crazy’ speed of 22km/H, in Italy in 1895 with the Turin-Asti and in 1901 with the first Giro d’Italia featuring automobiles, promoted by the newspaper ‘Corriere della Sera’. In 1906, the first Targa Florio was held, organised by the naval entrepreneur of the same name, but the most famous was the Mille Miglia, which was run from 1927 to 1957, when, after an accident involving the public crowded along the roadside, racing on public roads was banned. A myth was generated around the drivers: of recklessness and disregard for danger, one example being Tazio Nuvolari, the son of farmers, who won the podium in all the races he ran from 1920 to 1948 and set three international speed records. A SILENT HUMAN-POWERED MACHINE Between 1900 and 1920, Italian factories produced countless bicycles. Immediately the first races were born: on iron vehicles and with low-resistance tyres, groups of riders challenged the elements and the limits of their bodies. In 1909, the newspaper ‘La Gazzetta dello Sport’ organised the first Giro d’Italia. On very long routes, cyclists get lost, stop, get rides, taking up to 12 hours per stage and are often given up for lost: they are tests of endurance rather than speed. At the turn of the century, velodrome races were still very popular, with duels such as the one between cyclist Romolo Buni and Buffalo Bill, the famous American cowboy, at the Trotter velodrome in Milan in 1894. During the First World War, 12 battalions of cyclists are deployed at the front: Carlo Oriani, winner of the 1931 Giro, dies of pneumonia after swimming across the Piave; Ottavio Bottecchia, later winner of the Tour de France saves several machine guns from the Austrians by cycling over the Izoard Pass. But none are as famous as Enrico Toti, a lone, one-legged pedaller, who lost his life in 1916. FOOTBALL (THE ORIGINAL ONE) The game of football – quite different from the English game that later took the same name – had already acquired a national character even before the political unification of the country. In 1863, the American intellectual William Story had described it as ‘the Italian national game, like cricket for the English’, and Goethe in his 1816 ‘Italian Journey’, referred to it as ‘the classic game of the Italians’. The ball game, with its Renaissance origins (Messer Scaino’s essay on the ball game dates from 1555), had become popular by the end of the 17th century, attracting a large public. In the early 19th century, it competed in popularity with melodrama and opera. It was played close to the city walls or in the ‘sferisteri’, sports hall built thanks to funding from the municipalities. Its champions, such as Carlo Didimi, are celebrated by poets and writers, such as Giacomo Leopardi, Gioacchino Belli and Edmondo De Amicis. THE 1911 WORLD’S FAIR The 1911 Exhibition of Industry and Labour in Turin, designed to celebrate the 50th anniversary of the Unification of Italy and the country’s achievements to date, was also the first major showcase for the Italian sports industry, reflecting the interest and growth that the sector had already experienced. An entire pavilion of the exhibition was dedicated to sports industries in several categories: Gymnastics, Running, Athletics, Fencing and Games, Shooting and Volleyball, Rowing, Sailing and Swimming, Mountaineering, Horse Racing and Racing, Motor Sport, Motorcycling and Motorboating, Cycling and Tourism. Added to this was the Alpine Club pavilion. The mountaineering industries as well as the automobile and motorbike industries played a prominent role, the latter including Alfa, Isotta Fraschini, Fiat, Lancia and Bianchi. A WAR THAT CHANGES EVERYTHING The First World War was an authentic watershed for Italian sport. Although the entry into the war in 1915 had caused the interruption of all major national competitions, the conflict helped to increase the popularity of the sport in rural Italy. In fact, life in the trenches reduced the distance between the cities, where sport had been increasingly popular for a few years, and the countryside, where it was still virtually unknown. Sports tournaments were organised in the rear to keep troop morale high, and the presence of the British and American armies as allies on the battlefield helped to spread new practices. The end of the conflict saw an exponential growth in sporting activity across the peninsula. FASCISM AND THE ‘NEW MAN’ Fascism entailed a change of pace for Italian sport, due to the political role assigned to it by the ideology of the ‘New Man’, a concept explained by Mussolini himself in a 1932 interview: ‘We are for the collective meaning of life, and this we want to strengthen, at the cost of individual lives. With this we do not want to turn men into figures, but we consider them above all in their function in the State’. To reinforce the concept, Lando Ferretti, director of ‘Sport Fascista’ and president of CONI between 1925 and 1928, wrote: ‘citizen equals soldier […] and soldier in all its extension of the term: in the firm and tempered body, in the spirit ready for the supreme sacrifice, in the technical preparation always up to date, in an atmosphere of discipline that makes enthusiasm the decisive weapon of all victories’. THE GIRO OF REBIRTH After the Second World War, the Giro d’Italia resumed as early as 1946, unlike the Tour de France, which had to wait until 1947 to resume. To do so on roads still scarred by war and bombing, in a country in the midst of reconstruction, was a considerable undertaking, and so it was renamed the “Giro of Rebirth”. The organisers, with the explicit intention of asserting their Italian identity, managed to obtain permission from the Allied authorities to run the Giro through Trieste. MIRACLE! 1963 saw the end of the ‘economic miracle’, an expansive period following the Second World War that radically changed the face of Italy. In just a few years, Italy went from being a rural economy to being the world’s seventh industrial power. Italians left the countryside and moved to the big cities to find work in the factories; despite the hard work on the assembly line, the certainty of a salary at the end of the month completely changed their lifestyle. Italians begin to buy houses and electrical appliances on instalments, discover motorbikes and utility vehicles, leisure, holidays, mass consumption, sport. The middle class was born, able for the first time to spend their salaries on luxuries and activities not related to mere survival. RITES, MIRACLES AND MYTHS The post-war period is the era of Fausto Coppi, Gino Bartali and Fiorenzo Magni. Italians are united in their support for cycling, but they are divided in their support for the champions, in a sporting, personal, political and regional rivalry: north against centre, secular against Catholic, Communists against Christian Democrats. Coppi seems immortal in the saddle, but he has a fragile physique. Son of peasants, protagonist of the pink news; prisoner in Africa, he returned home by bike across the wartime peninsula. Winner of five Giri, two Tours, world champion in 1953, he died of malaria in 1960. Bartali survives him by half a century. A devout Catholic, during the years of fascism he dedicated his victories to the Pope and Our Lady. During the occupation he saved many Jews from deportation. He drinks, he smokes, but he looks like iron. Legend has it that his victory in the Tour in July 1948 prevented an insurrection. In 1952, on a mountain stage of the Tour, the two of them pass each other a water bottle. It is the most famous sprint in Italian cycling. DEMOCRATIC SPORT FOR ALL If in the last years of Fascism, the control of young people’s leisure time was entrusted to top-down mass organisations, after the fall of Fascism it was the newly formed political parties that invested in sport. A series of subsidiary sports organisations emerged with which the Italian political subcultures democratically sought to win the hearts and minds of young Italians. In 1944, Catholic Action founded the Centro Sportivo Italiano. Also of Catholic origin were the Libertas Sports Centre and the Unione Sportiva ACLI. On the left, on the other hand, the most important organisation was the Unione Italiana Sport Popolare (UISP), but almost every party had those that were recognised by CONI in 1967 as bodies promoting sport. FROM FARMERS TO EMPLOYEES Since the 1970s, Italy has been living immersed in the fourth industrial revolution, the IT revolution. The shift of labour from agriculture to industry and services is still going on. If in 1900 66% of income went on food, today 80% of our economic availability is used for ‘accessory goods’, i.e. goods not related to the need for food and shelter. 70% of the population live in cities and in many cases reach levels of higher education that were unthinkable only a century ago. ‘HEALTHIER AND MORE BEAUTIFUL’ Fitness and wellness are two words that have entered the Italian vernacular, hand in hand with the spread of aerobic exercises or variable resistance machines “for everyone”, no longer limited to bodybuilders. Born in the United States in the 1950s, these activities reached their peak thirty years later and arrived in our country. The idea of going to the gym to improve physical fitness and general wellbeing took root. In 1984, the Italian company Technogym launched its first complete range of equipment and five years later the first edition of the country’s most famous fitness fair was held in Rimini. Since then, the sector has expanded with the most varied formulas: step, Zumba, spinning, fit-boxing, yoga-fit, Pilates, up to CrossFit, TRX, HIIT training… MORE AND MORE SPORTSMEN Hand in hand with the great changes that have affected all spheres of Italian life, the number of Italians practising sport on a regular basis has also increased rapidly and significantly since the middle of the 20th century: if we look at the first 20 years of the 21st century alone, the percentage of inactive people has fallen by 7 percentage points. Percentage of people aged 6+ who participate in sport on a regular basis: 1959 2,6 1982 15,4 1988 22,9 1995 18,0 2001 19,2 2005 21,1 2011 22,0 2015 23,8 2022 26,3 SPORT IN TIMES OF PANDEMIC In March 2020, Italy and the world discover their vulnerability: the Covid-19 pandemic emergency breaks out. Millions of people are forced to change their lifestyle and face the fear of illness and death. Many must discontinue their workouts; others, with increased free time due to the cessation of work and economic activities, are discovering physical activity, also thanks to the availability of classes via multiple streaming platforms. In the year of the pandemic, the number of card-carrying members and members of organised sports clubs fell drastically, but this was offset by an increase in the number of people taking part in leisure and outdoor sports. By the end of 2020, the number of people who practise sport continuously had already reached an all-time high (+05 percentage points compared with 2019, +8 compared with 2001). 1 in 3 Italians changed their sport during the pandemic. 53% of adults continued the same sport in different ways. 66% of Italians exercised during Covid: 34% outdoors, 18% at home with video lessons, 17% at home alone. 2 out of 3 ‘lazy people’ started some kind of physical activity during Covid. The number of visits to diet or fitness websites or apps increased in 2020 by 69% in France, 20% in Germany, 31% in Spain, 23% in the UK and 133% in Italy. Out of 2.3 billion Facebook users worldwide, 700 million people follow sports pages. WITH YOUR HEAD IN THE BALLOON Football tops the list of Italian sporting passions. But what other sports are played by adults in our country? And has it always been like this? % of practitioners in the various disciplines 1993 Football/Football 50.0 Volleyball 47.2 Basketball 56.3 Swimming/Diving 24.3 Tennis 17.7 Athletics 48.3 Cycling 16.3 Martial Arts 55.8 Alpine skiing 7.6 Mountain biking 3.9 2023 Football 34% Swimming 29% Cycling 26% Tennis 20% Skiing 16% Volleyball 14% Basketball 13% Athletics (including running) 10%. Motor sports 4% Rugby 3% 25% of people who exercise regularly without being CONI members do some form of gymnastics, such as aerobics, fitness or bodybuilding. MAD TO RUN Since the early 2000s, the proportion of Italians who run at least once a month has risen continuously: 59%. The use of smartphones for running enthusiasts and apps designed for physical activities has increased the desire to run in 52% of cases. Italians run to feel good (41%) more than to lose weight (27%), and those who run imagine that they will run more in the future. 22% of occasional runners say that if they had more time, they would participate in races, aiming for competitive or semi-competitive running (12% already do this). THE MIRAGE OF SHAPE It seems that only 1 in 5 Italians consider themselves satisfied with their physical fitness and ready to tackle the famous ‘swimsuit test’. On top of this, more than 1 in 2 Italians spend many hours at work. As a natural consequence, achieving visible results in a short time has become a necessity. Thus, in 2015, a start-up was born in Italy that launched the format of a high-intensity sports practice with the use of machines that promise to maintain a good state of health in 20 minutes a week. A format that has seen exponential growth in the last 7 years, with a rate of opening new centres of +62.3% per year. FOR SPORT OR FASHION? How many sports have entered our habits as trends? How many have remained as enduring practices? Who does not remember the era of squash, windsurfing or water-skiing? The era of roller skates and inline skates? Who hasn’t wondered in recent years if it wasn’t time to play padel or try aerial yoga or pole dancing? A few decades ago, snowboarding did not exist and is now all the rage; conversely, bowling was a very popular sport. Many sports have been invented and then abandoned: rollerblading, horse racing on frozen lakes or snowy fields, airplane racing on wheels or underwater obstacle racing. FOR SPORT OR JUST TO BE THERE Around 4,500 people take part in the Marcialonga, the most important amateur cross-country skiing event, and 12,000 in a cycling rally such as the Nove Colli di Cesenatico. An average of 10,000 people take part each year in the various stages of the Deejay Ten, the amateur race organised by the radio station of the same name, and in 2024 40,000 people ran in the 40th anniversary edition of Vivicittà, the first of the running events organised in our country. Participation, taking part in an event that is perceived as relevant and feeling part of a community that shares values and passions seems to be the focus of these experiences, in addition to the sporting activity itself. From the Pink Run to the Race for the Cure, from the Corsa di Miguel to the Smile Run, from the Crossfit Woda Charity Tour to the Race for Life, there is something for every sport and every cause. A GENERATOR OF ECONOMIC GROWTH Sport is also a major generator of economic opportunities. Gyms, sports facilities, teaching, participation in and organisation of competitions and championships, rights, merchandising, but also tourism and the entire clothing and equipment industry: these are just some of the fields of influence of the sports economy. The tourism sector, in particular, has seen huge growth: per capita spending by sports tourists is set to increase by 9% between 2019 and 2023, thanks to the increase in activities undertaken during the trip as a result of the desire to take part in or follow a sports event, with peaks of +27% for visits to exhibitions, museums, etc., despite the increase in costs due to inflation. Finally, according to some studies, every euro invested in sport has generated 3 in social benefits: sport is a multiplier in our national system. The Economics of Sport, 2023 1.3% of GDP EUR 22 billion 400,000 employees 15,000 companies 82,000 non-profit organisations THE PRIDE OF MADE IN ITALY ‘Made in Italy’ is the expression that stands for the excellence of Italian savoir-faire, which combines innovation, perfection, design, high quality raw materials, creativity and ingenuity, and is widely used in the clothing and sports equipment sectors. There are many brands that have made history, introducing new shapes, new materials, new technologies that have given rise to fashions and paradigm shifts. Every Italian has a special emotional attachment to some of them, and the list could go on and on. There are over 750 Italian companies involved in production and distribution in this sector, employing 30,000 people. Seventy per cent of production is destined for foreign markets, which shows how highly our “know-how” is valued. —————————————— Women The 20th century was the century of women. They entered the public arena as protagonists in all fields, politics, culture, science and even sport. A long and bumpy road, which still sees them struggle to achieve equality in many areas, but which has seen them as pioneers, precursors and genuine heroines, also and above all in sport. This section recounts an obstacle race against prejudices, commonplaces and widespread hostility and the constant attempt to relegate women to ‘girly’ disciplines and defined aesthetic canons. Finally, this section opens up the question of sport beyond gender and the role of sport in the integration of women from different cultures: two of the challenges facing our country. NOT ONLY MOTHERS AND WIVES In the many facets of peasant society, women had a far from marginal role. It was the eldest woman in a family group who organised everyone’s finances and decided the roles of the other members, and it was women who managed relations with other families. Women therefore played a fundamental role in the economy of the family for the wellbeing of all, far removed from the ‘angel of the hearth’ model that would be imposed with the rise of the bourgeoisie and later the middle class. LOVE AND GYMNASTICS Between May and June 1891, the short story ‘Amore e ginnastica’ (Love and gymnastics) by Edmondo de Amicis – best known as the author of the book ‘Cuore’ (Heart), a staple of every Italian child’s school career – was published in the magazine ‘Nuova Antologia’. The protagonist of the story is Signorina Pedani, a passionate gymnastics teacher, strict and disciplined, but also a symbol of female emancipation, modernity and progress. The construction of the character is significant because it tells us about a context in which there was growing attention to physical health and gymnastics, as part of a wider movement to improve public health. THE CONTRADICTIONS OF THE REGIME The great diffusion of American motion pictures in the cinemas of our country imposed the aesthetic models of actresses such as Greta Garbo, Marlene Dietrich or Jean Harlow, fostering, in the collective imagination of many Italians, the diffusion of a prototype of female beauty that harmonised with American canons rather than with those recalled by the rhetoric of the regime. From 1931, Fascism organised a campaign against Hollywood female stereotypes: the skinny and masculine ‘crisis woman’, the product of overseas film fantasy, was countered by the ‘authentic woman’, defined as ‘well nourished’. And yet the fascist sportswoman resembles the very American stereotypes that the regime wanted to combat. GYMNASTICS FOR NEW ITALIANS During the Fascist period, women were among the main figures in the reorganisation of physical education for young people desired by the regime, and in 1932 the Accademia Femminile di Orvieto was founded to train future teachers. The most famous of these was the commander of the academy itself, Elisa Lombardi from Cuneo. Paradoxically, despite the regime’s rhetoric on the role of women, profound elements of modernity were introduced. The bodies of the would-be teachers were not those of the ‘matron’ but were more akin to American athletes and actresses; while the wearing of shorts above the knee was something unprecedented for the time, as it contradicted the public morality that envisaged ankle-length trousers and skirts. PAVIA’S LITTLE GYMNASTS In 1928 women’s athletics and gymnastics were included in the Olympic Games. And it was in gymnastics that Italy won its first medal, thanks to a team made up entirely of gymnasts from Pavia: Clara Marangoni, Lavinia Gianoni, Bianca Ambrosetti, Virginia Giorgi, Germana Malabarba, Luigina Perversi, Diana Pizzavini, Anna Tanzini, Carolina Tronconi, Ines Vercesi, Rita Vittadini and Luigina Giavotti. The Italian gymnasts won a prestigious silver medal behind the Dutch team, only to be excluded from the delegation to the 1932 Los Angeles Games on the grounds that they would have inevitably engaged in promiscuous behaviour with their male colleagues on the journey by boat. THE GRACE OLYMPICS The first major international women’s athletics event in Italy was held in Florence in the spring of 1931, with the evocative name of the ‘ Olympics of Grace ‘. On the stage of the Giglio Rosso track, the strongest female athletes of the time from no less than eleven nations competed: Austria, Czechoslovakia, Belgium, France, Germany, England, Yugoslavia, Poland, Romania, Hungary and, of course, Italy. FEMINISM Between the end of the 1960s and the 1970s, the world of women changed dramatically. On the one hand, the economic crisis necessitated a second income; on the other hand, migration and the transition of many women to the middle class led them to confront more dynamic social realities and to study longer. In this context, feminist movements were born, hand in hand with those of workers and students. The struggles that lead to the reform of family law, economic emancipation and divorce emphasise the fight for women’s autonomy. Although the link between political feminism and sporting feminism is not direct and the right to practise sport is not part of the panorama of feminist movements’ claims, the practice of sport itself has an emancipatory character and female athletes also begin to claim equal opportunities, reflecting the spirit of the times. ‘THE BODY IS MINE AND I DECIDE’ The history of women’s sport has also accompanied and determined the changes involving women’s bodies and their use in public debate. In fact, the twentieth century saw the emergence of a physicality to be used and displayed according to norms that were less and less influenced by moral judgements. The bodies of working women, as well as those of sportswomen, with their need for movement and practicality have led to the questioning of the very meaning of many taboos. Women are discovering that they are masters of their own bodies. TOO MUCH OR TOO LITTLE: WOMEN’S SPORTSWEAR The evolution of women’s sportswear reflects profound cultural and social changes, developing as the practice of sport conquers more significant segments of the population. Originally, women played sports in long, opaque dresses. The transition to more functional clothing began in the late 19th century, when women shed their corsets and ‘bloomers’ were introduced, later joined by the jumpsuit invented by futurist Ernesto Hayat. In the 1930s and 1940s, sports fashion introduced short trousers and skirts above the knee, and even reduced the fabric of swimming costumes, but only and strictly in the context of competitions. In 1932, the athletics federation declared that “under no circumstances may athletes go beyond the fence of the sports ground without wearing long trousers”, and the basketball federation added that “all athletes must play in regulation skirts”. Many Italian designers have ventured into fashion for sport, from the Fontana sisters to Emilio Pucci to Gianfranco Ferré, from Pierre Cardin to Giorgio Armani, and many Italian companies have produced great innovations in women’s technical clothing. The process of uncovering the body has grown to the point of generating problems on the opposite side: in the last Olympic editions of beach volleyball and artistic gymnastics, extremely skimpy outfits have provoked debates on their appropriateness and functionality and the refusal of female athletes to use them. Who gets to decide how women should dress? A QUESTION OF TIME (AND POWER) ‘Without women working and without women doing sport the country does not grow, or at least grows less than it could’: this is the clear conclusion of the CENSIS Report on Women, Work and Sport in Italy (2024). 8.5 million Italians women practice sport 9 million Italians women engage in at least some form of physical activity. Between 2000 and 2021, the difference in sports participation between men and women was reduced by almost 30%. HEROINES AND CHAMPIONS There are many women who have marked the history of Italian sport, but some, more than others, have set records or paved the way for other girls to enter the collective imagination in sports previously considered unsuitable for women. A CENTURY-LONG JOURNEY The Olympics have been slow to include women in their competitions. It was only during the 2024 edition in Paris that a 50-50 split in gender representation was achieved. Chronology of Olympic disciplines open to women: 1900 First Olympic Games open to women, with 22 athletes, 2% of all competitors. Golf and tennis were the only disciplines with exclusively female competitions 1908 Archery, Pairs Figure Skating 1912 Swimming 1924 1924 Figure Skating and Fencing1928 Athletics 1948 Downhill and slalom, shot put 1984 Women’s marathon, 20km cross-country skiing and cycling 1988 Table tennis 1992 Judo 2012 Boxing 2000 Pole Vault and Hammer Throw 2020 Beijing Olympics 48% of participants are female athletes 2024 Paris Olympics gender equality target GIRLS’ SPORTS? In common parlance, we often hear gender stereotyping in relation to sport: there are disciplines that are more suited to men and those that are more ‘feminine’ (by which we often mean choreographed activities or those that are more associated with an idea of elegance in movement). In fact, there is ample evidence that these are cultural and linguistic stereotypes, and that people of different genders can excel without limit in all disciplines. Women > 3 years old practising some physical activity by type of sport Gymnastics, aerobics, fitness 39.5% Water sports 29.9% Dance and dancing 13.5% Athletics, jogging, jogging 10.8% Volleyball 8% Martial arts and combat sports 2.10 Football and five-a-side football 1.5% Basketball 1.4% BASKETBALL: A SPORT FOR LADIES? ‘Pallacanestro’ – the Italian translation of American basketball – arrived in Italy as a ‘sport for young ladies’. In fact, it was Ida Nomi Venerosi Pesciolini who, in 1907, translated James Naishmith’s basketball manual into Italian for the first time and demonstrated the game with two teams of girls from the Mens Sana gymnastics club in Siena. This intuition was the first step towards spreading throughout Italy what was presented in a pamphlet written by the Maestra as the ‘Basket-ball, giuoco ginnastico per giovinette’ (Basket-ball, gymnastic game for young girls). VOLLEYBALL: A SPORT FOR BOYS? Until the 1980s, volleyball in Italy was a predominantly male affair. In 1978 there were more players than female members, but a decade later, the latter had surpassed the former, making Fipav the federation of a team sport with the most women in its ranks. The general increase in women’s participation in sport in the 1980s and the fact that some schoolgirls chose volleyball as their sport at school contributed to this. However, it was also a matter of imagination that determined this boom, produced by the airing of two famous Japanese cartoons: ‘Mimì and the Volleyball Girls’, broadcast in Italy in 1982, and ‘Mila and Shiro: Two Hearts in Volleyball’, in 1986. It would then be the girls of that generation who would give women’s volleyball its first world laurel in 2002. FOOTBALL: A SPORT FOR EVERYONE! The difficult parabola of women’s football began in 1933, with the creation of the women’s football group in Milan, ‘supported’ by the then CONI president Leandro Arpinati. This experience was short-lived due to the difficulty of organising matches and because of the aversion of the secretary of the National Fascist Party, Achille Starace, who, after having assumed the leadership of CONI, decided to ban women’s football in public spaces. The regime, in fact, supported by the Catholic Church, considered football inappropriate for women and risky for motherhood. With the end of fascism and the beginning of the republican era, the situation did not improve because of the opposition of the Football League, which urged clubs not to allow women to play on their pitches. This attitude was supported by the irony and stigma of the media and by the Ministry of the Interior, which in 1959 asked prefects and quaestors not to allow women to play on municipal pitches. It was not until 1968, after a fierce battle with CONI that went as far as the courts, that the first national women’s championships were held. Finally in 1974, a tournament was organised under the aegis of the Federazione Femminile Italiana Unificata Giuoco Calcio. The latter lost its autonomy in 1986 when it became part of the Federazione Italiana Gioco Calcio (Italian Football Federation), which made it part of the National Amateur League. It is only from the 2022/2023 season that the women’s game will become fully professional. PIONEER: THE FIRST TIME MARIA ANTONIETTA It was 1922 when a woman, the Countess Maria Antonietta Avanzo, appeared behind the wheel of her Alfa Romeo at the starting grid of the Targa Florio: she was the only woman. That year, however, she was in a team with Enzo Ferrari, giving Nuvolari a run for his money. She boasted that she had learned to drive by herself, stealing her father’s car, and it was her husband who gave her her first sports car to celebrate the end of the First World War, with which she took part in the Giro del Lazio. ALFONSINA Another woman with a passion for wheels was Alfonsina Strada, from Alfonsine, Ravenna. Born into a peasant family, she developed a passion for cycling and started taking part in all the local races, earning the nickname ‘the devil in a skirt’. In 1924 she caused a scandal by becoming the first woman to take part in the Giro d’Italia. She finished second in the third stage and was disqualified from the fourth stage for not finishing in time, but finished the whole Giro. In 1938, at Longchamp, she won the women’s hour record (35.28 km). It was not until the 1950s that she gave up cycling to take up motorcycling. She died in a motorcycle accident in 1959. ONDINA In 1936, in a Berlin wallpapered with swastikas, it was the hurdler Ondina Valla who broke records, winning gold in the 80-metre hurdles, Italy’s first Olympic gold medal. Excluded from the 1932 Olympics because the Church objected to the idea of a 16-year-old girl travelling alone in an all-male expedition, she was immediately included in Fascist propaganda as a symbol of her achievements. Valla also holds another record: she is the first for the number of streets that have been dedicated to women’s sport. CLEMENTINE A singular case in point is the life of Clementine Brida, the daughter of Italian immigrants in the United States, who started playing baseball as early as 1897, creating a true story of female emancipation through sport. She went on to become the owner of a traveling women’s baseball team that included another Italian, Margaret Gisolo, who was even allowed to play on a men’s team in the 1920s. MIRANDA In 1952, the cross-country skier Fides Romanin was the first Italian woman flag-bearer at the opening ceremony of an Olympic Games, the Winter Olympics in Oslo. That same year, at the Melbourne Summer Games, Forlì gymnast Miranda Cicognani carried the Olympic flag. The first woman ever to read the Olympic oath was also an Italian: the skier Giuliana Minuzzo at the 1956 Winter Games in Cortina d’Ampezzo. WOMEN ON BIKES As was the case a hundred years ago, the practice of sport can be a gateway to women’s emancipation, enabling them to overcome cultural barriers that still preclude them from cycling, for example. Many municipalities in Emilia Romagna have promoted courses to teach immigrant girls how to ride a bicycle, and many Italian NGOs are engaged in development cooperation programmes that are based precisely on promoting cycling among girls. In 2023, a girl from Rwanda was also the first African woman to race the Giro d’Italia: Violette Irakoze Neza of the Africa Rising team. Rwanda will host the World Road Cycling Championships in September 2025. CHALLENGES Feminist movements laid the groundwork for the discussion of many stereotypes related to gender identity issues, influencing subsequent LGBTQIA+ movements. Sport has been a field of action for women’s and LGBTQIA+ rights and female athletes have challenged gender prejudices, paving the way for greater inclusion. Today, the theme extends from claiming the right to respect for sexual orientation to gender identity. In 2003, the IOC adopted a policy allowing transgender athletes to participate in sports competitions. —————————————— Travel The 20th century was the century of great mass migrations. Italy has been at the centre of immense movements of people who have left, moved within and arrived in our country from the most diverse places in the world. Today, Italy faces new challenges, linked to the existence of vast communities of Italians abroad for multiple generations, and to the rootedness of communities of different origins in Italy, also of two or three generations. Sport has been deeply affected by these movements: many of the disciplines practised in Italy today have come from abroad, just as abroad our country is known for its sporting passion and great champions. This section tells the story of how Italians have taken their sporting passion abroad, and how sport can be a driving force for a more inclusive society in our country. A CROSSROADS OF PEOPLES In almost every Italian family there is at least one relative who has gone or lives abroad and almost everyone knows someone who has come to Italy to change their life. Our peninsula has always been a land of arrivals and departures. In the 20th century, migratory flows amplified, becoming a mass phenomenon. Today there are 5.3 million foreign citizens in our country, 9.5% of the total population, and there are 6 million Italians abroad. THE BEGINNINGS OF ITALIAN SPORTS ABROAD At the beginning of the 20th century, Italian emigrants also brought with them the games they played in their homeland, such as the ball, for which they built a “sferisterio” – as the halls where it was played were called – in San Francisco, capable of holding thousands of spectators. They brought the ‘ruzzola’ and the ‘lippa’, which were played in the streets with wooden cylinders. Italian miners, farmers and carpenters were also early to distinguish themselves for their physical strength and athletic ability. In the United States, for example, the Italian Lawrence Brignola won the second edition of the Boston Marathon in 1899. The American tour of Dorando Pietri, ‘moral winner’ of the London Olympics marathon, which attracted over 20,000 spectators in the New York leg, was a great success with the public. A PEOPLE OF FIGHTERS The Italian Boxing Federation was founded in 1916, but its greatest competitive success and fame came during the Fascist period and the economic boom. For Mussolini, boxing was ‘an exquisitely fascist means of expression’ and Italians were supposed to be a ‘people of fighters’: strong, bold and resistant. The ultimate emblem of the instrumentalization of the sport is Primo Carnera. The mastodontic Friulian, who emigrated first to France and then to the United States, fought 113 fights, winning 85 of them. Another myth of Fascist boxing is Michele Bonaglia, winner of the middleweight against the champion of the still democratic Weimar Germany in 1929: first a squadronist and then a republican, he died in a partisan ambush in 1944. A victim of the regime is instead Leone Efrati, of Jewish religion, among the top ten featherweights of the 1930s. After the racial laws, he was deported to Auschwitz, where the Germans kept him fighting until his death in 1944. EXPORTING SAMPLES Even in recent times, our country has been ‘exporting’ champions and talents all over the world. In football, one of the first was Giorgio Chinaglia, who, after playing for Lazio from 1976 to 1983, wore the jersey of the New York Cosmos. In the mid-1990s, several Italians chose the Premier League: among them Gianluca Vialli and Gianfranco Zola, wearing the Chelsea shirt. Vialli even coached and played for the London team. But we can also remember the experiences of Paolo Di Canio, Fabrizio Ravanelli, Pierluigi Casiraghi and Roberto Di Matteo. Of the players who played in the Spanish league, Christian Vieri was the most fortunate with Atletico Madrid. Following the World Cup in Germany and the Calciopoli scandal, several players left Juventus, including Gianluca Zambrotta and Fabio Cannavaro, the former to Barcelona and the latter to Real Madrid. In other sports, basketball players such as Andrea Bargnani, Marco Belinelli and Danilo Gallinari have left for the NBA. In women’s volleyball, the most famous players to have crossed the border are Maurizia Cacciatori, Francesca Piccinini, Eleonora Lo Bianco and, today, Paola Egonu. The former played in one Brazilian championship, while the latter played five seasons in Turkey, where she also spent a season. ‘I AM ITALIAN, SO WHAT?’ Sport, like cooking, has been a powerful factor for integration among those living far from the motherland. Gathering to cheer on one’s team or the national team, celebrating all together the victories of one’s favourites, gives emigrants a strong sense of identity and cements the sense of belonging to supportive communities, making them feel less alone and claiming an identity that they often try to camouflage in order to integrate into the society of arrival. “I am Italian, so what?” This is the famous phrase with which Nino Manfredi justifies his cheering for the Italian national team in the 1974 film ‘Pane e Cioccolata’ (Bread and Chocolate), in which he plays an emigrant in Switzerland who tries to hide his identity until his faith in football betrays him in a public place. CRICKET Although cricket was one of the first English sports to arrive in the Italian peninsula – suffice it to say that Genoa football was born in 1893 as the Genoa Cricket and Athletic Club – the game never found much fertile ground in Italy and soon fell out of favour. Today, the presence of citizens from India, Bangladesh and Pakistan – all territories that were part of the former British Empire and where the influence of the British has taken such deep root that cricket has become the national sport – have brought it back into vogue, organising real leagues in the cities where they live, uniting people from countries at war with each other and overcoming conflict through sport. In 2021, the magical year of Italian sport, our national team made headlines by beating England in the European Cricket Championship. Our national team was captained by Baljit Singh and coached by Kamal Kariyawasam Indipolage. READY TO LEARN In sport, our country has long been a landing place for great football champions, but since the early 2000s it has become increasingly difficult for clubs to attract foreign champions. In addition to the players, great coaches arrived, including the Argentine Helenio Herrera and the Hungarians Ernó Egri Erbstein and Árpád Weisz, the latter two linked by a tragic death. The former died in the Superga tragedy in 1949, while the latter was murdered in the Auschwitz concentration camp in 1944 because he was Jewish. The arrival of foreign coaches and players had a profound impact on the game. Several NBA champions participated in the basketball league from the 1980s and some coaches modernised the playing techniques of several national teams, such as Ratko Rudić for the water polo sevens or Julio Velasco who took the Azzurri volleyball team to the roofs of Europe and the world. The Americans Doug Beal, one of the most important innovators in the world of volleyball, and Dan Peterson in basketball, who also helped many inhabitants of the ‘Bel Paese’ to understand North American sport with his television reports, will never be forgotten. SECOND GENERATIONS ABROAD Sport became an opportunity for socialising and an instrument of integration, as was the case with many Italian-American boxers and baseball players who, thanks to their athletic prowess, became household names in the American imagination, including Rocky Marciano and Joe Di Maggio, but also Aldo Spoldi ‘Kid Dynamite’. Italian sports clubs sprang up almost everywhere, such as the Gloria Club in Paris, Boca Junior in Argentina and Palestra Italia, the future Palmeiras, in Brazil, as well as competitions dedicated to emigrants, such as the cycling criterium for Italians living in France. A PEOPLE OF EXPLORERS AND NAVIGATORS While motorboating and recreational flying are now niche sports, at one time these disciplines appeared pioneering enough to be featured in the great adventure novels. The rhetoric of Fascism, built around the figures of First World War aviators and extolling the exploits of those who had lost their lives in the conflict, such as Francesco Baracca, helped to make flying one of the regime’s icons. Francesco Baracca, who died in 1918 after several victorious battles, had drawn a prancing horse on his biplane, which later became the symbol of the Ferrari car company. The pilots who survived the conflict and contributed to the growth of Italian aviation in the inter-war period were also celebrated. Italo Balbo’s transatlantic flights between Italy and Brazil (1930) and between Italy and Chicago (1933), which was hosting the World’s Fair that year, were among the most celebrated. On the seas, the jewel of the Italian merchant navy, the transatlantic liner Rex, distinguished itself by winning the Nastro Azzurro in 1932, crossing the Atlantic between Europe and New York in 4 days and 13 hours at an average speed of 28.92 knots. THE K2 Ninety years after the founding of the Club Alpino Italiano, mountaineering in Italy achieved a great success: the conquest of K2, a goal that had been pursued since 1909. The Duke of the Abruzzi, among others, had tried. But in the 1950s, the ideal conditions were created: Italy had just become a republic, the Second World War had recently ended, and the Italians needed a heroic feat to inspire them. Nothing better than to be the first to reach 8000 metres. The feat, supported by De Gasperi himself and organised by the CAI, was achieved in 1954, despite controversy among the members of the expedition. ‘ORIUNDI’ AND NEW ITALIANS After unification, Italy was marked for more than a century by high emigration rates, which led to the establishment of numerous Italian communities abroad. In 1969, for the first time, the migration balance was reversed, and immigrants began to outnumber emigrants, often our compatriots returning. On their return, they brought with them the popular sports of the countries of emigration – rugby, cricket or ice hockey – and the role of the so-called ‘oriundi’ was often decisive in many disciplines. In football, the contribution of South American footballers of Italian origin has been crucial to world championship triumphs: from Monti and Orsi in 1934 to Camoranesi in 2006. In the last thirty years, the presence and success of Italian athletes of foreign origin has grown exponentially. There have been two symbolic moments at the Olympic Games: in 2000, Carlton Myers carried the flag during the athletes’ parade and in 2021, Paola Egonu carried the Olympic flag with the five circles at the Tokyo Games. In football, Sara Gama has captained the national team on 30 occasions. THE ‘IUS SPORTIS’? ‘Ius sportis’: this is the name given to the informal recognition of citizenship granted by the world of sport to all those children, born in Italy to parents from other countries who participate in our sporting movement at all levels. In 2016, Italy recognised by law the right of these children and young people to register in sports clubs. At the last European Athletics Championships, a third of our team, which achieved great successes, was made up of second-generation athletes. The Italian Boxing Federation is the first to have introduced into its regulations the right of foreigners under 16 years of age with a residence permit to register as Italians. PARIS 2024 In 2015 and with a view to the 2016 Summer Olympics in Rio de Janeiro, the IOC created the Refugee Team to represent athletes who have not yet obtained citizenship in their country of immigration and who are no longer able to compete for their home Olympic committee for political reasons. In Tokyo, the refugee team included no fewer than 29 athletes (including the Italian shooter Niccolò Campriani). In Paris, there are no less than 36, including two of Iranian origin who are living and training in Italy thanks to the support of CONI: Iman Mahdavi (wrestling) and Hadi Tiranvalipour (taekwondo). —————————————— In corpore sano The 20th century was the century in which infant mortality was defeated, diseases that used to be fatal were eradicated, millions of people had access to better medical care, healthier places to live and work, and more calories available. All this has significantly increased the life expectancy of Italians, who are now among the longest-living people in the world. Italians have become more aware of the need for a healthy lifestyle and exercise, often thanks to government intervention in physical education and the promotion of sport. This section explores the importance and role of sport in the various age groups and how much it contributes to the overall health of the population, while also reducing the costs of our welfare system. It also recounts the various stages of the State’s intervention in the promotion of sport, a commitment that began at the very beginning of our country’s unitary history and that led to the approval, in 2023, of the amendment to Article 33 of our Constitution, which now states that ‘the Republic recognises the educational, social and promotional value of sporting activity in all its forms for psychophysical well-being’, reaffirming the role and importance of the sporting environment in education after the family and school. A CHILD’S PLAY Even today, in Italy, young people are the most active in sport, thanks to the role played by schools and public institutions in promoting sport. It is no coincidence that one of the immediate consequences of the Covid-19 pandemic on school age and youth was the interruption of sporting practice, which inevitably led to a real tragedy for young people: in 2021, 20% of Italians between the ages of 3 and 17 had to move away from their sport and the whole world of positive social relations that it generates. STATE PHYSICAL EDUCATION Since political and institutional unification, the Italian state has recognised the importance of introducing physical education into the school curriculum in order to improve the fragile health of Italian children and to instil military discipline. The Casati Law of 1859 introduced gymnastics in schools, followed by the De Sanctis Law of 1878. However, the Gentile Reform of 1923, which shaped the Fascist school, did not include physical education in the ordinary school curriculum, delegating it to a special body. In 1946, with the Gonella Law, physical education in the schools of the new Italian Republic was oriented towards the harmonious development of students, eliminating military formalisms and emphasising physical and spiritual preparation. But it was Aldo Moro, Minister of Public Education, who introduced the first post-war organic law on physical education (1958), which reaffirmed its compulsory nature and put it on an equal footing with other subjects. BALILLA AND GIL In 1927 in the context of the construction of the ‘New Man’, the Opera Nazionale Balilla (ONB) was founded, a youth organisation of the regime placed directly under the aegis of Mussolini, which ended up absorbing all pre-existing youth organisations. Complementary to the school, young people between the ages of 6 and 18 were to be trained as citizens/soldiers. In 1937 the Opera Nazionale Balilla was replaced by the Gioventù Italiana del Littorio, one of the cornerstones of the regime. One of the fundamental elements of the education of the Italians of tomorrow was gymnastic and sporting activity, aimed at strengthening the physique and morals of Italian youth. Sport also played a fundamental role in the activities of the Fasci Giovanili di Combattimento and the Fascist university groups, whose representatives competed every year in the Littoriali dello Sport, which was held in its winter and summer versions from 1932 to 1940. YOUTH GAMES One of the most important initiatives in the context of the sportsmanship of Italian schoolchildren were the Youth Games. These came into being on the eve of the 1968 Mexico City Olympics thanks to CONI, on the initiative of President Giulio Onesti, who believed that strengthening the competitive component of school sport would benefit the entire sports movement in the peninsula. The federations, the promotion bodies and, from 1974, even the Ministry of Education officially contributed to its implementation from 1977 onwards, with the involvement of primary school pupils, giving around 9 million students a year the opportunity to take part in the games. MORALLY USEFUL SPORT: THE CATHOLIC CHURCH The Catholic Church opened up to physical activity and sport on the wave of Leo XIII’s encyclical ‘Rerum Novarum’, which showed not only a special attention to the new social dynamics created by the industrial revolution in the world of work, but also a growing interest in modernity. This thinking was also influenced by the desire to provide an element of dialogue with the new generations to counter the Protestant proselytes who had played sport in the British Empire and gymnastics in Germany. After a heated debate between traditionalists and modernists, ‘muscular Catholicism’ soon established itself in Italy, first in the context of elitist colleges, such as those of the Jesuits, and then in society as a whole, thanks to bodies such as the Federation of Italian Catholic Sports Associations and ‘Forza e Grazia’, the counterpart women’s organisation founded in 1923. The activities of these organisations were influenced by the thought of Father Giovanni Semeria, one of the pioneers of Catholic sport, who stated: ‘Sport is not only of physical utility, but also of moral utility. A healthy body is impossible without a healthy mind. Games in which the social and collective element is found are of special importance and utility’. LITTLE GAMES IN THE ORATORY Starting in the 1840s, Don Giovanni Bosco and his collaborators gave impetus to the oratories, with the intention of creating a space for young people belonging to all social classes. After World War II, oratories played a not insignificant role in welcoming and caring for many youngsters in the afternoon hours and on holidays. Playgrounds and cinemas spread equally in the oratories, but their presence was not homogeneous throughout the country: they grew mainly in the large cities of the north, particularly in Lombardy and the Veneto. ORGANISING SPORT The first institutional organisation of Italian sport was the Gymnastics Federation, despite increasing competition from individual sports federations. Their coordination was complicated until 1921, when the Italian National Olympic Committee, established in 1914, took over. After the Second World War, CONI, duly democratised and freed from Fascist ideology, took on a threefold role, guiding sports policy until recently under the slogan “Sport for sportspeople”. Today we are going through a long phase of reform, which has seen the creation, alongside CONI, of Sport e Salute and various institutions of a ministerial nature. GIULIO Initially appointed as liquidator, the Turin lawyer Giulio Onesti became the deus ex machina of the new post-fascist CONI. Convinced that a new body would have to be created from scratch in the event of liquidation, he not only managed to preserve CONI, but also to make it the pillar of the sporting system in republican Italy, remaining at its helm until 1978. Under the leadership of Onesti, Italian sport experienced a season of growth and hosted the Olympic Games for the first time. PROMOTING SPORT The link between elite Italian sport and the Armed Forces is a very old tradition that was only regulated in 1954, when the first convention was signed to support the training of athletes as an investment by the State in fostering the growth of great champions. Despite being a legacy of a time when participation in the Olympics was formally reserved for amateur athletes, this link continues to grow. Today, some 2,500 athletes are registered with the Military Sports Groups (Army, Carabinieri, Air Force, Navy and Guardia di Finanza) and the State Corps (Police, Fire Brigade and Prison Police). A QUESTION OF SPORTS DIPLOMACY Over the years, the activities of the Italian government and diplomacy have extended to sport, within the broader framework of ‘diplomacy for growth’. Through sport it is in fact possible to strengthen good relations with friendly countries and promote Italy’s image abroad. The organisation of major events has represented and continues to represent an important moment for countries to meet and cooperate, and they have always also been showcases for the promotion of the country, territories, culture, businesses and districts, generating economic inducements, stimulating tourism and attracting foreign investment. MORE AND MORE ELDERLY PEOPLE During the 20th century, the life expectancy of Italians has lengthened considerably. Improvements in overall living and working conditions, a richer and more nutritious diet, and access to better and more consistent health care have increased life expectancy from 29 to 82.4 years. However, these improvements have also brought new challenges: the discovery of new diseases, a greater awareness of the role of lifestyle in health and of the importance of an active life and a healthy diet as a means of prevention. Life expectancy at birth year life expectancy at birth 1861 29 1881 35 1901 43 1921 49 1941 56 1961 69 1981 75 2001 80 2021 83 THE COST OF BEING LAZY Sedentariness causes 9% of cardiovascular diseases, 11% of type 2 diabetes cases, 16% of breast and colorectal cancer cases 60% is the correlation between sedentariness and excess weight IN PRISONS Article 27 of the Italian Constitution enshrines the principle that sentences must aim at the re-education of the convicted person, so Article 15 of the 1975 Prison Ordinance stipulates that ‘the treatment of convicted and imprisoned persons shall be carried out by making use mainly of education, work, religion, cultural, recreational and sporting activities’ and therefore ‘Cultural, sporting and recreational activities shall be encouraged and organised in the institutes’. With a Memorandum of Understanding signed in 2013, CONI launched the excellence ‘Sport in Prison’ project in many Italian prisons. SPORT IN THE SUBURBS It has been widely demonstrated how sport can play a fundamental role as a tool for social and urban regeneration and for combating deviance and criminality among young people in urban peripheries and areas of social marginalisation and poverty or economic and cultural deprivation. In Italy, two significant examples are the Paladiamante project in Begato (Genoa), developed in 2010, and the Spazio47 neighbourhood centre, inaugurated in Catania in 2015. In 2018, the Open Space project, present in the suburbs of four Italian cities, used sport to socially reactivate public spaces and combat marginalisation, demonstrating the effectiveness of the approach. SPORTCITY: A GLIMPSE INTO THE FUTURE The Sport City concept represents a possible solution to all of the above. This concept is not limited to the mere presence of sports facilities in cities but configures a city model that integrates sport into every aspect of life, from mobility to public health. The idea is that sport is not just a competitive activity, but an element of social inclusion and quality of life. The concept has been theorised by various urban planners and architects, including Richard Sennett and Jan Gehl. Following the example of the Olympic Park in Barcelona, or the Queen Elizabeth Olympic Park in London, Italian cities such as Turin are now taking the lead in this movement. —————————————— Superhumans In the 20th century, our knowledge of the body, medicine, physics and chemistry has expanded considerably: we have discovered and are discovering the origins of many diseases and are decoding the deep workings of our bodies and brains. Technology and science have made great strides, allowing us today to equip the human body with devices that increase its ability to go faster, higher and further, but also expose it to serious threats to survival. This section asks how far man will go in his quest for perfection, beyond the limits of his humanity, and what questions the combination of technology, medicine and sport will raise for the future. Will we all become a little more superhuman? Will technology and science help us to be better or will they confront us with moral choices that are more important than ever in sport? TECHNOLOGIES THAT EMPOWER US, TECHNOLOGIES THAT PROTECT US Since the dawn of time, humans have realised that their ability to build tools would be crucial to compensate for the fragility and limitations of their bodies. They began to invent ways to protect themself, but also to empower themselves, and this quest for protection and performance enhancement is evident in the field of sport, where there are almost endless technologies developed to go ‘stronger, faster and farther’, and to do so more safely. The regulations of the various disciplines themselves have increasingly focused on preserving the health of athletes, introducing the compulsory use of a range of equipment and accessories necessary to safeguard their bodies and prohibiting risky practices. THE MOTORBIKE AIRBAG: AN ITALIAN EXCELLENCE Helmets, goggles, gloves, boots, armour and all sorts of devices for protection in the event of an accident have accompanied the history of motorsport: many revolutions in this sector have arisen in Vicenza. Indeed, from the imagination of Lino Dainese and his collaborators came a series of technological leaps, such as the full leather suit, modular back protectors inspired by armadillos, sliders and, above all, the electronic airbag. A revolution that, developed today for motorcycling sports and otherwise, can be applied to the protection of all athletes and all fragile members of society, such as the elderly and children, limiting damage in the event of a fall. THE GREAT PROSTHETICS WAR At the beginning of the 20th century, several doctors in Tuscany were at the forefront of research into the development of orthopaedic prostheses that would allow rudimentary movement. Returning from the Libyan war, one of them, Giuliano Vanghetti, had attempted to operate on amputated limbs while preserving their functionality. It was not until the First World War, with its dramatic increase in the number of invalids, that prosthetic construction was developed to a more complex level. The Rizzoli Orthopaedic Institute in Bologna became one of the main centres for the treatment and rehabilitation of soldiers returning from the front with severe mutilations. The results of the workshops set up a few years earlier led to the creation of prostheses that were no longer mere fillers, but useful hands capable of performing simple gestures thanks to the residual impulse given by the injured muscles, thus restoring a semblance of normality to life. INAIL AND ITALIAN EXCELLENCE Even today, Italy is still a world leader in the testing of orthopaedic prostheses for sports and other fields. Thanks to INAIL – National Institute for Insurance against Accidents at Work – and its orthopaedic workshop inaugurated in 1961, and thanks to the collaboration between it and the Italian Institute of Technology in Genoa, our country is in fact at the forefront in the field of robotic prostheses. The work of these two public bodies shows the state’s commitment to caring for citizens who are victims of accidents or have congenital disabilities to improve their quality of life. In addition to developing all the prostheses for the Italian National Paralympic Team, the two organisations have also developed the patent for the ‘Hannes’ bionic hand, the ‘Exo-H2’ wearable exoskeleton and a range of bioelectric prostheses that use artificial intelligence to analyse the wearer’s muscle signals in real time. THE PARALYMPIC GAMES Italy can also boast another great success in the field of adapted sport: the organisation of the first Paralympic Games. In fact, it is thanks to the work of Dr Alfredo Maglio, his intuition and collaboration with Ludwig Guttmann, organiser of the 1948 Stoke Mandeville Games in the United States, that sport for people with disabilities made significant progress. Maglio, who specialised in the rehabilitation of victims of work-related injuries, soon realised the importance of sport for the motor and psychological rehabilitation of his patients. In 1961, he founded the Paraplegic Centre in Ostia, near Rome, for INAIL, which played a crucial role in promoting sport for people with disabilities, transforming social perceptions around them. This gave rise to the idea of the first ‘Paralympics’, organised in Rome in 1960, starting a global movement that led to the founding of the International Paralympic Committee in 1989. Italian Paralympic medals Italian Paralympic athletes with the most medals SUPERHEROES? BEBE Who doesn’t know Bebe Vio? Gold medallist in individual fencing at the Rio de Janeiro 2016 and Tokyo 2020 games and holder of countless European and world titles, the Veneto athlete is a role model for thousands of people, so much so that she was awarded the title of Commander of the Order of Merit of the Italian Republic for her contribution not only to the Italian sports movement, but to society as a whole as an example of courage, resilience and overcoming prejudice. ALEX Alex Zanardi, who has become a symbol of resilience and determination, began his sporting career as a racing driver. After winning two titles in the American CART championship, he was the victim of a serious accident in 2001 that led to the amputation of his legs.. Recovering, he returned to racing with adapted cars and devoted himself to paracycling, winning a long series of world championships and two medals at the Paralympic Games in London 2012 and Rio 2016, becoming a true legend. Paralympic Games, becoming a true legend. In 2020, an accident during a road race once again threatened Alex Zanardi’s life, leaving the Italian public in suspense. THE FUEL OF SPORTSMEN Today, we all take the importance of nutrition in sport for granted. A good nutritionist is just as important as a trainer, because it is through food that our bodies find the energy to exercise and regenerate after intense training. All the elements are equally important: vitamins, proteins, carbohydrates, fibre – the perfect balance of our Mediterranean diet. For a long time, however, this was not offered to athletes, who were given high doses of protein. It was not until the 1950s that the relationship between nutrition and sport became a field of study, with the emphasis on our Mediterranean diet based on cereals. Among the first to understand its importance were Fausto Coppi and Giacomo Agostini, who recognised the importance of nutrition and general physical training for high performance in their disciplines. EAT MORE SUGAR! Before the triumph of light or protein foods and supplements, the athlete’s diet was already the subject of marketing, but in completely unexpected ways. In the 1950s and 1960s, sugar and sweets were promoted as ideal foods for athletes through massive advertising campaigns; companies presented them as sources of quick energy, associating their consumption with athletic performance. Athletes were often portrayed consuming sweets, consolidating the idea that they were essential for physical activity. The lack of knowledge of the risks associated with excessive sugar consumption contributed to this perception, which now seems decidedly outdated. ALCOHOL At the turn of the century, alcohol took the lion’s share of the tables of all Italians, who drew most of the calories they could not get from other, more nutritious foods from alcoholic beverages. It was therefore normal, even for athletes, to consider alcohol a food like any other. Things changed in the 1920s. As the first diet books appeared, people began to restrict the use of alcohol, which could impair athletes’ performance. SMOKING Today, it would be unthinkable for a professional athlete to smoke, except in a few cases, but the perception of the damage caused by smoking has struggled to take hold. Up until the 1960s and 1970s, it was not uncommon to see athletes smoking, but the situation began to change as scientific evidence of the damage to health and the negative impact on physical and respiratory performance grew. This change in mentality became more pronounced in the 1980s, when many sports organisations began to discourage smoking among athletes. In the 1990s and early 2000s, anti-smoking policies became more stringent, with the introduction of laws banning smoking in many public places, including sports stadiums and arenas. PLAYING DIRTY: DOPING According to the most influential Italian encyclopaedia, Treccani, ‘the term doping indicates the use of drugs, pharmacological combinations or medical practices with the aim of improving performance during sporting activity’. Combinations and practices spread across multiple disciplines and developed in step with the medical-scientific and pharmacological knowledge available in the various eras and increased as top-level sport became a spectacle and a lucrative industry. At the end of the 19th century, two Italian physiologists, Angelo Mosso and Paolo Mantegazza, were the first to demonstrate through their studies the benefits that could be obtained in sport from the use of certain substances such as cocaine and caffeine, and in 1904 the term ‘doping’ appeared for the first time in the ‘Gazzetta dello Sport’, referring to the use of doping quadrupeds in horse racing. Doping practices have devastating effects on the psycho-physical health of those who take them, whether professionals or amateurs. In Italy, the first death caused by doping was that of the cyclist Alfredo Falzini in 1949, in the middle of the Milano-Sanremo race. Nevertheless, the growing awareness of the mirage of miraculous sporting results promised by these substances has led to experimentation with ever more sophisticated systems. GUARDS AND THIEVES, ANTI-DOPING ‘The practice of doping in sport is not only cheating, a shortcut that nullifies dignity, but it is also wanting to steal from God that spark which, by his mysterious designs, he has given to some in a special form’, Pope Bergoglio said in 2021, closing any possible discussion on doping, effectively justifying the rigid moral division between ‘right’ and ‘wrong’ and the challenge between guards and thieves that has developed in the anti-doping sector. The first international body to combat it was the IAAF in 1928, but it was not until 1967 that the IOC decided to introduce anti-doping tests. In Italy, the introduction of testing in the Giro d’Italia came as early as 1968 and the first organic anti-doping law was introduced in 1971, which was then updated in 2000 when doping was equated with a criminal offence by aggravating only the sporting offence. COPPI’S ‘BOMB’ In cycling at the beginning of the century, in a still backward Italy, the real ‘doping’ – and even for some cyclists of very humble origins the real mirage – was to be able to eat well and in abundance. On the other hand, cycling, with its heavy bicycles, bumpy roads and disproportionately high mileage, required an inhuman effort. Apart from ‘natural’ doping, such as the intake of 34 eggs that Alberto Binda is said to have eaten during the Tour of Lombardy in 1926, all riders tried to resort to energising mixtures. After the Second World War came a ‘modernisation’ in the use of stimulants. Coppi was the first to understand the importance of being followed by a doctor to dose energisers. In 1952, in a radio interview, he revealed the contents of the mythical ‘bomb’, based mainly on an amphetamine, sympamine, synthesised in Italy in 1937, and which until the 1970s was sold as a tonic in pharmacies; today it is considered a narcotic and used only in limited clinical cases. THE APOGEE OF EPO Marco Pantani is synonymous with Italian cycling in the 1990s. The ‘Pirate’ captured the Italian summer and imagination from 1994 to 1999. His whole life was thrown into the limelight when, in 1994, he climbed the Stelvio and the Mortirolo, the area where the myth of Coppi was born. His legend, however, is more enduring than his fortune: having won the Tour and Giro in the same season, he was stopped by the doping squad at Madonna di Campiglio in 1999, at the height of his fame. Pantani, who tested positive for the use of Epo, a substance that increases the number of red blood cells widely used by cyclists in the 1990s to facilitate endurance and recovery – which was to be at the centre of the Lace Armstrong scandal, winner of seven consecutive laps. was disqualified. “This time I won’t get up again,” he tells reporters. What remains of him is the myth and the belief in his innocence of the last “people” of cycling. A GLIMPSE INTO THE FUTURE: CYBORG-ATHLETES Looking to the future and considering all that has been said in this section, cyborgs, human-machine hybridisation and artificial intelligence appear on the horizon as fascinating and controversial scenarios for sport. Athletes with advanced prosthetics have shown that a human with prosthetics can run even faster and more efficiently than one without. Furthermore, AI could revolutionise training, analysing biometric data in real time to optimise performance to the point of opening chip hybridisation scenarios to influence a person’s emotional state. However, the integration of technology raises ethical, regulatory and philosophical questions: what will sport be when we are no longer ‘just human’, fragile and subject to the unpredictability of existence? —————————————— Love Sport is also, and above all, a matter of love. A long history of rituals and myths, gestures and superstitions to be respected, ritual pilgrimages, heroes to imitate, choirs to sing. To use the categories of the great English historian Eric Hobsbawm, we can without a doubt consider sport to be one of the ‘secular religions’ of our time: just as with religions, there are gods, apostles, preachers, practitioners, worshippers and calendars to be respected with certain doses of sacredness and ritual. This section is a small emotional journey through the Italians’ support for their favourite sports, from the stands to the sports bars, from all-time champions to the unconditional love for the national team, from the World Cup on the big screens to the radios of the 1950s, from the Fantacalcio card to ‘Novantesimo Minuto’. A mosaic of memories in which all Italians can recognise themselves. TIFO Italian is one of the few languages to have found its own word for public support at sporting events: ‘Tifo’ a name borrowed from a disease that causes high fever. The dictionary defines ‘tifo’ as “passionate enthusiasm, often fanatical, for a sports team, a champion or even a public figure”, which goes beyond the moment of the match and becomes a way of life and a declaration of belonging and identity. On the other hand, there would be no sport without cheering: no performance and no victory would be meaningful without the presence, support, gossip and coverage of the public in the stands. And Italians, as fans, crowd the stands of arenas and stadiums, undertake gruelling journeys to follow their favourite team, crowd the roadsides to cheer on cyclists, set off fireworks, build merry-go-rounds, share beer and watermelons in front of big screens, comment on sporting events in bars and all the meeting places, and finally, they pay huge sums to subscribe to all the platforms that allow them to follow their idols from the comfort of their sofas at home. COUCH ATHLETES Italians are world-famous for the liveliness of their cheering, a practice that, it is said, fascinates them more than the sporting activity itself. But what are the 10 sports that keep us glued us to the sofa? TOTOCALCIO Who has not experienced at least once in their life the thrill of filling in the 0-X-1 slip, hoping that on Sunday evening their winning combination will appear and their bank account will suddenly be flush with funds? This is the ritual of the Totocalcio, created in 1946 by Massimo Della Pergola, a betting game on the results of Italian football. Inspired by the English ‘football pools’, it was introduced to finance CONI and the Italian sports sector and quickly became a collective act of millions of Italians. With the advent of online betting, its popularity declined, but it remains an icon in our collective imagination. THE ‘FIGURINE’ ‘Figurine’ (stickers) arrived in Italy in the 1920s and 1930s as an advertising tool, all shapes and colours were printed, and sport was one of the last themes to appear in collections. Helvetia chocolate from Reggio Emilia was one of the first to include a collection of sports-themed stickers in its packaging. It was 1929 and of the 90 motifs, 33 were dedicated to cycling, 15 to motorcycling and football, 12 to motor racing, 9 to boxing and 6 to running. But the quality of this new medium really took off with the founding of the Panini company in Modena in 1961, which launched the first album dedicated to the Football World Cup that same year. Self-adhesive stickers and all the commercial activity that went with them quickly became a cultural phenomenon that influenced several generations and is still an integral part of Italian childhood. PLAYING SPORTS Anyone who was a child during the years of the economic miracle can tell of the hours spent playing with crown caps – the caps that close soft drinks or tomato bottles – covered with pictures of their favourite racers and weighed down by a perfectly filed slide. They are the rudimentary version of another game with which they soon hybridised: marbles. Marbles, no longer made of terracotta or glass, but of plastic, with a transparent hemisphere enclosing the cyclist’s figurine and with which fierce races are run on tracks slowly modelled on the beach or in the earth. And what child of the 1980s does not remember with emotion Subbuteo and its players, with their hemispherical bases that could be pushed forward with the fingers? Invented in the immediate post-war period in Great Britain, it is the alter ego of another great leisure time classic of Italians, the table football or, as it was called in Mussolini’s time, the ‘Calcio-Balilla’, the absolute protagonist, along with table tennis, of afternoons in oratories, party sections, bars and summer beaches. FANTACALCIO Created in the late 1980s by journalist Riccardo Albini, who was inspired by US baseball and football fantasy leagues, Fantacalcio quickly became a passion for millions of Italians. Its success and popularity was largely due to the collaboration of La Gazzetta dello Sport: since 1994, the sports daily has devoted several pages to the game, providing votes to calculate the scores. It is in fact a virtual game in which ‘fanta-trainers’ build a team with real players, whose score is derived from the actual performances they put on the pitch every Sunday. It is a game that strengthens and destroys friendships, is a topic of conversation in bars and among colleagues, but above all it helps to make football the most popular sport among Italians. WHAT SHALL WE CALL HIM? What makes two people to choose a name for their newborn child? In the past it was family and religious traditions, then the desire to wish prosperity and success, and finally the desire to emulate myths from popular culture. First names from operas, then those from literature, and finally those from film and television. Since the 1920s, however, the names of sporting heroes have also imposed themselves, hand in hand with the spread of the mass media that build sports stardom and the figure of the champion. A fashion that has never gone out of fashion, considering that between 1984 and 1991 alone, 515 children were registered in the Naples registry office with the name Diego or Diego Armando. PLACES OF DEVOTION Like any religion, sport also has its places of devotion, often linked to the myth of certain great teams and which are inserted into urban landscapes, becoming protagonists in photographs and postcards. Sports facilities have seen the greatest names in Italian architecture put their skills to the test, integrating themselves into the urban fabric and even transforming it to meet the needs of a sporting movement, the crowds and the increasingly numerous and frequent competitions. From the Dall’Ara stadium to the stadium in Florence, designed by Pier Luigi Nervi, from the Foro Italico to the Marassi in Genoa, several stadiums and sports facilities are also monuments, while others are linked to mythologies, such as the Filadelfia stadium in Turin, which preserves in its new structure part of the bleachers that witnessed the exploits of Valentino Mazzola and the Grande Torino. Arenas, stadiums, rings, swimming pools and facilities of all kinds are also real places of pilgrimage for fans, so much so that some have been turned into museums, such as the Madonna del Ghisallo or the Juventus Stadium. ITALY AT THE OLYMPICS The modern Olympic Games were born in 1894 from the intuition of the French baron Pierre de Coubertin, who was idealistically convinced that a sporting festival, inspired by the Olympic Games of ancient times and the Universal Exhibitions, bringing together the youth of the world every four years, could be a vehicle for peace. Two years later, the first edition was held in Athens: Italy sent no delegation, but two Italian athletes, Rivabella and Airoldi, tried to take part. The former possibly competed in the shot – but we do not know his placing – the latter wanted to run the first marathon in history but was disqualified for professionalism. Until 1992, the Games were reserved, at least formally, for amateurs. The first medals arrived in Paris in 1900, an edition that was swallowed up by the Universal Exhibition. 27 participations in the Summer Olympics GENERAL CLASSIFICATION POSITION Summer Olympics: 6th Winter Olympics: 12th Overall medallist: 7th Total medals won: 741 Overall ranking by total number of medals in summer and winter disciplines The 5 most medalled Italian athletes of all time: Edoardo Mangiarotti (fencing) – 13 medals. Arianna Fontana (short track) – 11 medals. Stefania Belmondo (cross-country skiing) – 10 medals. Valentina Vezzali (fencing) – 9 medals. Giulio Gaudini (fencing) – 9 medals. The 3 athletes who have participated in multiple Olympic Games 8 editions: Raimondo and Piero D’Inzeo (horse riding); Josefa Idem (canoeing); Giovanni Pellielo (shooting) HEROES OF THE MARATHON The fascination of running lies in man’s attempt to overcome his own limitations using only his legs. Ugo Frigerio, marcher, led Italy to its first Olympic medal in 1920. The record of 19’72” for the 200 metres flat, set by Pietro Mennea in 1979, remained unbeaten until 1996. However, the Apulian sprinter never achieved the popularity of other sportsmen, not only because of his tendency to embody a spirit of sacrifice rather than enthusiasm, but also because of the lack of interest shown in athletics by sponsors for a long time. Following the memory of Dorando Pietri, Italy also became home to marathon runners: in 1988 Gelindo Bordin, a good-tempered Veneto native, won the first Italian gold medal in the queen of races. The podium was then regained by Stefano Baldini in Athens in 2004, the last Westerner to reach the top step before the triumphs of Kenyan athletes. ROME 1960 The first Olympic Games, held in Italy, marked a radical change in modern sport. The Olympic Games took on a commercial dimension and athletes became tools and vehicles for advertising. Demands for equal rights and non-discrimination on the basis of race and gender grew, so much so that the United States chose an African-American, Rafer Johnson, to be the flag bearer. Rome is a city trying to shake off the legacy of fascism – evident in the symbols of the Foro Italico, built by Mussolini for the coveted 1944 Olympic Games. In a medal table dominated by the Soviet Union and the United States, Italy finished third with 13 gold medals. These included the 200 metres on the flat, won by Livio Berruti, and the welterweight boxer Nino Benvenuti. The former, a former sick child who ran with sunglasses to compensate for severe short-sightedness, broke the Olympic record with 20″5 and became a national hero. The second, a former European champion, turned professional and then entered the Hall of Fame of the greatest boxers of all time. THE HOME OF THE WINTER OLYMPICS Unlike the summer Olympics, hosted in Italy on only one occasion, our country has already organised the winter Olympics on two occasions and is preparing to do so for the third time. The first, held in Cortina d’Ampezzo in 1956, just four years after the end of a war in which Italy was a defeated power, symbolically confirmed the country’s full re-entry into the international sporting arena. Fifty years later, the Winter Games returned to the Italian Alps: in Turin 2006, the Italian delegation won five gold and six bronze medals. The Piedmontese capital also managed to complete its urban transformation into a post-industrial city thanks to the Olympic event. Only twenty years after the second one, Italy is now preparing to host its third winter edition: Milan-Cortina 2026. An enterprise that will involve no less than three regions: Lombardy, Veneto and Trentino-Alto Adige. THE AZZURRI Although the Italian flag is green, white and red, our national team is known around the world as the ‘Azzurri’. An anomaly that has its roots in the political and institutional history of our country. Light blue, the official colour of the Savoy dynasty, which ruled Italy until 1946, was adopted as the badge of Italian athletes from 1910, when it was used by the national football team in a match against France. The newly born Italian Republic decided not to break with the custom and the sentimental baggage that the colour carried, maintaining the colour of the sovereigns even after the end of the monarchy. TRICOLOUR HEART The success at the men’s European Football Championship in 1968 and the ride to the final at the World Cup in Mexico in 1970 triggered spontaneous celebrations in the streets and squares of Italy, in those years associated with political and social conflicts, in which, from below and without any party connotations, there was a massive display of national symbols. There was a widespread feeling that shared belonging to the blue colours had the ability to suspend political divisions. The wait on the eve of the match, marked by early closures and half-empty transports, the liturgy of the night match broadcast live on television, the great heat and the alternation of emotions all contributed to the crowds of Italians invading public spaces at the final whistle in an uncontrollable euphoria that involved not only young men, but also the elderly, children and many women. From that moment on, the festive invasion of public space and the unfurling of national symbols became a tradition to celebrate each victory achieved by the Azzurri. THE 82 WORLD CUP Madrid, 1982. World Cup final Italy-Germany: 32 million people tuned in to set a new record for television viewing figures. The World Cup got off to a bad start for Italy, after a scandal that resulted in the disqualification of centre forward Paolo Rossi for two years. After the first qualifying round, nobody would have bet on the continuation of the adventure of Enzo Bearzot’s national team. But everything changed after the clash with Brazil, which ended 3-2 to Italy in the 89th minute. For the final, 30,000 Italian fans arrived in the Spanish capital, including the President of the Republic Sandro Pertini, who threw his arms up to the sky, mad with joy at the 3-1 win with goals from Paolo Rossi, Marco Tardelli and Alessandro Altobelli. At a difficult time for the country, when the secular religions of politics were beginning to fade and the wounds of the “anni di piombo” were still fresh, football managed to unite Italians where many had failed. ITALY 90 For the ruling class of the time, it was supposed to be the litmus test of the seventh world power of the 1980s, for everyone it was the ‘missed chance’: or so the 1990 World Cup was called. Much had been invested in this edition of the Cup, which the Italians entered as the favourites. It was Maradona who put an end to the Azzurri’s ‘magic nights’ and led Argentina to the final against West Germany. Some hoped that the Azzurri would be able to repeat the success of Vittorio Pozzo’s Italy, who had won their first World Cup on home soil in 1934; others believed that they would be able to see the burning torches of the fans who had greeted the first European Championship victory in 1968 in the stands of the Olimpico. Ten years after Italia 80, the Italian national team had reached the semi-finals. MAGICAL NIGHTS Prominent contemporary composers were brought in to celebrate major sporting events. Among the creators of the World Cup and Olympic anthems were two Italian Oscar winners: Ennio Morricone and Giorgio Moroder. Morricone, whose name until then was linked to the films of Sergio Leone, Elio Petri and Pier Paolo Pasolini, composed the theme for the controversial 1978 World Cup in Argentina; while Moroder, after winning Oscars in 1979, 1984 and 1987, wrote the music for ‘Hand in Hand’, the anthem of the 1988 Seoul Olympic Games. Moroder was also called upon to write the notes of what became a real summer hit, ‘To Be Number One’, better known in Italy as ‘Un’estate Italiana’ (An Italian Summer), which, sung by two pop stars Gianna Nannini and Edoardo Bennato, was renamed ‘Notti Magiche’ (Magical Nights) for its famous refrain. THE GAME OF THE HEART The singers’ love for football was also demonstrated in 1992 with the creation of the ‘partita del cuore’, a charity event that for the last 32 years has pitted the national team of Italian singers against various teams, including RAI Radio and Telecronists, pilots and politicians. If the first match in 1992 (80,000 spectators) was the most attended, followed by the matches with the sports champions in 1994 (60,000) and with the magistrates (70,000), one of the most interesting matches was the one with the parliamentarians in 1996. The singers fielded, among others, Mogol, Enrico Ruggeri, Luca Barbarossa, Gianni Morandi, Eros Ramazzotti and Luciano Ligabue; the politicians, in the first year of the Prodi government, presented themselves with a bipartisan line-up, which included Roberto Maroni, Ignazio La Russa, Pierferdinando Casini, Massimo D’Alema, Clemente Mastella and Walter Veltroni. The match ended 2-2 after regulation time. After the penalties, in a friendly spirit, it was decided to end the match with a result of 4-4. THE CHAMPIONS CUP In 1981, in the song ‘Milano’, Lucio Dalla ends a verse by stating: ‘then Milan and Benfica, Milan that struggles…’. The reference is to the first Champions Cup won by Milan in 1963, against the strong Portuguese team, defending champions: the first of the seven Champions Cups/Champions League won by Milan. Today, the Rossoneri are, after Real Madrid, the team with the most victories. Other Italian teams to have excelled in the competition include Inter in 1964 and 1965, under Angelo Moratti, and his son Massimo in 2010. The Champions Cup has been a curse for Juventus, who won it twice, in 1985 and 1996, but lost seven times in the final. The first of the Bianconeri’s two trophies came against Liverpool in Brussels. The victory, overshadowed by the drama that unfolded that night at the Heysel stadium, brought attention to the problem of violence in stadiums. Among the Italians who reached the final without victory were Roma, who at the Olympic Stadium lost on penalties against Liverpool in 1983, and Fiorentina, who lost the final to Alfredo Di Stefano’s Real in 1957. CHAMPIONS Each of us has a champion in our heart. A character who has marked our individual and collective imagination, who has made us passionate with their charisma and their exploits. A great pantheon that makes us all feel a little more Italian. FEDERICA Federica Pellegrini, the ‘Divina’ of Italian swimming, has conquered everyone’s heart with her extraordinary feats. The first woman to break 4 minutes in the 400m freestyle, she has won 1 Olympic gold, 1 silver and 6 world gold medals. She has participated in five Olympic Games, from Athens 2004 to Tokyo 2020. Her career, which lasted from 2001 to 2021, is a symbol of excellence, grit and inspiration for all. VALENTINO On 5 June 2009, Valentino Rossi triumphed in one of the most epic MotoGP races in Catalonia, cementing his status as a living legend. The ‘Doctor’, who owes his fame and the devotion of many to his charisma as well as his talent, started racing at the age of just 9 and collected 9 world titles in different categories, becoming one of the most successful riders ever. His career, from 1996 to 2021, saw successes with teams such as Aprilia, Honda, Yamaha and Ducati. With 115 victories and 235 podiums in 432 races, he is still a rider the world envies. MARCEL AND GIANMARCO On 1 August 2021, Marcel Jacobs and Gianmarco Tamberi wrote an indelible page in Italian sports history. On the same day, Jacobs won gold in the 100 metres at the Tokyo 2020 Olympic Games with a time of 9.80 seconds, while Tamberi won gold in the high jump, clearing 2.37 metres. Jacobs, a sprinter extraordinaire, is the first Italian to win the Olympic 100 metres; while Tamberi, with his charisma and resilience, overcame a career marred by injuries. These simultaneous triumphs ignited national pride, paving the way for successes to be repeated in the 2024 Europeans. JANNICK In the summer of 2024, Italy was thrilled by a red-haired young man: Jannik Sinner, who became world number one, an epic achievement for the young man from San Candido, a small mountain village in northern Italy. Growing up in the Dolomites, Sinner started out as a skier, but found his true passion in tennis. His rise is extraordinary: in 2021 he wins his first Masters 1000 in Miami, in 2022 he triumphs at Wimbled
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73rd Venice International Film Festival has been set in motion. The dates are out and the line-up has been released. The festival will pit twenty movies for the top prize named Golden Lion. From dramas to thrillers, the line-up is loaded with some power packed performances. Venice Film Festival will kick start with the world premiere of La La Land. Directed by Damien Chazelle, the musical has already been the talk of the town due to the sizzling chemistry of Ryan Gosling and Emma Stone. The plot of the movie revolves around a jazz pianist who falls in love with an ambitious actress in Los Angeles. Antoine Fuqua’s The Magnificent Seven will be showcased before the curtain closes on the festival. The movie stars Denzel Washington in a plot set for the modern retelling of the 1960 classic about outlaws in the Old West. Talking about the festival, director Alberto Barbera says that the focus of this year’s line-up has been philosophical and existential questions that prevail in films. He says movies which steer away from brutality of reality and every day news are approached. He clarifies that the idea should not be looked upon like a sort of escapism. Venice Film Festival Nomination Line-Up Ana Lily Amirpour, The Bad Batch Stephane Brize, Une Vie Damien Chazelle, La La Land Derek Cianfrance, The Light Between Oceans Mariano Cohn, Gaston Duprat, El ciudadono ilustre Massimo D’Anolfi, Martina Parenti, Spira Mirabilis Lav Diaz, The Women Who Left Amat Escalante, La region salvaje Tom Ford, Nocturnal Animals Roan Johnson, Piuma Andrei Konchalovsky, Paradise Martin Koolhoven, Brimstone Emir Kusturica, On the Milky Road Pablo Larrain, Jackie Terrence Malick, Voyage of Time Christopher Murray, El Cristo ciego Francois Ozon, Frantz Giuseppe Piccioni, Questi giorni Denis Villeneuve, Arrival Wim Wenders, Les beaux jours The popular one among the lot, The Light Between Oceans, to be showcased at Venice Film Festival, is a story about a couple who help a baby that drifts away in a rowboat. The cast of the movie includes Alicia Vikander, Rachel Weisz and Michael Fassbender. The Venice Film Festival will also be remembering the great work by two legendary film directors, Abbas Kiarostami and Michael Cimino, reported Euro News. Both the directors recently passed away. Venice Film Festival comes to a close on Sept. 10 2016. (Source: http://www.movienewsguide.com article by Ancy John) Like this: Like Loading... A Euro-Atlantic twist at the 73rd Venice Film Festival By Federico Grandesso Italian Editor, Journalist If the last edition of the Cannes Film Festival was dominated by important and consolidated “cinema masters,” the red carpet at the 73rd Venice Film Festival will be taken over by marvelous authors. Looking at the lineup recently presented in Rome, next year’s festival could be defined as the best of Alberto Barbera, Venice’s artistic director. If the key challenge is always to combine “cinema d’auteur” with the legitimate tastes of the general public, this “Mostra” will potentially bring a perfect balance to the lagoon city. A closer look at the main competition, with six American films, reveals a strong comeback by the big American players in an edition that can be defined as Euro-Atlantic. On one side of the Atlantic Ocean, there is Malick, Larrain, Villeneuve, Ford and Chazelle. On the other side, there is Konchalovsky, Wenders, Kusturica, Brize and Ozon. In between these two titanic armadas there will be a lonely Asian director, Filipino Lav Diaz (The Woman Who Left), making the 73rd with one of the smallest Asian representations in recent history. But next year’s festival will not only lack Chinese, Japanese, Korean and Iranian filmmakers. Africa, with its vibrant Magreb cinematography, will be also out of the picture. Compared to the recent Berlin and Cannes festivals, the Venice selection goes into another direction – one that prefers films based on literature (novels and theatrical plays) and history over socio-political stories. The world’s immigration and economic crises have been forgotten, at least for now. Instead, there is a more intellectual approach based on the past as source of inspiration and detector of contemporary conflicts. Venice has always been synonymous with innovation. As for the film that will kick off the 73rd Venice International Film Festival, it’s “La La Land” by Damien Chazelle with Ryan Gosling and Emma Stone, as well as two documentaries, Terrence Malick’s “Voyage of Time” and “Spira Mirabilis” by Italian directing duo Massimo D’Anolfi and Martina Parenti. Meanwhile, among the futurist genres there will be 3D films “Les Beaux Jours D’Aranjuez” by Wim Wenders and a UFO story “Arrival” by Denis Villeneuve, another big risk taken by the festival’s art director Barbera. Another unmissable film will be the TV series episodes of “The Young Pope” by the Italian Oscar-winning director Paolo Sorrentino with a stellar cast starring Jude Law, Diane Keaton and Cecile de France. Italy will have several films in competition, such as “Piuma” (Feather) and “Questi Giorni” (These Days). The younger generations will be the protagonists of contemporary stories about the difficulties of growing up. The “European” surprise could come from “Brimstone,” a western thriller film conceived, written and directed by the Dutch film-maker Martin Koolhoven and starring Dakota Fanning, Guy Pearce, Kit Harington and Carice van Houten. It is a triumphant tale of powerful womanhood and resistance against a violent past that refuses to fade. Just like at the Cannes this year, the red carpet in Venice is expected, for the joy of paparazzi and fans, to be one of the best ever, with a stunning Natalie Portman together with Emma Stone, Alicia Vikander and the Italian star Monica Bellucci. Just as impressive will be the “battalion” of male stars such as Jude Law, Mel Gibson, Michael Fassbender, James Franco, Jim Carrey, Keanu Reeves, Jake Gyllenhaal, Denzel Washington and Chris Pratt. As for the international jury that will be awarding the golden lions, its president will be British director Sam Mendes. Also on the jury will be American artist, singer, director and writer Laurie Anderson, British actress Gemma Arterton, Italian magistrate, writer, playwright and screenwriter Giancarlo De Cataldo, German actress Nina Hoss, French actress Chiara Mastroianni, American director Joshua Oppenheimer, Venezuelan Golden Lion director Lorenzo Vigas and the Chinese actress, director and singer Zhao Wei. The Venice International Film Festival runs August 30 through September 10th, 2016. For more information on ticketing click here. (Source material: https://www.neweurope.eu/article/euro-atlantic-twist-73rd-venice-film-festival/, http://www.labiennale.org) Like this: Like Loading... Mia Madre Acclaimed Italian auteur Nanni Moretti finds comedy and pathos in the story of Margherita, a harried film director (Margherita Buy, A Five Star Life) trying to juggle the demands of her latest movie and a personal life in crisis. The star of her film, a charming but hammy American actor (John Turturro) imported for the production, initially presents nothing but headaches and her crew is close to mutiny. Away from the shoot, Margherita tries to hold her life together as her beloved mother’s illness progresses, and her teenage daughter grows ever more distant. Mia Madre premiered in the Main Competition of the 2015 Cannes Film Festival where it won Ecumenical Jury prize while Margherita Buy received the Best Actress prize at Italy’s 2015 Donatello Awards. Characteristically self-reflexive and autobiographical, Moretti’s latest speaks to the poignancy of human transience, how we process loss and how we gain strength through humor. Mia Madre opens in Los Angeles and New York on August 26th with a national roll-out to follow! Shots from Mia Madre Critics Reactions “Beautifully observed and delicately balanced…this is Moretti at his interpersonal best; intimate, empathetic and intensely humane.” – Mark Kermode, The Guardian “Carefully measured and satisfying…the film emerges as a deeply affecting reflection on solitude.” – Ela Bittencourt, Slant Magazine “Fascinating…a rich and incredibly detailed world.” – Oliver Lyttelton, The Playlist INTERVIEW WITH DIRECTOR NANNI MORETTI Is the character played by Margherita Buy in Mia Madre your alter ego? I never considered playing the main role in this movie myself. I stopped doing that quite a while back, and I’m glad I did. I used to enjoy it, but today I am no longer driven by the fixed idea of wanting to compose my character film after film. I always thought this character would be a woman and a director, and that this woman would be played by Margherita Buy for a very simple reason: a film with Margherita Buy in the leading role would be much better than one with me in the leading role! She’s a much better actor than I am. Margherita carried much of the film’s workload on her shoulders. Out of seventy days of shooting, she was only away one day, and that was for a scene I ended up cutting! Still, one has the impression that there is a lot of you in this film… In the scene in front of the Capranichetta movie theater in Rome, during which Margherita’s brother, played by me, asks his sister to break at least one of her two hundred psychological patterns, it was as if I was talking to myself. I always thought that with time I would get used to drawing from the deepest part of me… But on the contrary, the more I move on and continue this way, the more this feeling of malaise arises. This said, the movie is not a personal confession. There are shots and frames, choices, performances – it’s not real life. How would you define your work? As an autobiography? Autofiction? Autofiction is a term I really don’t understand. And as for autobiography… All stories are somewhat autobiographical. I was talking about myself when I spoke about the Pope in Habemus Papam (We Have a Pope), played by Michel Piccoli, who felt he was unfit and likewise when I depicted Silvio Orlando’s work and personal stories in Il caimano (The Caiman). More than the wish to measure how much is autobiographical, what matters is to have a personal approach in relation to every single story. How did you choose John Turturro? Directors who have made far fewer films than I don’t have any qualms about approaching international stars. But I’m not like that. I called on him because I liked him very much and it seemed to me that his acting style wasn’t naturalistic. But also because we were already acquainted, and he already had a connection with Italy – he has even made a beautiful documentary about Neapolitan music called Passione. John had seen some of my films, which reassured me greatly. I admit that it would have been difficult for me to explain who I am, what I want, what my cinematographic expression is like. He also speaks and understands a little Italian. And he is a film director as well. It’s nice to work with actors who are also directors; it makes it easier to understand one another. When did you start thinking up the Mia madre screenplay? I usually allow for a great deal of time between my films. I need to leave behind the psychological and emotional investment of the previous movie. It takes time to recharge my batteries. This time, however, as soon as Habemus Papam (We Have a Pope) was released, I started thinking about my next film. I started writing when the things that I recount in the film happened in my life. And that probably had an influence on the narrative. How did you come up with the different narrative modes, where dream and reality sometimes intermingle? It’s important to tell a story in a non-academic manner, to have a narrative which doesn’t limit itself to fulfilling the basics: a narrative which, although familiar with the rules, can do without them. However, it is also important that it rings true within yourself, and also within what you are in the process of telling. You should never have a flat and ordinary relationship with the material you want to present. I liked the idea that when the audience would see a scene, they wouldn’t immediately understand whether it was a memory, a dream or reality, for they all coexist in Margherita’s character with the same immediacy: her thoughts, her memories of apprehension concerning her mother, the feeling of not being good enough. The narrative time corresponds with Margherita’s various emotional states in which everything coexists with the same urgency. I wanted to recount, from the point of view of a female character, this feeling of not being good enough in relation to her work, her mother, her daughter. Is this the reason why you wrote it with three women, Chiara Valerio, Gaia Manzini and Valia Santella? Perhaps, but those aren’t things that you plan or set up in advance. I hardly knew Gaia Manzini and Chiara Valerio. I had met them during a reading. Each one of us was asked to read an extract from a book by Sandro Veronesi. Shortly after, when I decided to start working on this subject, I called them. Valia, on the other hand, is a friend of mine, and we have been working together for a very long time. What did you imagine would be the film that Margherita was making? There is a scene that I cut where Margherita says to her daughter: “I’m never in my films,” and her daughter answers: “well, you don’t necessarily have to talk about yourself in your films,” and Margherita replies: “no, not necessarily, but I would like to make films that are more personal.” There it is. I wanted Margherita, overwhelmed by her life and her problems, to make a film that was more political than personal. In the press conference scene, a journalist asks her: “In such a delicate moment for our society, do you think that your film will succeed in appealing to the country’s conscience?” Margherita starts to give a formatted answer: “Well, today, the public itself is demanding a different kind of commitment…” But her voice slowly fades and we can hear what she is really thinking: “Yes, of course it’s the role of cinema, but why have I been making repeatedly the same things for years and years? Everybody thinks that I have the knack of understanding what is going on, of interpreting reality. But I don’t understand anything anymore.” I wanted the sturdiness and assertiveness of her film to be in absolute opposition with her emotional state; with what she’s experiencing and how she perceives herself. I wanted there to be a discrepancy between her very structured film and the very delicate moment she is going through. How did you address the theme of mourning? In La stanza del figlio (The Son’s Room), I was exorcising a fear. Here, I am referring to an experience that many people share. The death of one’s mother is an important rite of passage in life, and I wanted to recount it without being sadistic whatsoever towards the audience. This said, when you make a film, you are deeply engrossed in what you are doing: you work on the dialogue, the direction, the editing and as a result the theme you are treating doesn’t strike you with the full extent of its impact. Even when the feeling is very strong, I tend to think that the director doesn’t let himself be fully affected by it. Is it more difficult to shoot, think through and recount a story like this one compared with other films? No, I don’t think so. There was just a moment during the writing process when I decided to reread the journal I kept during the course of my mother’s illness. I did it because I thought that perhaps our exchanges, those lines could add weight and help the scenes between Margherita and her mother to ring true. In fact, the rereading of these journals was painful. What else did you read or what did you watch in preparation for Mia madre? During intense working periods and during a film shoot, I accumulate an array of things. When I finished shooting Mia Madre, I realized that I hadn’t had the time to review the books and the films that I had believed I should read or watch again because they broached the subject of pain, loss or death. It was a great relief for me to understand that I didn’t need them anymore. I saw Woody Allen’s Another Woman again but I didn’t watch Haneke’s Armour, which was on my desk. And especially, I didn’t read Roland Barthes. After my mother’s death, a woman I’m friendly with, offered me Journal de deuil (Mourning Diary), which Barthes had written right after his mother’s death. She told me that it had helped her. I opened a page at random, I read two lines, which felt like a stab in my heart, and I closed it. At the end of the film shoot I took the book off my desk and put it up on the shelf. Fortunately, I no longer felt the need to delve into grief. The mother is played by an actress who is not known in France, Giulia Lazzarini. This actress from the Piccolo Teatro de Strehler has a background which is very different from mine, and meeting her was a delightful experience. Not only was she able to understand me, and enter into my film, but, and I haven’t the faintest idea how, she also thoroughly understood my mother. Your mother was a professor… She taught for thirty-three years at the Visconti High School in Rome: literature in the middle school, then during the last years, Greek and Latin in the high school. At least one person every week would tell me that she was their teacher. Sometimes, there are people who also had my father as a professor at the University (he was a professor of Greek epigraphy). Many of her former students would come to see her years after passing their baccalaureate. I never had with any of my professors the kind of relationship she had with her students. I’m going to confess something that is a little painful, and which upsets me a bit, but I’ll say it: after my mother’s death, through the things that her former students told me, I had the feeling that something very important about her as a person had entirely escaped me, something that her former students had been able to grasp and share with me. Something essential. What have you learned making this film? I can answer this question very specifically. I feel exactly as I did during my first film shoot – the same anxiety, the same confusion, the same utter lack of confidence. I don’t think it’s this way for everybody. I believe for many people with experience, their knowledge of the profession and a certain detachment counts. I, on the other hand, have this very clear impression: it always feels as though I am making my first film. This time, it was with even more anxiety. There are people who say it is my most personal film; perhaps that is the reason why. But I just don’t know. I can say, however, that I have learned something along the way. I’m nicer to the actors, I’m more willing to stand by their side; I stick up for them. And what else have I learned…well indeed, there’s something I learned very quickly: the fact that when a film comes out, it no longer fully belongs to you. The public sees it, transforms it. There are things that have escaped you entirely that the public picks up, reveals and sheds a light upon… “I want to see the actor next to the character.” This is one of Margherita’s lines that she often repeats to her actors. It’s something I say all the time. I don’t know whether the actors understand it, but in the end, I’m able to get what I had in mind out of them. (This interview has been compiled from questions asked in various interviews given by Nanni Moretti to the Italian press in April 2015. Press materials provided by http://www.musicbox.com) Like this: Like Loading... Demon scheduled for openings in US The Orchard is proud to announce the US release of DEMON, Polish director Marcin Wrona’s eerie, richly atmospheric and clever take on the Jewish legend of the dybbuk. Acclaimed at several festivals including New Directors/New Films, the Toronto Film Festival, and Austin Fantastic Fest where it won the Award for Best Horror Feature, DEMON is scheduled to open in New York and Los Angeles on Friday, September 9th followed by a national release. Newly arrived from England to marry his fiancée Zaneta (Agnieszk Zulewska, Chemo), Peter (Israeli actor Itay Tiran, Lebanon) has been given a gift of her family’s ramshackle country house in rural Poland. It’s a total fixer-upper, and while inspecting the premises on the eve of the wedding, he falls into a pile of human remains. The ceremony proceeds, but strange things begin to happen…During the wild reception, Peter begins to come undone, and a dybbuk, the iconic ancient figure from Jewish folklore, takes a toehold in this present-day celebration-for a very particular reason, as it turns out. Based on noted Polish writer Piotr Rowicki’s play Adherence, DEMON is the final work by Marcin Wrona, who died just as DEMON was set to premiere in Poland, is part absurdist comedy, part love story-that scares, amuses, and charms in equal measure. Marcin Wrona was born in Tarnow, Poland in 1973 and studied film at the Jagiellonian University in Krakow. He directed several features for television, as well as the theatrical features My Flesh, My Blood and The Christening, which were selected for the Toronto and San Sebastian Film Festivals. Critics Reactions “Demon” enthralls as an atmospheric ghost story with a cheeky undercurrent of absurdist humor.” — Joe Leydon, Variety “..a unique take on the Jewish legend of the Dybbuk that feels both deeply rooted in cultural nightmares and refreshingly new…“Demon” is stylish and clever from its concept..but it’s the execution that really matters. There’s a great energy to the piece, from the framing of the visual compositions, to the eerie atmosphere created by the lights hanging from the ceiling of what looks like a barn. There’s fantastic costume design as well as a lead performance that engages on every level.” — Brian Tallerico, Rogerebert.com “A darkly humorous reworking of “The Dybbuk,” with a deftly realized switch that turns that familiar tale of love from beyond the grave into a parable of Polish anti-Semitism in the post-war era…. a black comedy in the vein of “The Exterminating Angel.” — George Robinson, The Jewish Week A CONVERSATION WITH DEMON PRODUCER OLGA SZYMANSKA How does DEMON fit into Marcin’s body of work? Are there similar themes or motifs that run through his three features? Marcin’s idea was to make a trilogy, and DEMON is the final installment of this trilogy, with MY FLESH, MY BLOOD (2009) and THE CHRISTENING (2010) being the first and second. All of his movies contain similar themes and motifs, including growing up, the nature of evil and the fate or destiny each protagonist must cope with in each story. None of Marcin’s films contained a happy ending. MY FLESH, MY BLOOD’s protagonist is a boxer who discovers he will die soon following a savage blow to his head. He wants to leave something in the world, which is a child. THE CHRISTENING is the story of a gangster who’s been sentenced to death by the Mafia. He’s coping with his feelings for his family during his seven remaining days alive, during which time he asks his best friend to take care of his family when he’s gone. The theme of family and destiny — the idea that you can’t cheat death — rings strongest in these two works. DEMON’s protagonist, Piotr, is fated to reveal the truth about the film’s mysterious setting after becoming possessed by a ghostly figure, and it also features a fatal ending. All three works feature rituals of some sort, from christenings to weddings. What are the roots of DEMON and what drew Marcin towards this specific story? It’s based on a play called The Clinging, but the only thing that remains from that story is the names of the characters and the phenomenon of the dybbuk (from Jewish folklore). It’s a very theatrical piece so it took some time to transform the story elements to movie language in the screenplay. Marcin and the co-writer Pawel Maslona rewrote almost everything and made the story their own. What was Marcin’s specific interest in the traditional ghost story of the dybbuk? It’s a story that has almost been forgotten in Poland. The Dybbuk was a play written by Shimon Ansky in 1914 and then made into a film by Michal Waszynski in 1937 right before he tried to launch a career in Hollywood. It was the first Yiddish-Hasidic movie made in Poland and it’s considered the Hasidic Romeo & Juliet. The protagonist in the play — who is possessed by the dybbuk (a malicious colonizing spirit) — wants to reveal an uncomfortable truth about the past, and Marcin found that concept exciting. We had seen the play together and both of us thought it would make a good movie. At that point, we had decided to launch a production company together. Our first thought was that it would be easy to translate into film because it was set in a single location. But we wound up doing a lot of research into the history of the story, not to mention Jewish-Polish history in general. If you read the studies on the dybbuk, those who became possessed by the spirit find themselves unable to speak. It originated in a very orthodox society of Jews, so it was the idea of this voice that could never have been heard which was longing to be heard. We thought it would be interesting to take the character of Piotr in our story and tell something specific through the demon that possessed him. This is a unique co-production with Israel — how did this affect the story in any way? Marcin’s previous movie, THE CHRISTENING, was screened at the Haifa Film Festival, where we met our future co-producer Marek Rosenbaum. We had seen (lead actor) Itay Tiran in a few movies and thought he could play characters from anywhere, because he has a universal look about him — like he could hail from Israel or Poland or elsewhere. He’s a great actor with a big theatrical background, but he’s been in movies like LEBANON, AFTERTHOUGHT and THE DEBT as well. He’s required to give a very physical performance in this movie. Can you describe how Marcin worked with Itay Tiran to obtain such a raw, affective performance? Marcin didn’t want to use any special effects in the movie — he wanted to rely solely on actors. All the rehearsals for the wedding dance scene, where the dybbuk takes possession of Piotr, took a long time, even before the actual shooting took place. Two choreographers rehearsed it with the actors, then another choreographer came in, who worked for the Jewish Theater in Warsaw as well as a pantomime group. The third choreographer worked with Itay directly, instructing him how to breathe and how to use the muscles and tension in his body to make the possession look more effective. Physical demands aside, Itay was already very well prepared for DEMON. For our first meeting in Warsaw a few years ago, he arrived with photographs from a version of The Dybbuk play, which had been produced in Tel Aviv in the ’50s. So he was already fascinated with the dance at the heart of that performance. The movie is constructed around a Polish wedding. Can you explain why weddings are so prominent in his work? In his first feature, MY FLESH, MY BLOOD, there is a wedding in the final scene, so he was no stranger to having weddings in his movies. He was very interested in rituals in general — which are important to Polish people in general because we are a predominantly Catholic country and so much of daily life revolves around ritual here. Marcin was not Catholic, but the idea with the wedding in DEMON is to show a glimpse of Polish society, showing different people in different roles, and how those roles change over the course over the wedding. DEMON features a unique island-like setting. Where exactly did you film? Marcin knew exactly how he wanted the house and the location to look. Our production designer, Anna Wunderlich, would go out on scouting missions and return with pictures, but nothing was right. We were so disappointed with what we saw that we decided to build our own sets. Two or three weeks before a final decision was supposed to be made on locations, she came back from the Malopolska region near Krakow with this terrific location near a town called Bochnia featuring an abandoned house from the early 20th century. It sat on a river with an old shed next to it, and no neighboring structures in its vicinity. The only structure the art department fabricated was the shed used in the wedding sequence — the existing house was how they found it, and how it appeared in the movie. All the mist and fog you see in the movie is also natural because our set was so close to the river. Digging is a recurring motif in the story. The story plays out near a construction site, and human remains are discovered early in the story. What is the significance of so much digging in DEMON? It’s a reflection of the past — the notion of unearthing the past or digging in the dirt and finding something unknown or scary, but the digging is more metaphoric than anything else. What do you think were some of Marcin’s most potent gifts as a filmmaker? He was very good with actors. He discovered some of the biggest Polish actors of his generation and many of them appear in DEMON, including Tomasz Schuchardt The actor who plays the brother in law won Best Actor at the Polish Film Festival for his work in Marcin’s previous film, THE CHRISTENING. And Agnieska Zulewska, our lead actress, appears in her first major starring role in this film. He rehearsed with actors a lot before going on set and he always gave them freedom — he trusted them immensely, so there was always a strong element of collaboration on his sets. On the visual side, he had a long relationship with his cinematographer, Pawel Flis, who shot all three of his features. Each of them is different from one another visually. Why do you think Marcin and Pawel worked together so well as Director and Cinematographer? They were very good friends in school, for one thing. They made Marcin’s first short together, “Magnet Man,” which screened at the Tribeca Film Festival in 2002. They shared a cinematic language and worked together very well together, which precluded them from having to talk much about what they wanted to do. They just did it and it worked. What would you say is the overall visual style of DEMON? Marcin and Pawel wanted it to look like old photographs from the early 20th century, and the costumes in the movie also look like they came from eras past. Although the movie is set in the 21st century, you get the sense from watching DEMON that it could be set during any time. They wanted it to look universal, as though it existed both in and out of time. What were some of your own duties on this production — and what were some of the biggest challenges for you as a producer on DEMON? I was involved with the project from the beginning — Marcin and I had seen The Dybbuk play together and we wanted to turn it into a movie. I read each version of the script he wrote, and helped organize the budget. I also helped with pre-production. During the shoot itself, the production manager took over and I came back to the game when shooting wrapped. Marcin and I were a couple, so I didn’t want to interfere during the 22-day shoot, which was a challenge in itself because we were mainly shooting at night during early October, amid heavy rains and low temperatures. Why do you think ghost stories are so powerful cinematically? And what did this particular ghost story have for you that made it stand out from a crowded pack? I think people like to be scared, but DEMON cuts much deeper than a conventional scary movie — the ghost story in this case is used as a way to soften heavy subject matter for the viewer. It’s a movie about erasing the past, forgetting about who we are and where we come from, who we lived with, and how we are all essentially strangers to one another. Piotr is an outsider or “other” — and in this case the movie tracks how much we are separated by our differences, or remain intolerant in the face of otherness. Marcin wanted to play with different genres in this movie, incorporating elements of horror, comedy, thriller, melodrama, while at the same time expressing something thematically important about the past in general. An interesting part of this story is the collision of science, religion, family and industry (in the form of the patriarch) — it contributes to the tension of the story in an interesting way… Marcin and the screenwriter wanted to bring out this element in the story — it’s something they brought to the existing Dybbuk legend. They wanted to show a wide section of society, including different people from all walks of life. None of the characters stay the same over the course of DEMON — the doctor comes to believe in ghosts, the priest becomes more atheistic, etc. They change roles, their viewpoints shift. What for you was the most compelling aspect of making DEMON? The idea of making this movie so different from Marcin’s other works was very exciting to me — to blend so many genres in one movie made the form intriguing and challenging. We also haven’t seen The Dybbuk story on screen in many years in Poland, so that was another compelling factor. The story itself is an important reminder that the Jewish and Polish cultures co-existed for hundreds of years together — but in this era we remember very little about the two cultures co-mingling. Polish Romanticism was one of the most important periods in our national literature, and a lot of writers during that period were interested in Jewish mysticism. The fusion of Romanticism and mysticism appealed to me in particular. What do you think DEMON is trying to say, thematically? It’s very much a story about the past, but it’s also about how we are living today — how it’s difficult for an outsider to come in and infiltrate a very small section of society, Polish or otherwise. People are not very open in Poland in terms of not wanting immigrants or “the other” living in their neighborhoods, so the story very much reflects contemporary values and mores. ABOUT THE PRODUCTION Visual Style Pawel Flis / Director of Photography ―The visual idea for this film was that we shoot it like old photographs, we wanted the shots to look like stills and tell the story using wide lenses and make the shots look wide. We didn’t want the camera to move a lot. I like to keep a very small distance between the actor and the camera, but at the same time the camera is an observer, it doesn’t interfere. We used one Alexa camera only, it’s my first film on this digital camera and I was so amazed at how it works with the picture, I loved it! You can take out so much from it in post –production too and as Marcin said, the scenes look like they were shot for a Western.‖ The Location Zuza Hencz / Post Production Mgr. ―I wanted the time and place of the film to be universal. Twentieth century, somewhere in Poland, without being precise‖ said Marcin Wrona.―The film was meant to draw us back to classic cinema. I wanted to make it look traditional in composition and not to have any special effects or super modern technologies used. A lot of photographic style, as if someone with great taste had been taking photos (static takes) from the wedding. Finding the perfect location, where 90% of the shooting was supposed to take place was extremely hard. Together with Anna Wunderlich – our production designer- we drove through three different regions of Poland for three months, based on our own knowledge and also photo albums with old monuments. Unfortunately most of the buildings we found were either in a sorry state or renovated in a very kitschy way. What was equally hard was finding the space of the house that was needed for us to fit a whole wedding. After about two and a half months we stopped looking for a house and we found a great place where we could build it instead. And then totally out of the blue we found the perfect place – a house from 1890 with a huge barn from back then. Renovating the entire thing cost us a lot of money and work but gave the film a unique character and made the entire team feel special working for months in the mud and rain. The Look of the Film In March of 2015 the filmmakers consulted with Justine Wright, renowned editor and recipient of the European Film Award for Best Editor on the film “Locke.‖ DEMON was one of a very few projects invited to take part in editing workshops, organized by the European Film Academy and the Polish Film Academy. The event consisted of a lecture by Ms. Wright and then individual consultations with authors of selected projects, which gave Marcin Wrona and Piotr Kmiecik, the editor, a rare opportunity to enhance the film. Justine’s remarks were included in the final cut. ‖The editing of “Demon” began two weeks after we finished shooting and with small breaks it took five months,‖ Marcin Wrona said. ―The whole process of working on the picture and the sound began right after we had the first version of the film edited. In sound it gave the creators wider possibilities of thinking through the concept of how they wanted to use it in the film. We edited within the frame and shot with wide lenses to make the scenes look wide in picture. The camera was not supposed to move a lot. As we shot the film and saw how beautiful the production set was and the great costumes the actors had and the choreography they used we knew that it was impossible to keep the camera still. So we changed our original idea so that the film would become better. I like when the camera is very close to the actor but at the same time it must be just an observer from aside. We shot the film on one camera only – on Alexa, it’s my first film on digital and I am fascinated by this equipment. The picture that it gives, the possibilities that it gives in post-production, the lenses make everything look soft, as if in a Western movie.‖ The Cast “As an actor I always look for projects that are authentic, truthful and of course interesting‖ says Itay Tiran, (who portrays the lead character ―Python‖). ―I feel that DEMON is all the above. It’s an incredible opportunity for an actor to be able to play two characters in one and to be working on such a well written screenplay. Of course it’s also a story that I particularly cherish because, as with many people coming from Israel, it’s important to me on a very personal mystical level. It’s a complicated character to play, from the beginning Python is a multi-layered person. He comes to Poland because of love, but as it turns out he’s got a mission to complete, and becomes much more about him finding his roots, than about his bride to be. We worked very hard to express the dybbuk inside his body in a very unconventional way. We worked with choreographers and therapists to get the credible effect. Any actor would be thrilled to get a character like that to play.” Official selection: New Directors/New Films (2016 Film Society of Lincoln Center and MoMA) Official selection: Toronto International Film Festival, Vanguard Section, 2015 Winner: Austin Fantastic Fest, Best Horror Feature, 2015 Winner: Haifa Film Festival, Tobias Spencer Award, 2015 (Press materials courtesy of The Orchard) Like this: Like Loading... Four Fun Facts About Venice73 Pre-opening event (Tuesday August 30th 2016) of the 73rd Venice International Film Festival Dedicated to the great director Luigi Comencini (1916 – 2007) on the centennial of his birth, the Pre-opening event of the 73rd Venice International Film Festival will be held on Tuesday August 30th at the Sala Darsena (Palazzo del Cinema) on the Lido. Featured will be the screening of Comencini’s masterpiece Tutti a casa (Everybody Go Home, Italy/France, 1960) in the copy digitally restored by Filmauro and CSC – Cineteca Nazionale di Roma, starring Alberto Sordi, Serge Reggiani, Carla Gravina and Eduardo De Filippo, produced by Dino De Laurentiis, with screenplay by Age and Scarpelli, winner at the time of two David di Donatello awards and one Nastro d’argento. The restored version will be presented in its world premiere screening, remastered in 4K on the basis of the original negatives provided by Filmauro. The digital processing was performed in the laboratories of Cinecittà Digital Factory in Rome. The transfer to 35mm film was done in the laboratories of Augustus Color in Rome. The 73rd Venice International Film Festival will take place on the Lido from August 31st to September 10th 2016, directed by Alberto Barbera and organized by the Biennale chaired by Paolo Baratta. Tutti a casa by Luigi Comencini is one of the most famous and successful examples of what made the “commedia all’italiana” immortal: the blend of comedy and drama, of real and grotesque, of courage and determination to survive. Comencini, with the autobiographical complicity of the two great screenwriters Age and Scarpelli and the bitter laughs provoked by the remarkable performance of Alberto Sordi, tells the story of the chaos that ensued on September 8th 1943, when Badoglio signed the armistice and the soldiers loyal to the King and Mussolini were abandoned to their own destinies, to face many dangers alone. In the film, Alberto Sordi, on the phone under German gunfire, asks his superiors: “Colonel, Sir, this is Lieutenant Innocenzi, something amazing just happened, the Germans have become allies of the Americans. What are we supposed to do?” Tutti a casa is a film “on the road” across the ruins and confusion reigning in Italy at that time, when the soldiers had no one to give them orders and one after another they decided to head back home: tutti a casa, everybody go home. In the story, Second Lieutenant Alberto Innocenzi (Sordi), who is used to obeying and not answering back, is abandoned by his soldiers and flees from north to south with his friend, the Neapolitan military engineer Ceccarelli (Serge Reggiani). He runs into German soldiers eager for retaliation who shoot at them, witnesses the odyssey of an Jewish girl attempting to escape (for whom a young Venetian soldier gives his life), meets an American prisoner hiding in an attic, is united with his father (Eduardo De Filippo) who wants to send him back to the Fascist army, until the final redemption during the 4 days of Naples. At the time Comencini stated: “On the 8th of September, people were abandoned to themselves, and that is what I wanted to describe”. The film was a box office hit, bringing in over a billion lire in ticket sales. Luigi Comencini (1916-2007) who was awarded a Golden Lion for Lifetime Achievement in 1987 by the Biennale di Venezia, is considered one of the greatest masters of Italian-style comedy, as well as “the children’s director“. Among his comedies, his first masterpiece was Pane, amore e fantasia (Bread, Love and Dreams, 1953), with Gina Lollobrigida and Vittorio De Sica, winner of the Silver Bear in Berlin, the prototype for what is known “neorealismo rosa” and one of the highest-grossing films in the history of Italian cinema, followed over the years by other hit comedies such as Pane, amore e gelosia (Bread, Love and Jealousy, 1954), Mariti in città (Husbands in the City, 1957), Lo scopone scientifico (The Scientific Cardplayer, 1957) and Mio Dio, come sono caduta in basso! (Till Marriage Do Us Part, 1974). Comencini addressed the theme of childhood early on in 1946 with Bambini in città, his first short documentary (which won an award in Venice and a Nastro d’argento), while Proibito rubare (Hey Boy, 1948), set among the street children in Naples, was his first feature-length film. His significant production of films on the theme of “childhood” continued with La finestra sul Luna Park (The Window to Luna Park, 1956), Incompreso (Misunderstood, 1966, in competition at Cannes and winner of a David di Donatello), Voltati Eugenio (1980, presented at the Venice Film Festival), Un ragazzo di Calabria (A Boy from Calabria, 1987, in competition in Venice) and Marcellino pane e vino (1991) his last film directed with his daughter Francesca. Also worthy of note are his versions of two classics of children’s literature, such as Le avventure di Pinocchio (The Adventures of Pinocchio, 1972) and Cuore (1984). A co-founder in 1935 with Alberto Lattuada and Mario Ferrari of the Cineteca italiana di Milano, Comencini directed a total of forty feature-length films, without counting his documentaries, screenplays, and investigative reports for Rai television. He experimented with many genres other than comedy, such as murder mysteries (La donna della domenica, The Sunday Woman, 1975), melodrama (Incompreso, 1966), literary films (La ragazza di Bube, 1963), period films (Infanzia, vocazione e prime esperienze di Giacomo Casanova veneziano, 1974), film-operas (La Bohème, 1987), but also experimented with more particular films (Cercasi Gesù, 1982, winner of a Nastro d’argento). In an interview he granted in the early 1980s, Comencini declared that he was willing to defend ten of his films, that “would never have seen the light of day if I had not made other flawed films, wholly or in part. But I have never made a film in bad faith”. Like this: Like Loading... Zero Days: More or Less Zero Days, the latest film by acclaimed documentarian, Alex Gibney, details claims that the US and Israeli governments conducted covert cyber warfare operations against the Iranian government and the Iranians’ nuclear enrichment program. Zero Days, a fitting Opening Night Film for AFI DOCS, served as a catalyst for conversation in the Q & A immediately followed its screening at the Newseum in Washington D.C. AFI President & CEO Bob Gazzale introduced the film and commented on the importance of Director Gibney’s work in line with “dreams for a better world. Dreams that demand debate!” In addition, Gazzele stated how honored he was to be partnering with this year’s presenting sponsor AT & T. AT & T spokesperson, Jennifer Coons, took stage and expressed what a privilege it was for AT & T to bring together politics, business and investment to learn from one another while connecting people. Zero Days opened with a 2010 clip from an Iranian television station with the Iranian leader Mahmoud Ahmadinejad vehemently denouncing Western and Zionist regimes interference in the Iranian nuclear enrichment program. Throughout the film, Gibney intersperses narrative voice overs and archival footage as the spokespersons for the US government repeatedly delivered “I can’t comment” when asked about the existence of a cyber warfare super virus, soon to be revealed as Stuxnet. Two malware, computer programming specialists from internet security behemoths Symantec and Kaspersky, uncover Stuxnet and both reach a professional conclusion after engaging in deep analytic data processing that the virus they are uncovering is more than just the work of an at-large hacker. The sophistication and the virus’ ability to replicate itself without a user doing anything and its ability to mutate undetected is known in malware jargon as ‘zero-day exploitation’ without any protection against it and was undoubtedly the work of a nation-state. The effect the virus had on the Iranian infrastructure as it attacked power plants, energy grids, gas pipelines and industrial sites resulted in deaths and severe repercussions for scientists and line operators alike. The Symantec and Kaspersky experts estimated 500,000 attacks were unleashed over the course of its deployment. A former employee of the US Nuclear Regulatory Agency went on camera to say that he knew of one or two nation-states that were using cyber weapons for offensive purposes. However, when asked who the states were and were the states involved using Stuxnet, a dance of denial ensued with the former employee back peddling while reiterating he did not mention names of the existence of Stuxnet often uttering “I can’t comment on that.” In Zero Days Gibney has upped the ante from previous works with heightened production values utilizing CGI and textual overlays to convey the genesis of a new era and a medium of espionage at the highest governmental levels and has done his homework as he provides a historical backdrop of the Iranian nuclear program disclosing the US gave Iran its first nuclear reactor under the Shah of Iran’s rule. In addition, he shows the pride the Iranian people have in their nuclear program demonstrated by their national celebrations for Nuclear Enrichment Day, a national nuclear day that has galvanized the republic of Iran. Throughout the remainder of Zero Days Gibney delves deeply into Homeland Security and the arsenal of the US Cyber Command apparatus with probing interviews and expose investigative reporting concluding with speculation on where this new game of global cyber warfare may lead. Zero Days is one of this year’s most important films in light of recent accusations a foreign power hacked the Democratic National Committee’s computer system as well as Democratic Presidential Nominee, Hillary Clinton’s campaign system. New York Times columnist David E. Sanger reports on this in the July 30th edition with his article “U.S. Wrestles With How to Fight Back Against Cyberattacks.” Gibney’s other works, no less confrontational, include Going Clear: Scientology and the Prison of Belief (2015), Enron: The Smartest Guys in the Room (2005) and We Steal Secrets: The Story of WikiLeaks (2013). Like this: Like Loading... Venice Production Bridge In the context of the 73rd Venice Film Festival, an important new project titled Venice Production Bridge has been introduced to ensure continuity, but also to surpass and fine-tune the Venice Film Market first held in 2012. The Venice Production Bridge will take place from September 1 to 5 on the third floor of the Excelsior Hotel of the Lido di Venezia. It will join and reinforce the Industry Office, which will continue to work, as it has in past years, throughout the entire Venice Film Festival, offering many services to its guests (August 31 to September 10). The new Venice Production Bridge is established to foster the development and production of international and European projects across a range of audio-visual forms. This is the direction also pursued by the Venice Film Market, which since its very first edition has served as a light market, featuring programmes such as the Venice Gap-Financing Market and Final Cut in Venice, with the aim of helping to complete films and works in progress. The new Venice Production Bridge will also build on the experience of the Biennale College – Cinema, an innovative workshop for the development and production of micro-budget feature films, which over a four-year period has led to the production of 13 films that have earned prestigious international results and acknowledgments. The image of the bridge expresses perfectly well the philosophy of this new Venetian market. The idea consists in building an opportunity of encountering and networking for all the professionals involved in production. Indeed the producers but also the multiple categories of financiers who are participating in the creation of the necessary financial package to create a film. Distributors, sales agents, banks, private and public investment funds, regions and film commissions, broadcasters, video aggregators and Internet platforms, are also, in their own way, contributing in financing, buying or co-producing a film. The Venice Production Bridge will also focus on one of the major new trends in contemporary production, which is the co-existence of a diversity of platforms fostered by the digital revolution: television series, web-series and, above all, the new frontier represented by VR/Virtual Reality, which are currently attracting major investment and the most advanced technological research. The Venice Production Bridge intends to attract industry professionals active in these fields. The 2-day Venice Gap-Financing Market event (September 2-3, 2016) will take place during the forthcoming 73rd Venice Film Festival and will offer the 40 selected European and International projects, the opportunity to close their international financing. The Venice Gap Financing Market presents 40 projects from around the world in the final stages of development and funding, divided as follows: 25 projects for feature-length fiction films and feature documentaries, 15 projects for Virtual Reality & Interactive, Web Series and TV Series. The two-day Venice Gap Financing Market is thus setting up one-to-one meetings between the teams (producer and director) of the 40 projects and top industry decision-makers (producers, private and public financiers, banks, distributors, sales agents, TV Commissioners, Internet and video Platforms, Institutions, post-production companies…). 25 SELECTED PROJECTS – Films: 18 projects (9 from Europe and 9 from outside of Europe) for feature-length fiction films from around the world that need to complete their funding package with minority shares in the co-production, having at least 70% of the funding in place – Documentaries: 7 projects (6 from Europe and 1 from outside of Europe) for narrative or creative documentaries (to be presented like the films) FICTION Europe 1 – “Alien Food” by Giorgio Cugno (Italy, Denmark, France) 2 – “Birth” by Jessica Krummacher (Germany, Turkey) 3 – “Funan, the new people” by Denis Do (France, Luxembourg, Belgium) 4 – “God Exists, Her Name is Petrunija” by Teona Sturgar Mitevska (Macedonia) 5 – “Luxembourg” by Myroslav Slaboshpytskiy (Germany, Ukraine, France, Norway) 6- “The Intruder” by Leonardo Di Costanzo (Italy, Switzerland, France) 7 – “The Nature of Time” by Karim Moussaoui (France) 8 – “The Song of Scorpions” by Anup Singh (Switzerland) 9 – “Touch Me Not” by Adina Pintilie (Romania, France, Bulgaria) + Outside of Europe 10 – “A Worthy Companion” by Carlos & Jason Sanchez (Canada) 11 – “Brief Story from the Green Planet” by Santiago Loza (Argentina, Germany) 12 – “Dolores” by Gonzalo Tobal (Argentina, France, Spain) 13 – “Let it be Morning” by Eran Kolirin (Israel, France) 14 – “Lily and the Dragonflies” by René Guerra (Brazil, Denmark) 15 – “Los Perros” by Marcela Said (Chile, Germany, Argentina) 16 – “Sollers Point” by Matt Porterfield (USA, France) 17 – “The Seen and Unseen” by Kamila Andini (Indonesia) 18 – “Wajib” by Annemarie Jacir (Palestine, France, Germany, Norway, Denmark) DOCUMENTARIES Europe 19 – “Apolonia, Apolonia” by Lea Glob (Denmark) 20 – “Cain, Abel and the Cowgirl” by Dina Salah Amer (UK, France, USA) 21 – “Gold Mine” by Ben Russell (France) 22 – ‘’Latifa’’ by Olivier Peyon and Cyril Brody (France) 23 – “The Real Estate” by Axel Petersén and Måns Månsson (Sweden, Denmark) 24 – “Tierra del mal” by Daniele Incalcaterra and Fausta Quattrini (Italy, Argentina) + Outside of Europe 25 – “Impeachment” by Petra Costa (Brazil) 15 VIRTUAL REALITY & INTERACTIVE, WEB SERIES AND TV SERIES PROJECTS – TV Series and Web series: 7 projects – Virtual Reality and Interactive Projects: 8 projects for short to medium-length artistic-narrative films to be produced as virtual reality experiences 1 – ‘’Ashes to Ashes’’ (Netherlands) VR Submarine Channel 2 – ‘‘Exode’’ by Gabo Arora (USA) VR Un/Verse, Lightshed 3 – ‘’Nomads’’ (Canada) VR Felix & Paul Studios 4 – ‘’Our baby’’ by Simon Bouisson (France) VR La Générale de production 5 – ‘’The Future of Forever: Welcome to the Other Side’ by Annna Brezezinska (Poland) VR Unlimited Film Operations 6 – ‘‘Trinity’’ by Patrick Boivin (Canada) VR Unlimited Vr 7 – ‘‘Oh Moscow’’ by Sally Potter (UK) Interactive/Multimedia Experience Adventure Pictures 8 – ‘’The Boy in the Book’’ by Fernando De Jesus (UK) Interactive/Web series CYOD Ltd., Thinking Violets 9 – ‘‘Difficult Second Coming’’ by Dylan Edwards (UK) Web series Electric Sandbox 10 – ‘’Music on the road’’ by Benoit Pergent (France) Web series Les Films du Poisson 11 – ‘‘Referees’’ by Giampiero Judica (Italy) Web series 3Zero2 SpA 12 – ‘‘Aurora’’ (Italy) TV series Publispei Srl 13 – ‘‘Bullfinch’’ (Germany) TV series Zentropa Hamburg GmbH 14 – ‘’Nemesi’’ (Italy) TV series Indigo Film 15 – ‘‘School Of Champions’’ by Clemens Aufderklamm (Germany, Switzerland) TV series Catpics Ltd A tailor-made initiative of this kind requests a real confidentiality for the producers and the partners already in place and a first Project line-up will therefore be sent to selected potential financiers and professionals in order to allow them to register to this co-production market. The Book of Projects detailing each film project is sent to the registered professionals in July 2016 to entitle them to request 30-minute one-to-one meeting with the producers of the selected projects. The Venice Gap-Financing Market will set up these meetings in accordance with the availability of the participants and meetings slots. Each participant will receive a personalised meeting schedule a few days before the event. FINAL CUT IN VENICE The Venice Production Bridge will again organize the 4th edition of its workshop program, the Final Cut in Venice which will take place from September 3 to 5 in collaboration with Laser Film, Mactari Mixing Auditorium, Titra Film, Sub-Tu Ltd, Sub-Ti ACCESS Srl, Rai Cinema, Organisation Internationale de la Francophonie (OIF), Festival International du Film d’Amiens, Festival International de Films de Fribourg, MAD Solutions, Institut Français. The Festival’s purpose is to provide concrete assistance in the completion of films from Africa and from Iraq, Jordan, Lebanon, Palestine and Syria; and to offer producers and directors an opportunity to present films still in the production phase to international film professionals and distributors in order to facilitate post-production and promote co-production partnerships and market access. The workshop consists in three days of activities, in which the working copies of a maximum of the six selected films are screened to producers, buyers, distributors and film festival programmers. Networking, encounters and meetings will allow directors and producers to interact directly with the workshop participants. The workshop will conclude with the awarding of prizes, in kind or in cash, for the financial support of the films in their post-production phase: . € 15,000 for the color correction of a feature-length film offered by Laser Film (Rome) for up to 50 hours of work (technician included); . Up to € 15,000 for the sound mixing offered by Mactari Mixing Auditorium (Paris); . Up to € 10,000 for digital color correction, for the production of a DCP master and French or English subtitles, offered by Titra Film (Paris) . Up to € 7,000 for the production of the DCP master and Italian or English subtitles, offered by Sub-Ti Ltd. (London); . Up to € 7,000 for the accessible contents of the film for audiences with sensory disabilities: subtitles for the deaf and hearing impaired and audio description for the blind and visually impaired, with audio subtitles, in Italian or English, offered by SUB-TI ACCESS Srl (Turin) (the SDH file and the audio described soundtrack for DCP will be provided) . € 5,000 for the purchase of two-year broadcasting rights by Rai Cinema; . € 5,000 offered by the Organisation Internationale de la Francophonie (OIF) to an African or Arabian film from a member-country of La Francophonie . A 35mm print (without subtitles) or the participation in the production costs of a DCP (€ 1,500), offered by the Festival International du Film d’Amiens; . A 35mm print (without subtitles) or the participation in the production costs of a DCP (€ 1,500), offered by the Festival International de Films de Fribourg; . Marketing and distribution in the Arab World for one Arab project is offered by MAD Solutions (except for projects already attached to MAD Solutions). The 6 Selected projects of FINAL CUT IN VENICE 2016 are: – ‘Felicity’ by Alain Gomis (France, Senegal, Belgium) – ‘Ghost Hunting’ by Raed Andoni (Palestine, France, Switzerland) – ‘Obscure’ by Soudade Kaadan (Syria, Lebanon) – ‘Poisonous Roses’ by Ahmed Fawzi Saleh (Egypt, France, Qatar) – ‘One of these days’ by Nadim Tabet (Lebanon) – ‘The Wound’ by John Trengove (South Africa, Germany, Netherlands, France) The Venice Production Bridge is also launching a new initiative this year with the Book Adaptation Rights Area. This two-day event (September 2 and 3) allows International renowned Publishers to propose the adaptation rights of their new titles as well as their libraries (novels, series, graphic novels, essays…) to International top producers in a dedicated area within the VPB. The 15 invited publishers of the Book Adaptation Rights Area are: – Andrew Nurnberg Associates (United Kingdom) – De Agostini (Italy) – De Bezige Bij (Netherlands) – Diogenes (Switzerland) – Elisabeth Ruge Agentur (Germany) – Flammarion (France) – Gallimard (France) – Glénat (France) – Lannoo (Belgium) – Les Éditions de l’Homme Sans Nom (France) – Média-Participations (France) – Oetinger Filmrechte-Agentur (Germany) – Place des Editeurs (France) – Planeta (Spain) – Ullstein Buchverlage (Germany) European Film Forum events – Saturday 3 and Sunday 4 September In the framework of the European Film Forum, the European Commission organises two workshops on access to finance (3 September from 3:00 pm to 5:15 pm – Sala Stucchi) and on the future of cinemas (4 September from 10:00 am to 1:00 pm – Spazio Incontri). The first event will be the occasion to discuss the new guarantee facility for the cultural and creative sector recently launched with the European Investment Fund (press release), as well as new modes of investments. The second event, which will be opened by European Commissioner Oettinger, in charge of the Digital Economy and Society, will focus on how cinemas can fully reap the benefits of digital technologies. The Venice International Film Festival is also an opportunity to celebrate the 25th anniversary of the Creative Europe MEDIA programme (press release) and to discuss the recent update of EU audiovisual rules (press release) as well as the upcoming proposals on the modernisation of EU copyright rules to be presented in the autumn. Next initiatives will aim at further increasing the circulation of European works across borders and supporting the audiovisual sector. Finally, the Venice Production Bridge offers all traditional services such as the Industry Club, to support networking among the participants, the Digital Video Library, an Exhibition Area, VPB Market Screenings, a Business Centre, equipped with secretarial services, computers, copy machines, Internet access and Wi-Fi, and numerous international panels and networking events with some of them in partnership with the European Producers Club. Like this: Like Loading...
5438	dbpedia	1	71	https://www.italianartventures.com/tour/florence-day-trip-by-train/	en	Florence day trip by fast train	https://www.italianartve…der-florence.jpg	https://www.italianartve…der-florence.jpg	[ "https://www.italianartventures.com/wp-content/uploads/2023/11/Marchio-PNG-Bianco-1-309x200.png", "https://www.italianartventures.com/wp-content/uploads/2023/11/Marchio-PNG-Bianco-1-309x200.png", "https://www.italianartventures.com/wp-content/uploads/2022/01/Touring-in-Florence.jpg", "https://www.italianartventures.com/wp-content/uploads/2022/01/florence-gallery-3.jpg", "https://www.italianartventures.com/wp-content/uploads/2022/01/Florence-Duomo.jpg", "https://www.italianartventures.com/wp-content/uploads/2022/03/hedaer-florence-in-one-day.jpg", "https://www.italianartventures.com/wp-content/uploads/2022/04/Florence-bridges.jpg", "https://www.italianartventures.com/wp-content/uploads/2022/04/florence-michelangelo-.jpg", "https://www.italianartventures.com/wp-content/uploads/2023/11/Florence-and-Tuscany-Tours-e1703227510513.jpg", "https://www.italianartventures.com/wp-content/uploads/2022/01/florence-gallery-2.jpg", "https://www.italianartventures.com/whatsapp-icon.svg", "https://www.italianartventures.com/wp-content/uploads/2024/01/michelle.webp", "https://www.italianartventures.com/wp-content/uploads/2024/01/Rosa-Shilanski-1.jpg", "https://www.italianartventures.com/wp-content/uploads/2024/01/kara-long.webp", "https://www.italianartventures.com/wp-content/uploads/2024/01/baker.webp", "https://www.italianartventures.com/wp-content/uploads/2024/01/bonnie.webp", "https://www.italianartventures.com/wp-content/uploads/2024/01/Kevin.webp", "https://www.italianartventures.com/wp-content/uploads/2022/03/header-pompe-i-e-positano--394x303.jpg", "https://www.italianartventures.com/wp-content/uploads/slider90/ostiatour4-394x303.jpeg", "https://www.italianartventures.com/wp-content/uploads/2022/01/tivoli-394x303.jpg", "https://www.italianartventures.com/wp-content/uploads/2023/11/italianartventures.png", "https://www.italianartventures.com/wp-content/uploads/2024/04/toppng.com-oogle-review-logo-png-google-reviews-transparent-993x400-1.png", "https://www.italianartventures.com/wp-content/uploads/2024/04/Tripadvisor_Logo_dark-bg_circle-white_vertical-lockup_registered_CMYK.png", "https://www.italianartventures.com/wp-content/uploads/2024/04/5-bubble-light-mode-162x31-4f7cdda.png", "https://www.facebook.com/tr?id=1950719765344931&ev=PageView&noscript=1&cd%5Bpage_title%5D=Florence+day+trip+by+fast+train&cd%5Bpost_type%5D=themo_tour&cd%5Bpost_id%5D=14525&cd%5Bplugin%5D=PixelYourSite&cd%5Buser_role%5D=guest&cd%5Bevent_url%5D=www.italianartventures.com%2Ftour%2Fflorence-day-trip-by-train%2F" ]	[]	[]	[ "" ]	null	[]	2022-01-31T09:01:33+01:00	Book our Florence day trip, get on the fast train and enjoy Michelangelo's David, Duomo, Ponte vecchio. Skip-the-line tickets included!	en	https://www.italianartve…copia-32x32.jpeg	Italianartventures Private Tours	https://www.italianartventures.com/tour/florence-day-trip-by-train/	One word connects those two cities: Renaissance. A word that means rebirth of ancient Greek and Roman art, which was brought back to life and re-interpreted by the great masters of the 15th and 16th centuries: Leonardo, Michelangelo, Raphael, and Donatello. In Rome, you have some of the greatest masterpieces of the Renaissance: the Sistine Chapel frescoes and paintings and the Pietà by Michelangelo, the Rooms of Raphael in Vatican City, and many others; but it’s in Florence that the Renaissance was born. We designed this Florence Day Trip so that you can take a day off from the Eternal City and go see the cradle of the Renaissance, then go back to Rome on the same day. Florence is not very close to Rome, that’s why we believe that the best way of reaching it is by using the comfortable fast trains, which will allow you to get to Florence in only an hour and a half (a car ride would last at least 3 hours). In this way, you can spend more time exploring the city, and have more time for sightseeing, eating, shopping, or tasting wine. A tour assistant will pick you up at the hotel; then, you’ll take a cab to the train station and you’ll go to Florence together by fast train. Your tour assistant will be with you for the whole day: he will provide information about the beautiful landscapes you’ll see on your way to Florence, and talk about Italian culture, food, and wine. He’ll be there the whole time to help you and make sure you are enjoying every moment of your tour. An expert local guide will wait for you at the Florence train station, where you’ll start your tour of the city center: you’ll visit Piazza della Signoria, the Duomo, and the Battistero (from outside), Ponte Vecchio, and many other famous sights. The Duomo is the most important church in Florence. It is an imposing gothic cathedral enriched by one of the greatest masterpieces of architecture: the dome by Brunelleschi. Brunelleschi is one of the most important architects in history. His studies about perspective and his love for classical art are among the basis of the Renaissance language. He was a brilliant artist, and the dome was his greatest accomplishment. Your guide will reveal its secrets, and tell you the story of its construction. In Piazza Duomo, you will see many other remarkable sights, such as the Baptistery and the Bell Tower by Giotto. Then, your Florence Day Trip Tour will continue towards Piazza della Signoria. Piazza della Signoria (Signoria Square) was the political center of Florence. It is also an open-air museum, surrounded by massive buildings and statues. It is the best place to learn about the history of Florence, and about its intricate politic. Your guide will tell you the story of the Medici, the most influential family in Florence, and about their contribution to creating the city’s identity. In the Renaissance, art was an expression of power. In Florence, it was mostly the expression of the power of the Medici, who sponsored some of the most famous artworks in the city. You will admire the impressive facade of Palazzo della Signoria, whose entrance is decorated by a replica of Michelangelo’s David and by the Hercules and Cacus by Baccio Bandinelli. Next to the square, you will see the Loggia dei Lanzi, a portico decorated with many important sculptures. Among them, you will also see the impressive Perseus in bronze by Benvenuti Cellini. After Piazza della Signoria, your Florence Day Trip Tour will continue towards Ponte Vecchio, oldest bridge on the Arno river, which dates back to the Roman Age. Aside from being a walkway across the river, it also hosts traditional jewelry stores and goldsmiths. Above the stores, you can still see a corridor that connected the two main residences of Florence rulers (Palazzo della Signoria and Palazzo Pitti) so that they could go from one palace to another without walking among the crowds. It is one of the most important parts of Florence’s landscapes and history, a must-see sight. After admiring the romantic Arno River, you will head towards the most famous museum in town: the Accademia, where Michelangelo’s David is kept. Don’t worry about the lines: we will have skip-the-line tickets! Why is David such an important statue? Your guide will provide a full explanation of this incredible masterpiece, connecting it to the history of Florence and the life of its author. Who was Michelangelo, and why is he renowned as one of the greatest artists of all time? You will learn about his life, about his difficult temper, and – of course – about his art. The Accademia doesn’t only host David, but also other masterpieces by Michelangelo such as the Prisoners and the Pietà di Palestrina. It’s one of the best places to get in touch with Michelangelo’s art and have a broad idea of his revolutionary work. After the city walk, you’ll have some free time (about 3 hours) that you can use to relax at a local restaurant, try some of the most famous Tuscan dishes, do some shopping in the city center or continue the exploration of Florence with your tour assistant. Then, you will go back to the train station, and you’ll take the fast train back to Rome together with your tour assistant. Your tour will end at Termini train station, where your tour assistant will help you get a taxi to reach your hotel, or recommend a restaurant for dinner in case you’re still hungry. Even if you have not planned to visit Florence, don’t miss the chance to discover this wonderful city with our Florence day trip from Rome. In only one day you will enrich your vacation with an unforgettable experience, see some of the most beautiful artworks and landscapes in the world, and try some of the best dishes and wines. Book our Florence Day Trip Tour and explore the wonders of the Renaissance capital with a professional, private guide. Let us help you build some great memories from Italy. The order of the sights might vary due to logistic reasons.
5438	dbpedia	1	26	https://www.ranker.com/list/famous-screenwriters-from-italy/reference%3Fpage%3D2	en	Famous Screenwriters from Italy	https://imgix.ranker.com/list_img_v2/14363/1074363/original/famous-screenwriters-from-italy-u2	https://imgix.ranker.com/list_img_v2/14363/1074363/original/famous-screenwriters-from-italy-u2	[ "https://sb.scorecardresearch.com/p?c1=2&c2=10600724&cv=3.6&cj=1", "https://static.ranker.com/img/brand/ranker-logo.svg?v=1&auto=format&q=60&fit=crop&fm=png&dpr=2&w=104", "https://static.ranker.com/img/brand/wordmark.svg?v=1&auto=format&q=60&fit=crop&fm=png&dpr=2&w=210", "https://imgix.ranker.com/img/icons/menuSearch.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=30&w=30", "https://imgix.ranker.com/img/icons/vote-on-pill.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=24&w=105", "https://imgix.ranker.com/user_img/1/1/original/reference?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=40&w=40", "https://imgix.ranker.com/img/icons/chevronExpand.svg?auto=format&q=60&fit=crop&fm=png&dpr=4&h=13&w=71", "https://imgix.ranker.com/user_node_img/62/1238708/original/1238708-photo-u1245800477?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=150", "https://imgix.ranker.com/img/icons/book-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/node_img/91/1802741/original/pier-paolo-pasolini-writers-photo-1?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=150", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/node_img/26/502193/original/asia-argento-writers-photo-2?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=150", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/user_node_img/41/813313/original/dan-castellaneta-photo-u2?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=150", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/node_img/51/1018417/original/frank-capra-writers-photo-1?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=150", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/node_img/27/537263/original/bam-margera-writers-photo-2?auto=format&q=60&fit=crop&fm=pjpg&dpr=2&crop=faces&h=150&w=150", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://imgix.ranker.com/img/icons/list-icon.svg?v=2&auto=format&q=60&fit=crop&fm=png&dpr=4&h=11", "https://v3api.ranker.com/api/px?lid=1074363" ]	[]	[]	[ "" ]	null	[ "Reference" ]	2013-12-19T00:00:00	List of notable or famous screenwriters from Italy, with bios and photos, including the top screenwriters born in Italy and even some popular screenwriters ...	en	/img/icons/touch-icon-iphone.png	Ranker	https://www.ranker.com/list/famous-screenwriters-from-italy/reference	Isabella Rossellini is an Italian actress, filmmaker, author, philanthropist, and model. Born into a family of cinematic royalty on June 18, 1952, in Rome, Italy, she is the daughter of Swedish actress Ingrid Bergman and Italian director Roberto Rossellini. Rossellini's early life was marked by her parents' high-profile careers and their eventual divorce, shaping her unique perspective on fame and personal life. Rossellini's film career began in 1976 with a minor role in A Matter of Time, directed by Vincente Minnelli. However, her breakthrough came in 1986 when she starred in David Lynch's Blue Velvet, a role that earned her widespread acclaim for her intense performance. Rossellini continued to work with Lynch in Wild at Heart and has since starred in numerous films such as Death Becomes Her, Fearless, and Joy. Despite being known primarily for her acting, Rossellini also ventured into writing, directing, and producing, notably creating the series of short films Green Porno, exploring animal behavior. In addition to her acting career, Rossellini's striking features led her to become a successful model. She served as the face of Lancôme for 14 years, becoming one of the highest-paid models worldwide. Beyond her work in film and fashion, Rossellini is committed to conservation efforts, specifically focusing on wildlife preservation. She studied animal behavior and conservation at Hunter College in New York City and has used her platform to raise awareness and funds for various environmental causes. Pier Paolo Pasolini (Italian: [ˌpjɛr ˈpaːolo pazoˈliːni]; 5 March 1922 – 2 November 1975) was an Italian film director, poet, writer, and intellectual, who also distinguished himself as an actor, journalist, novelist, playwright, and political figure. He remains a controversial personality in Italy due to his blunt style and the focus of some of his works on taboo sexual matters, but he is an established major figure in European literature and cinematic arts. His murder prompted an outcry in Italy and its circumstances continue to be a matter of heated debate. Asia Argento (Italian: [ˈaːzja arˈdʒento]; born Aria Maria Vittoria Rossa Argento, 20 September 1975) is an Italian actress and director. The daughter of filmmaker Dario Argento, she had roles in the films XXX (2002), Land of the Dead (2005) and Marie Antoinette (2006). She has won two David di Donatello awards for Best Actress for Let's Not Keep in Touch (1994) and Traveling Companion (1996).After the Weinstein scandal in 2017, she became a leader of the "#MeToo" women's rights movement. In August 2018, The New York Times detailed allegations that Argento sexually assaulted actor Jimmy Bennett in 2013 when he was 17 and she was 37; Argento denied the allegations. Dan Castellaneta, a formidable talent in the world of entertainment, is renowned for his versatility that extends from acting to voice-over artistry and writing. Born on October 29, 1957, in Oak Park, Illinois, his passion for performance began at an early age. He honed his craft at Northern Illinois University and, upon graduation, became a regular player in Chicago's improvisational scene before joining the famed Second City improv troupe. His career in television started with The Tracey Ullman Show, but it was his role in The Simpsons that catapulted him into the limelight. Castellaneta has voiced the iconic character of Homer Simpson since the show's inception in 1989. His ability to portray a broad range of characters with distinctive voices, from the dim-witted yet lovable Homer to the cantankerous Groundskeeper Willie, has earned him recognition as a premier voice-over artist. His work on The Simpsons led to several Emmy Awards, demonstrating his prowess in bringing animated characters to life. In addition to his success as a performer, Castellaneta has also made his mark as a writer. He has contributed scripts to several episodes of The Simpsons, showcasing his ability to weave engaging narratives. Beyond this, he has acted in various live-action roles in shows like Friends and Parks and Recreation, and has lent his voice to numerous other animated series. Despite his prolific career, Castellaneta maintains a sense of humility and dedication to his craft, a testament to his enduring appeal in the entertainment industry. Frank Russell Capra (born Francesco Rosario Capra; May 18, 1897 – September 3, 1991) was an Italian-American film director, producer and writer who became the creative force behind some of the major award-winning films of the 1930s and 1940s. Born in Italy and raised in Los Angeles from the age of five, his rags-to-riches story has led film historians such as Ian Freer to consider him the "American Dream personified."Capra became one of America's most influential directors during the 1930s, winning three Academy Awards for Best Director from six nominations, along with three other Oscar wins from nine nominations in other categories. Among his leading films were It Happened One Night (1934), You Can't Take It with You (1938), and Mr. Smith Goes to Washington (1939); Capra was nominated as Best Director and as producer for Academy Award for Best Picture on all three films, winning both awards on the first two. During World War II, Capra served in the U.S. Army Signal Corps and produced propaganda films, such as the Why We Fight series. After World War II, Capra's career declined as his later films, such as It's a Wonderful Life (1946), performed poorly when they were first released. In ensuing decades, however, It's a Wonderful Life and other Capra films were revisited favorably by critics. Outside of directing, Capra was active in the film industry, engaging in various political and social issues. He served as President of the Academy of Motion Picture Arts and Sciences, worked alongside the Writers Guild of America, and was head of the Directors Guild of America.
5438	dbpedia	3	48	https://www.tiktok.com/discover/marcon-magical-lepa	en	Make Your Day			[]	[]	[]	[ "" ]	null	[]	null		en			null
5438	dbpedia	2	53	https://www.screendaily.com/venice-2008-buzz-films/4040384.article	en	Venice 2008: Buzz films	https://d1nslcd7m2225b.c…3513_4039641.jpg	https://d1nslcd7m2225b.c…3513_4039641.jpg	[ "https://www.facebook.com/tr?id=1787080818148630&ev=PageView&noscript=1", "https://www.facebook.com/tr?id=3254793074533493&ev=PageView&noscript=1", "https://www.screendaily.com/magazine/dest/graphics/logo/print_logo.png", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/8/3/1/1430831_augsept3x2_889596.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/9/8/1/1429981_scottishstarscropped_658002.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/5/2/5/1429525_locarnodigicropped_364027.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/8/3/6/1430836_blinktwicethecrow_921646.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/5/1/4/1430514_megalopolisoriginalsize_463695_crop_crop.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/9/2/9/1430929_beetlejuicebeetlejuice2_100901.jpeg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/8/9/8/1430898_feelingbetter_44437.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/1/2/3/1430123_content_150182.jpeg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/0/9/1/1430091_jovan_258747.jpeg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/6/9/0/1428690_nightimeexterior_109206_crop.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/1/1/6/1411116_filmfests2024_697048.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/8/7/0/1430870_kneecapaline_621738.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/8/3/6/1430836_blinktwicethecrow_921646.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/4/8/7/1430487_alienromulus2_139490.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/6/9/6/1430696_content1_658122.jpeg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/3/8/4/1430384_sexcrossing_649958.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/5/8/9/1429589_megryan_744959_crop.jpeg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/450xAny/P/web/j/b/m/2021screenpackshot_967117.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/100x67/8/9/8/1430898_feelingbetter_44437.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/100x67/6/4/9/1430649_creativemediaeufunding_275576.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/100x67/8/5/6/1430856_wimwenders_126732_crop.jpeg" ]	[]	[]	[ "" ]	null	[ "Lee Marshall", "Tim Dams" ]	2008-08-27T06:58:00+00:00	BUZZ VENICE FILMS	en	/magazine/dest/graphics/favicons/favicon-32x32.png	Screen	https://www.screendaily.com/venice-2008-buzz-films/4040384.article	BUZZ VENICE FILMS COMPETITION Achilles And The Tortoise (Akires To Kame) (Jap) Dir: Takeshi Kitano The story: Follows a failed painter and the long-suffering family that supports him. The cast: Kitano takes the lead, alongside Kanako Higuchi and popular actress Kumiko Aso, whose credits include Dororo. The buzz: A well-established figure on the Lido, Kitano returns with a more orthodox tale which features his own artwork - he is known for his painting talent - as did his 1997 Golden Lion winner Hana-bi. Int'l sales: Celluloid Dreams, (33) 1 49 70 03 70 Birdwatchers (La Terra Degli Uomini Rossi) (It) Dir: Marco Bechis The story: Amazon-set film about personal identity and tribal heritage as two worlds collide. The cast: Claudio Santamaria, one of Italy's top talents, with credits including Crime Novel and Casino Royale, stars with Chiara Caselli and a Brazilian cast of professionals including Leonardo Medeiros and non-professionals. The buzz: Bechis spent years preparing the film, working with the Amazon natives. The director's last appearance in Venice was in Cinema del Presente in 2001 with Hijos, also set in Brazil. Int'l sales: Celluloid Dreams, (33) 1 49 70 03 70. A Perfect Day (Un Giorno Perfetto) (It) Dir: Ferzan Ozpetek The story: An adaptation of the novel by popular writer Melania Mazzucco, which looks at life in Rome over 24 hours. The cast: As with his previous films, Ozpetek lines up an ensemble cast of Italy's best-loved actors - Valerio Mastandrea and Isabella Ferrari top the bill alongside veteran actress Stefania Sandrelli. The buzz: Last year Ozpetek was on the Venice jury and this is his first year in Venice's official competition. The film is also his first to be produced by Domenico Procacci's Fandango. It is co-produced by Rai Cinema. Int'l sales: Fandango Portobello, (44) 20 7605 1396; Claudia Tomassini, (39) 334 3075056 The Hurt Locker (US) Dir: Kathryn Bigelow The story: The new leader of an elite bomb-disposal unit in Iraq plunges his soldiers into a game of urban combat which has long-term effects on their lives. The cast: Jeremy Renner, Anthony Mackie, Brian Geraghty, Ralph Fiennes. The buzz: Bigelow can always be relied on to deliver heart-pounding thrills with intelligent storytelling. She returns to Venice for the first time in 13 years since the world premiere of Strange Days. North American rights: CAA, (1) 424 288 2000 Int'l sales: Voltage Pictures, (1) 310 890 4199 The Burning Plain (US) Dir: Guillermo Arriaga The story: Four interlinked tales of love and redemption examine the lengths to which people will go to exorcise the demons of the past. The cast: Charlize Theron and Kim Basinger. The buzz: The feature directorial debut from the Oscar-nominated screenwriter of Alejandro Gonzalez Inarritu's Babel and 21 Grams has been a while in the making. Can Arriaga translate his writer's gift for complex storytelling into a well-crafted feature' North American sales: UTA, (1) 310 271 6700 Int'l sales: 2929 International, (1) 310 309 5200 Inland (Gabbla) (Alg-Fr) Dir: Tariq Teguia The story: A topographer meets a traumatised woman in western Algeria who persuades him to accompany her back home across the Sahara and through war-torn regions in the east. The cast: Unknowns including Kader Affak, Ines Rose Djakou, Fethi Ghares, Kouider Medjahed and Djalila Kadi-Hanifi star alongside Ahmed Benaissa who also appeared in Teguia's Rome Rather Than You. The buzz: Inland is one of two African films in competition at Venice this year. Director Teguia has an impressive track record - his debut, the short film Hacla, won the special jury award at Marrakesh in 2003 and his second film, Rome Rather Than You, was in Venice's Horizons sidebar in 2006. Marco Mueller has called him the 'most important voice of new Arab cinema'. Int'l sales: Neffa Films, (213) 66209 6500 Inju, La Bete Dans L'Ombre (Fr) Dir: Barbet Schroeder The story: A French writer heads to Japan to promote his new book and becomes embroiled in a real-life thriller. The cast: Benoit Magimel, Lika Minamoto and Shun Sugata. Magimel is a huge star in France and one of the most prolific actors working today; international audiences may recognise him from Michael Haneke's The Piano Teacher. This is Minamoto's first major role while Sugata has done much work in Japan and had small roles in such US fare as Quentin Tarantino's Kill Bill Vol 1 and The Last Samurai. The buzz: This is a return to Venice for Schroeder who last competed in 2000 with Our Lady Of The Assassins. For that film he took the president of the Italian senate's gold medal. Inju is Schroeder's first fiction work in France since 1986 (last year he directed the documentary Terror's Advocate, about French attorney Jacques Verges). Int'l sales: UGC International, (33) 1 46 40 44 00 Jerichow (Ger) Dir: Christian Petzold The story: A young man returns to his home town in eastern Germany and begins an affair with a married woman. Their plan to murder her husband triggers a catastrophe. The cast: Jerichow marks Petzold's fourth collaboration with lead actress Nina Hoss following Something To Remind Me, Wolfsburg and Yella, for which she was awarded the best actress Silver Bear at last year's Berlinale. It is also the third time the director has cast Benno Furmann (previously seen in Wolfsburg and Ghosts), but the first project with Turkish-born actor Hilmi Sozer, the third member of the love triangle. The buzz: Partly inspired by Vincente Minnelli's 1958 film Some Came Running, Jerichow is 'about love, honesty, deception and betrayal', says Petzold. It is his seventh film with Berlin-based producer Schramm Film which also produced his drama The State I Am In (it premiered in Venice's Cinema del Presente sidebar in 2000). According to producer Florian Koerner von Gustorf: 'Christian is drawing the essence out of all of his previous works and letting everything flow into Jerichow.' Int'l sales: The Match Factory, (49) 2 21 5 39 70 90 Milk (Sut) (Turk-Fr-Ger) Dir: Semih Kaplanoglu The story: The second film in Kaplanoglu's 'Yusef' trilogy - Egg, Milk, Honey - which focuses on the change in the social and economic life in the Anatolian provinces within the framework of a mother-son relationship. Milk is about a young boy who discovers his mother is having a secret affair with the town's stationmaster. The cast: Melih Selcuk plays Yusef, while Basak Koklukaya plays the boy's mother. Her most recent film, Kucuk Kiyamet, was in competition at the Istanbul film festival last year, and she has starred in films for Ferzan Ozpetek. The buzz: Milk is the first Turkish film to screen in competition at Venice since Omer Kavur's Gizli Yuz in 1991. No stranger to success on the international festival circuit (winning nine of the 10 awards for which he has competed), it is not surprising Kaplanoglu is 'excited' to be at Venice for the first time. Could be one to watch. Int'l sales: Match Factory, (49) 2 21 5 39 7090 Nuit De Chien (Fr) Dir: Werner Schroeter The story: A man returns to a fictitious country to join the woman he loves. Instead, he confronts a violent militia which is terrorising the city and has sent it spiralling into chaos. The cast: A starry line-up includes Pascal Greggory, Bruno Todeschini, Eric Caravaca, Amira Casar, Jean-Francois Stevenin and Elsa Zylberstein. The prolific Greggory last appeared in 2007's smash hit La Vie En Rose. The buzz: This is Schroeter's first time in competition in Venice. The German director's last film was also a French effort, Deux in 2002. Int'l sales: Alfama Films Productions, (33) 1 42 01 07 05 Paper Soldier (Bumazhny Soldat) (Rus) Dir: Aleksey German Jr The story: Set in the Baikonur space centre in 1961, Paper Soldier is the story of a doctor involved in preparations for the first human space flight, who is torn between his wife and his lover. The cast: Acclaimed Russian actress Chulpan Khamatova, who appeared in Good Bye Lenin!, stars alongside her Luna Papa co-star, Georgian actor Merab Ninidze, and newcomer Anastasya Shevelyova, a theatre actress from Omsk in Siberia. The buzz: This is the second time German has appeared in competition at Venice. His last film, Garpastum, competed in 2005, and he also won the Luigi De Laurentiis special mention in 2003 for The Last Train (Posledniy Poezd). German, one of Russia's hottest young directors, says he has his 'fingers crossed' for a win this year. Int'l sales: Elle Driver, (33) 1 56 43 48 76 Plastic City (Dangkou) (Braz-Chi-HK-Jap) Dir: Yu Lik-wai The story: Set amid the Japanese immigrant community in Sao Paulo, the story follows an Asian gangster who is forced to defend his father's criminal empire when the older man is arrested and then disappears into the jungle. The cast: Japanese star Joe Odagiri (Shinobi, Bright Future) heads the cast which also include Hong Kong's Anthony Wong (Infernal Affairs) and promising Chinese actress Huang Yi. The buzz: Renowned as a DoP who works with Jia Zhangke, Hong Kong-born Yu Lik-wai has previously directed two highly stylised features - Love Will Tear Us Apart and All Tomorrow's Parties - which were both selected for Cannes. His third feature deals with gangsters in an intriguing multicultural setting, although the action is more psychological then physical, and his depiction of Sao Paulo is tinged with hallucinatory visuals. Int'l sales: Celluloid Dreams, (33) 1 49 70 03 70 The Other One (L'Autre) (Fr) Dirs: Patrick-Mario Bernard, Pierre Trividic The story: Based on the novel L'Occupation by Annie Ernaux, The Other One follows a woman who becomes dangerously obsessed with the new woman in her ex-lover's life. The cast: Dominique Blanc, one of France's best-known stars who has won several Cesars including best actress for 2001's Stand-by, stars alongside Cyril Guei, Peter Bonke and Christele Tual. The buzz: The film is the fifth collaboration between writer-directors Bernard and Trividic - they made their feature debut with festival favourite Dancing in 2003 in which they also starred. Their credits include Ceci Est Une Pipe for Canal Plus and a programme about author HP Lovecraft for France 3. Int'l sales: Films Distribution, (33) 1 53 10 33 99 Ponyo On The Cliff By The Sea (Gake No Ue No Ponyo) (Jap) Dir: Hayao Miyazaki The story: Animated fantasy about a fish with a girl's face who befriends a young boy. The buzz: Japan's animation giant returns to the Lido four years after Howl's Moving Castle screened in competition and won a Golden Osella. Here, Miyazaki trades CG for a hand-painted watercolour look. A megahit in Japan, grossing $50m and counting, Ponyo's international premiere in Venice comes ahead of a US release by Frank Marshall and Kathleen Kennedy. The pair were requested to head the project by Ponyo producer Toshio Suzuki. Int'l sales: Wild Bunch, (33) 1 5301 5021 Rachel Getting Married (US) Dir: Jonathan Demme The story: A cynical drama queen returns home for a family wedding and awakens deep tensions. The cast: Anne Hathaway, Rosemarie DeWitt, Debra Winger. The buzz: Demme returns to Venice with a top-notch female cast following last year's Fipresci-prize winner Jimmy Carter Man From Plains and 2004's The Manchurian Candidate. North American distribution: Sony Pictures Classics Int'l distribution: Sony Pictures Releasing International Il Seme Della Discordia (It) Dir: Pappi Corsicato The story: Comic unofficial remake of Eric Rohmer's The Marquise Of O. A young woman has to explain her pregnancy to her husband on the day he discovers he is sterile. The cast: Alessandro Gassman and Caterina Murino (Casino Royale) take the lead roles. Gassman recently earned Italy's David Di Donatello award for best supporting actor for his role as Nanni Moretti's brother in Quiet Chaos. The cast also includes A Perfect Day's Isabella Ferrari. The buzz: This film from Neapolitan director Corsicato provides the comedy relief in this year's competition; he was last in competition in Venice with The Vesuvians. Rome-based Rodeo Drive produces, and Medusa is opening the film in Italy. Int'l sales: Rodeo Drive, (39) 45 44 97 67/8 Teza (Ethiopia-Ger-Fr) Dir: Haile Gerima The story: Teza charts the life of a young Ethiopian from his student days in 1970s West Germany, to his return to his native village at the age of 60. The cast: Aron Arefe, who appeared in Yehdego Abeselom's 13 Months Of Sunshine, stars with Abiye Tedla and Takelech Beyene. The buzz: This is the first time in Venice competition for US-based Ethopian film-maker Haile Gerima. He was honoured at Locarno in 1976 for Harvest: 3,000 Years (Mirt Sost Shi Amit) which took the Silver Leopard. In Berlin he picked up the Fipresci award in 1983 for Ashes And Embers, and his Sankofa appeared there in competition in 1993. Int'l sales: The Match Factory, (49) 2 215 39 7090 Vegas: Based On A True Story (US) Dir: Amir Naderi The story: A compulsive gambler and his long-suffering wife who live on outskirts of Las Vegas are made an offer by a stranger which tests how far they are prepared to go. The cast: Mark Greenfield, Nancy La Scala and Zach Thomas in their first starring roles. The buzz: Iranian writer-director-photographer Amir Naderi's fifth US feature claims to be an intense tale about money and obsession based on true-life stories told to the director during his stay in Sin City. It marks his third trip to Venice after The Runner (Davandeh) in 1985 (in the Venezia Speciali section) and Manhattan By Numbers in 1993 (Windows On Images). His A, B, C... Manhattan was screened in Un Certain Regard at Cannes in 1997. Int'l sales: Cinetic Media, (1) 212 204 7979 The Wrestler (US) Dir: Darren Aronofsky The story: A former pro wrestler, now on the amateur circuit, seeks one final showdown with his arch-rival. The cast: Mickey Rourke, Marisa Tomei. The buzz: Two years after premiering The Fountain, Aronofsky returns to the Lido with a tale of courage and transformation that has sparked talk of possible awards for Rourke. At press time, rights were available in North America, Spain, Australia, Scandinavia, Japan and Latin America. North American rights: CAA Int'l sales: Wild Bunch, (33) 1 53 01 50 25 The Sky Crawlers (Jap) Dir: Mamoru Oshii The story: Based on the best-selling novel by Hiroshi Mori, this animated film centres on teenage pilots who are raised to engage in aerial battles over Europe for the entertainment of adults. The cast: An A-list Japanese voice cast is headed by Oscar-nominated actress Rinko Kikuchi (Babel) and Ryo Kase (Letters From Iwo Jima). The buzz: Oshii's Innocence was the first animated Japanese film to compete for the Palme d'Or and he returns to the Lido a year after his Tachigui: The Amazing Lives Of The Fast Food Grifters screened in the Horizons sidebar in 2006. Oshii explores new emotional depths in the film which also boasts Production I.G's CG wizardry. Int'l sales: Nippon Television Network Corp, (81) 3 6215 2882 Il Papa Di Giovanna (It) Dir: Pupi Avati The story: Set in the 1930s and 1940s, Il Papa is the story of an artist who is dedicated to his daughter; but tragedy ensues when she commits murder. The cast: Silvio Orlando (Quiet Chaos, The Caiman), Alba Rohrwacher (Days And Clouds, My Brother's An Only Child) and Francesca Neri star. The buzz: The film has the most downbeat subject matter of the Italian entries, however Marco Mueller describes it as the 'zenith' of Avati's career. The director has only once been in competition in Venice, with 2005's La Seconda Notte Di Nozze. He served on the jury in 1989. Medusa distributes. Int'l sales: DueA, (39) 06 321 4851; Medusa, (39) 06 663 901 OUT OF COMPETITION 35 Rhums (Fr) Dir: Claire Denis The story: Drama about the relationship between a father and his adult daughter. The cast: Eriq Ebouaney stars with Gregoire Colin and Alex Descas. Ebouaney has moved between English-language action films such as Kingdom Of Heaven, Hitman and Transporter 3, and French work including Crimson Rivers 2: Angels Of The Apocalypse, this year's Ca$h and the upcoming Les Zones Turquoises. Colin was seen recently in Catherine Breillat's Sex Is Comedy and Denis' L'Intrus, which also featured Descas. The buzz: The horror-themed film marks a departure for Denis who also has another film out this year, White Material. She has appeared in Venice with L'Intrus in 2004. Int'l sales: Elle Driver, (33) 56 43 67 35 Encarnacao Do Demonio (Braz) Dir: Jose Mojica Marins The story: After 40 years in jail, a man is released from prison and goes in search of the woman who can give him the perfect child. The cast: Besides Marins, who plays the lead, the highlight is Brazilian cinema veteran Jece Valadao, in his last film before his death in 2006. Helena Ignez, the muse of 1970s B-movies, also stars. The buzz: This is the third part in the Coffin Joe trash- horror trilogy and closes the story that began with At Midnight I'll Take Your Soul (1963) and This Night I'll Possess Your Corpse (1967). Coffin Joe, Marins' alter ego, is a cult character that has become part of the popular imagination in Brazil. A documentary that examines Marins' life and his works, Coffin Joe: The Strange World Of Jose Mojica Marins, won the special jury prize at the 2001 Sundance film festival. Int'l sales: Gullane Filmes, Manuela Mandler, manuela@gullanefilmes.com.br Les Plages D'Agnes (Fr) Dir: Agnes Varda The story: Varda turns the spotlight on herself, in this autobiographical documentary feature. The buzz: 80-year-old Varda was tipped for a spot in Cannes with Les Plages D'Agnes but the film was reportedly not ready. 'I wanted to invent a genre of story-collage; an autodocumentary, an illustrated filmography and moments of fantasy treated in fiction,' she says of the film. Int'l sales: Roissy Films, (33) 1 53 53 50 50 Shirin (Iran) Dir: Abbas Kiarostami The story: Based on a Persian myth about unrequited love. The cast: Juliette Binoche stars alongside Iranian actor Mahnaz Afshar and award-winning actress and director Niki Karimi, whose 2001 directorial debut To Have Or Not To Have was produced by Kiarostami and who served on the Cannes jury in 2007. The buzz: Festival favourite Kiarostami sat on the Venice jury in 1995 and returned in 1999 with Grand Special Jury Prize winner The Wind Will Carry Us which also won the CinemAvvenire award, Fipresci prize and Ocic award. Besides a segment of the compilation Chacun Son Cinema for Cannes in 2007, his most recent film was one third of the trilogy Tickets, which premiered at Berlin in 2005. Int'l sales: TBC Vinyan (Fr-UK-Bel) Dir: Fabrice du Welz The story: A couple lose their son in the 2004 tsunami in Thailand. Searching for him, they find a nightmare community ruled by children. The cast: Emmanuelle Beart is joined by Rufus Sewell and Julie Dreyfus. Beart is a huge star in France and here will speak English along with UK actor Sewell (The Holiday). Dreyfus also stars in Tokyo, the triptych by Leos Carax, Bong Joon-ho and Michel Gondry which screened at Cannes. The buzz: Du Welz burst on the scene at Cannes in 2004 with Calvaire. Vinyan has been a long-gestating project that has a lot of buzz surrounding it. This is his first film to screen at Venice. Int'l sales: Wild Bunch, (33) 1 53 01 50 20 Burn After Reading (US) OPENING FILM Dirs: Joel and Ethan Coen The story: Comedy-thriller about the memoirs of a sacked CIA analyst that fall into the hands of a pair of opportunistic fitness centre employees. Chaos ensues. The cast: A stellar line-up includes Brad Pitt, George Clooney, Tilda Swinton, Richard Jenkins, John Malkovich and Frances McDormand. The buzz: The Coens are on a roll following their triple-Oscar win this year for No Country For Old Men and bring a powerhouse ensemble for their first return to the Lido since 2003's Intolerable Cruelty. Int'l sales: Focus Features International, (44) 20 7307 1370 Puccini E La Fanciulla Dir: Paolo Benvenuti The story: Drama set during the four months composer Giacomo Puccini wrote La Fanciulla Del West opera. At the same time, his wife accuses a housemaid of being her husband's lover, prompting the maid to commit suicide. The cast: Unknowns, newcomers and a musician make up the cast. The buzz: Benvenuti returns to Venice's official selection after Segreti Di Stato competed in 2003. Int'l sales: Giampaolo Smiraglia, (39) 392 7247116.
5438	dbpedia	1	5	https://www.tvguide.com/celebrities/leo-benvenuti/bio/3000080270/	en	Leo Benvenuti Biography	https://www.tvguide.com/…g/share_logo.png	https://www.tvguide.com/…g/share_logo.png	[]	[]	[]	[ "" ]	null	[]	null	Read all about Leo Benvenuti with TV Guide's exclusive biography including their list of awards, celeb facts and more at TV Guide.	en	/favicon.ico	TVGuide.com	https://www.tvguide.com/celebrities/leo-benvenuti/bio/3000080270/
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"https://www.facebook.com/tr?id=214888273667964&ev=PageView&noscript=1&cd%5Bpage_title%5D=%3Cspan%3EDocenti%3C%2Fspan%3E&cd%5Bpost_type%5D=archive&cd%5Bplugin%5D=PixelYourSite&cd%5Buser_role%5D=guest&cd%5Bevent_url%5D=www.unirufa.it%2Fen%2Fdocenti%2F" ]	[ "//cdn.iubenda.com/cookie_solution/empty.html", "//cdn.iubenda.com/cookie_solution/empty.html", "//cdn.iubenda.com/cookie_solution/empty.html", "//cdn.iubenda.com/cookie_solution/empty.html", "//cdn.iubenda.com/cookie_solution/empty.html", "https://www.youtube-nocookie.com/embed/aI4awj2lmUE", "//cdn.iubenda.com/cookie_solution/empty.html", "//cdn.iubenda.com/cookie_solution/empty.html" ]	[]	[ "" ]	null	[]	null		en	https://www.unirufa.it/w…e-touch-icon.png	RUFA - Rome University of Fine Arts	https://www.unirufa.it/docenti/	A Bianca Alessandra Ara Tecniche performative per le arti visive Biancaara.alessandra@unirufa.it Discover more Italian and English actress/singer, former student of Gigi Proietti, specialised in physical, emotional, improvisational and clowning. As a Performer, she ranges through various artistic genres: opera, prose, musical comedy, light theatre, clowning and cinema. She made her debut in Cyrano de Bergerac with Gigi Proietti, was then one of the three witches in Macbeth directed by Franca Valeri, then Ismene in Phèdre with Mariangela Melato, Charlotte in Anni Felici directed by Daniele Luchetti and Frà Bernardo in De Serpentis Munere directed by Roberto Leoni. She has performed in International productions in London and New York. She is a renowned Acting coach of Acting in English in prestigious Art Academies throughout Italy. She also runs professional and non-professional intensive acting work-shops. She is a voice talent, dubber and speaker in commercials and documentaries of major National and foreign networks/radios and has created her own bilingual podcast in 2021 “on air” on all digital platforms, “Acting & Co”. Alterazioni Video I docufilm fotografici Discover more Lecturers of the module Photographic docufilms in the RUFA x Leica Akademie advanced training course: Immagine fotografica per il cinema e i nuovi media. Alterazioni Video is an art collective founded in 2004, consisting of artists of different nationalities. The group is known for its projects spanning various media, including video, installations, performances and interventions in public space. Their work is characterised by a critical and often ironic approach to social, political and cultural issues. The work of Alterazioni Video has been exhibited in numerous international exhibitions, art biennials and festivals, testifying to their relevance in the contemporary art scene. Alterazioni Video Website Christian Angeli Audiovisual and show documentation techniques christian.angeli@unirufa.it Discover more He graduated in Humanities (with a focus on Italian Literature) and has directed several art documentaries for the Italian State broadcaster RAI, including: “Mendini: il Teatro degli Oggetti” (winner of the Best Film On Art Award at the Iffest Document.Art.XXI in Bucharest), “Suite per Palma”, “Nunzio, senza titolo”, “Gilberto Zorio, il viaggio di una canoa”, “Ettore Spalletti: lo spazio che accoglie lo sguardo”, “Le città invisibili di Grazia Toderi”, all of which were written with the art critic Raffaele Simongini. He has also directed documentaries on social issues aired by Rai Tre channel: “Diritto ai diritti” (Spotlight Gold Award), “Lavoratori in corso”, “Ragazzi in gamba” (Special Jury Award at the Libero Bizzarri Documentary Film Festival), “Donne al centro di una periferia”, the latter in collaboration with Stefano Mignucci. He has made over seventy episodes of “Prima della Prima”, a programme on opera that aired first on Rai Tre and then Rai 5. For the theatre he has directed “Il Gioco” by Franca De Angelis, “Doppelganger. Chi cammina al tuo fianco”, a tribute to American noir films, “Gli amici degli amici” by Franca De Angelis, based on the short story by Henry James “The Friends of the Friends”, “Millennium Bug” by Sergio Gallozzi on the political battle by Luca Coscioni, “Il sole di chi è?”, a musical by Silvia Colasanti, “Il club delle piccole morti”, co-directed with Tommaso Capolicchio, who is also the author of the piece. For cinema he has directed the feature film “In Carne e Ossa” (Award for Best Actress to Alba Rohrwacher at the Lecce European Film Festival) and the short film “Fare bene Mikles” (winner of the Italian Golden Globe Award by the Italian Foreign Press Association). Agnese Angelini Graphic design 1 - Visual Design 1 agnese.angelini@unirufa.it Discover more Agnese Angelini is a brand designer and consultant for branding and communication strategy services. Her professional experience as a Brand Designer has included collaborations with some of Europe’s leading Brand Agencies, such as FutureBrand of Milan and Paris, Landor of Milan and Paris, Carrè Noir of Turin, Cb’a of Paris Saatchi & Saatchi of Rome, Strategic Design of Rome and JWT. Agnese has designed graphic identities for many Brand Agencies for a wide range of clients including: Original Marines – Fashion Brand, Yas Island at Abu Dhabi, Juventus Team, Artesia – French railways, Angelini Pharmaceutical, Zucchi Bassetti, Coop Supermarché, ABI – Italian Banking Association, Inda, Palatium, Laura Tonatto Parfum, Mazda, Toyota, Agrifood of Verona, Rome Film Festival – first edition, Poste italiane, Enav – National Flight Assistance Agency , IP – Gruppo Api, Ansaldo – Finmeccanica Group. Some of her projects are featured in international awards such as American Graphic Design Awards 2018 and International Design Awards 2016. Agnese has worked in Brand Identity or more than 3 decade. Since 2005 she has been living and working between Paris and Rome. Today she works as a freelancer and collaborates with important Brand Agencies in Paris, Geneva, Milan and Rome. Since 2012, she teaches at the MA Visual and Innovation Design Course and also in the Graphic Design BA at RUFA. www.agneseangelini.com LinkedIn Simona Antonacci Analisi di una mostra: il percorso, il colophon e le dida. Scrivere per immagini Discover more Lecturer of the module Analysing an exhibition: the route, the colophon and captions. Writing in images in the RUFA x Leica Akademie advanced training course: Immagine fotografica per il cinema e i nuovi media. After graduating in Contemporary Art History at ‘La Sapienza’ University, he attended the Specialisation School at the University of Siena with Prof. Enrico Crispolti. He is an expert in the subject at the University of Tuscia, where he obtained his PhD in Conservation of Cultural Heritage with a thesis on the activity of exhibition spaces and magazines in Rome in the 1980s and 1990s. She collaborated with the Wunderkammern gallery in Rome from 2008 to 2013, curated events and projects dedicated to contemporary art and photography and published articles in specialised magazines. Trained in museology and didactics, she worked in the Education Department of MAXXI, Museum of XXI Century Arts, from 2005 to 2012. From 2012 she began her collaboration with the MAXXI Architettura Photography Collection, of which she is currently Head. In the context of the museum’s activities, he has collaborated as coordinator or co-curator on exhibitions dedicated to Luigi Ghirri, Gabriele Basilico, Letizia Battaglia, Olivo Barbieri, Paolo Di Paolo, Paolo Pellegrin, Gianni Berengo Gardin and Premio Graziadei for Photography. B Mariangela Barbanente AUDIOVISUAL DOCUMENTATION TECHNIQUES mariangela.barbanente@unirufa.it Discover more Filmmaker and screenwriter. She started working in Documentary as production assistant and assistant director with the company Les Films d’Ici (France). Assistant director and second camera in Di Costanzo’s documentaries Prove di Stato (1998) and A scuola (2003), in 2000 she completed her first documentary, “Sole”, which received several awards such as a special mention at the Turin Film Festival the same year and it has been shown on TV in 15 countries. In 2005 she shot the docu-series “Il trasloco del bar di Vezio” broadcasted on the cable channel Planet. In 2006 she collaborated on the screenplay of “The Orchestra Of Piazza Vittorio” by Agostino Ferrente. In 2011, her documentary “Ferrhotel” received the prize UCCA–100 Città at the Turin Film Festival 2011 and the Amnesty International Award at Pesaro Film Festival. In 2013 she co-authored “In Viaggio Con Cecilia” with the Italian famed documentary director dean Cecilia Mangini and in 2015 “Varichina” co-directed with Antonio Palumbo which has been nominated for the Nastri d’Argento 2016. She was the first woman to be president of Doc/it – Documentaristi Italiani (2011-13). Livia Barbieri VIDEO PRODUCTION livia.barbieri@unirufa.it Discover more Livia Barbieri was born in Rome, in 1983, and graduated in Economics from La Sapienza University, Rome (2006), going on to gain a diploma from the Experimental Centre of Cinematography (Centro Sperimentale di Cinematografia) in Rome, after attending the Film Production course (2006-2008). Her first job as an organiser, in 2009, was in “Brothers of Italy”, a documentary directed by Claudio Giovannesi, with whom she has since worked in other projects, “Ali Blue Eyes” (2012) and “Flower” (2016) (as production supervisor and production coordinator, respectively). Throughout 2010 and part of 2011 she worked at a number of different low-budget projects: fashion commercials (“She wolf” and “Passe-partout” by Debora Vrizzi), shorts (“Al servizio del cliente” by Beppe Tufarulo and “Sottocasa” by Alessio Lauria, both of which won the respective editions of the best shorts section of the Solinas Award, “Cargo” by Carlo Sironi, screened in competition at the ’69th Venice Film Festival), music videos (“Under the sun” by Lorenzo Vignolo). In 2012, she returned to making documentaries with “La Carrera” by Francesco Costabile and Assunta Nugnes, and with “It’s Gonna Take a Miracle” by Davide Minnella, winner at the 2014 RIFF. That same year she collaborated in the preparation, shooting and post-production with Jean Denis Le Dinahet, the producer of the debut film by Fabio Mollo “South is Nothing”, which won the Taodue Golden Camera Award for Best First and Second Film, which recognises the best emerging director and producer, at the 8th edition of the Rome Film Festival. In 2013 and 2014, she participated in various films as supervisor or coordinator, including the debut film by Claudio Amendola “The Move of the Penguin” and “Me, Myself and Her” by Maria Sole Tognazzi. As organiser, the documentary by Lorenzo D’amico de Carvalho “Terra de Fraternidade” and Gianclaudio Cappai’s debut film “Leaving No Trace”. In 2015 and 2016, as an organiser: the 5-part web series “AUS – Adopt a Student” by Antonio Marzotto, winner of the Solinas Award in the Bottega del Web contest, screened on the Rai website; the short “Le futur” by J.P.Baumerder, featuring Jacques Perrin; the feature film “L’indomptee” by Caroline Deruas, in competition in the Filmmakers of the Present section at the 2016 Locarno Film Festival. Meanwhile, she continued to work in the coordination of the film “Banat” by Adriano Valerio, Claudio Amendola’s second film “Il permesso”, and “Looking for Oum Kulthum” by Shirin Neshat (previously winner of the Silver Lion at the 66th Venice International Film Festival for “Women Without Men”). Currently she is working with Giovanni Pompili of Kino Productions on two projects for documentaries (co-productions with Switzerland, namely “Devil’s Gold”, directed by Michele Pennetta, and France “Women Photographie” directed by Esther Sparatore) and a feature film (a Belgian co-production “Coureur”, directed by Kenneth Mercken). Chiara Bardelli Nonino Foto Editing: le immagini e la sequenza Discover more Lecturer of the module Photo Editing: the images and the sequence in the RUFA x Leica Akademie advanced training course: Immagine fotografica per il cinema e i nuovi media. Chiara Bardelli Nonino graduated with a master’s degree in Philosophy with a thesis on post-mortem photography. È Visual Senior Editor of Vogue Italia e L’Uomo Vogue, editor of the Vogue.it photography section and curator of the Photo Vogue Festival, where fashion is explored from a socio-political point of view in exhibitions such as Reframing History, All That Man Is – Fashion and Masculinity Now, Italian Panorama, Fashion & Politics in Vogue Italia, The Female Gaze. With a focus on contemporary photography, she also works on independent editorial and curatorial projects and juries. Recent projects include the exhibition The Edge Effect at Marselleria, the project My Queer Blackness My Black Queerness and the co-curation of Aperture Summer Open: Delirious Cities. She served on the jury of the 2020 edition of the Hyères Festival and curated the largest monographic exhibition on Paolo Roversi’s work entitled “Paolo Roversi – Studio Luce” and the art book of the same name designed by M/M Paris.She has collaborated with, among others, wtih Foam Magazine, Aperture, The British Journal of Photography, PHmuseum, The Photocaptionist, Flash Art Italia, Looking on, Canon Student Development Programme, Metronom Gallery, Red Hook Labs, Marsell Paradise, Creative Review. Chiara Bardelli Nonino for Vogue Sergio Basso Film-making 1; Cinematografia 1; sergio.basso@unirufa.it Discover more Sergio Basso is a movie and theatre director, a screenwriter and game design consultant. He was Gianni Amelio’s assistant director on his last production in China, “The missing star”. His films – e.g., Elementary love (2014), Sarita (2020) – got selected and won awarded in many major international festivals (e.g. Locarno, Nyon, Annecy, Beijing, Turin). He is the author of several TV series (“Marta&Eva” and “POV2”). He co-worked with UN, OSCE, NOKIA, SONY, RAI & RAICinema, TELECOM Italy, Save the Children, Oxford University, the MAAXI Museum in Rome. More recently he devoted himself to developing crossmedia platforms for the Italian newspaper Il Corriere della Sera and to experimenting the contribution of animation in documentary film-making, winning Annecy International Film Festival. In 2014 and 2016 he shot documentaries for the prime time of the Chinese state TV, CCTV 6, and won the China Award 2016. He is script-doctoring the next videogame by 101 Percento company, Aftermath, for PS4. Mario Bellina HISTORY OF ANIMATED FILM mario.bellina@unirufa.it Discover more Mario Bellina is a specialized television writer and screenwriter for cartoons (Super SpikeBall, Arctic Friends, Nefertina sul Nilo), sit-coms (Meg & Bianca Fashion Friends, Sara & Marti), Children TV shows (Rob-O-Cod, Albero Azzurro, Selfie Show) and family movies (Christmas Thieves). He has worked on various TV shows (Sconosciuti, Ci vediamo in tribunale, Fratelli d’Italia) as an author, screenwriter and director. He is a consultant for the major Italian animation and cross-media festivals including Cartoons on the bay (of which he is part of the scientific committee) and Romics. For some time he has been involved as a game writer in the conception and design of apps and interactive products for children. He has written various books including humorous, for children, and essays on cinema and animation, the latest of which: Scrivere per l’animazione published by Dino Audino. Linkedin, Facebook Alessandro Bencivenni SCRIPT WRITING, CINEMA alessandro.bencivenni@unirufa.it Discover more He begins his career in writing in the field of comics with Topolino, he then goes on to write for the movie industry with the director Neri Parenti alongside Domenico Saverni (with which he establishes a long professional collaboration) and the couple Benvenuti-De Bernardi: it is the group with which he created various films starring Paolo Villaggio. In 1991 he contributes to Lina Wertmuller’s Io speriamo che me la cavo. With Saverni and Oldoini he conceives the successfull TV series Don Matteo. Since 2006 he dedicates himself to the so called saga of cinepanettoni and participated in Mario Monicelli’s Le rose del deserto, nominated as best screenplay at the Nastri D’Argento. Since 2000 he also began to teach as a professor at Accedemia dell’Aquila, Università di Terni-Perugia, LUISS’s Writing School and Scuola Volontè. He is the author of several monographies on Luchino Visconti, Peter Greenaway and Hayao Miyazaki and the book Ricordare, sognare, sceneggiare. He won for ten times the Chiavi d’Oro: prize awarded to the best successes of the year. He has also published the story in rhymes L’amore non è incluso. Maria Pina Bentivenga PRINT MAKING; ENGRAVING TECHNIQUES 1; ENGRAVING TECHNIQUES 2; SPECIAL GRAPHIC TECHNIQUES maria.bentivenga@unirufa.it Discover more She moved to Rome in 1991 , graduated from the Fine Arts Academy of Rome in 1995 when she also started researching engraving techniques and participating in several important exhibitions in Italy and abroad. In 2000 she started teaching Special Graphic Techniques and Print Making at RUFA – Rome University of Fine Arts. In 2002, she received an honourable mention at the 7th International Engraving Biennial of Ourense, Spain. In 2003, she joined the Association of Veneto Engravers. In 2008, she edited Cammini Inquieti, with a text by Rainer Maria Rilke, for the Trieste publisher Trart Edizioni. In 2008, she edited Specchi, with a poem by Rainer Maria Rilke, for the publisher Pulcinoelefante based in Osnago. Since 2010 she teaches Engraving Techniques at the S. Giacomo School of Ornamental Arts (Scuola d’Arti Ornamentali) run by the local authority of Rome. In 2011, she was awarded the Graphic Designers Prize at the 15th Massenzio Arte Awards in Rome; she worked on Sovenir, an artists’ book with a text by Fabrizio Napoli, for the Rome publisher InSigna. In 2012, she held a workshop for engraving and book arts at the EASD in Zamora (Spain); that same year she developed a project as a resident artist in Romagna, at Montefiore Conca (Rimini) – Un Castello per le Arti (A Castle for the Arts). In 2013, she joined the Association of Contemporary Engravers, sitting on the board, and is a founding member of Associazione InSigna of Rome, an organisation engaged in the creation and dissemination of Artists’ Books and Print Making; she participated in the Divertissement project/residence, organised by Maison 22 of Bologna, in collaboration with Opificio della Rosa and Atelier della Luna at Montefiore Conca (Rimini); she made the artists’ book Fragili Orizzonti (Fragile Horizons), published by InSigna – Rome. In 2014, she held numerous workshops on letterpress and artists’ books, in collaboration with other artists and illustrators, edited the artists’ book Buchi, with a text by Fabio Palombo, published by InSigna – Rome. In 2014, the Albertina in Vienna purchased her graphic work Deux, while the Istituto Nazionale per la Grafica of Rome purchased 7 prints, 4 drawings and an artists’ book. Her works can be found in numerous public collections in Italy and abroad: the Istituto Nazionale per la Grafica of Rome; the Collections of the Albertina Gallery in Vienna; the Cabinet of Ancient and Modern Prints of the Commune of Bagnacavallo (Ravenna); the Alberto Sartori Print Collection – Mantova; the Contemporary Art Museum of Villa Croce – Genoa; the Museum of the Pellicano Trasanni CXultural Foundation – Urbino; the Bertarelli Civic Collection of Milan; the Municipal Collection of Modern Prints of the Commune of Cavaion Veronese; the Caixanova Collection of Prints in Ourense – Spain; the Collection of Prints of Acqui Terme (AL). www.mariapinabentivenga.com Gianna Bentivenga EXPERIMENTAL PLATE ENGRAVING TECHNIQUES gianna.bentivenga@unirufa.it Discover more In 1995 she moved to Rome and enrolled in the Fine Arts Academy there, graduating in Painting in 1999. In the 1998/99 academic year she won an Erasmus scholarship to study at the Academie voor Schone Kunsten of Antwerp, in Belgium, where she had the opportunity to further her studies in engraving techniques. During the same period, she was admitted as a guest student at the Frans Masereel Centrum for the graphic arts in Kasterlee (Belgium). In 2006, she won a residency at the Kunsthaus Tacheles in Berlin. Since 2000, she has participated in numerous exhibitions in Italy and abroad. In 2000, she won the second prize and, in 2004, an honourable mention at the 6th International Engraving Biennial of Ourense, Spain. In 2007, she published an engraving in the Icons folder of the series “AMICI”, as a tribute to Alexsander Solzhenitsyn, which was later purchased by the Albertina in Vienna; in 2013, she received the Alvaro Becattini Award at the 18th edition of the “VACA libri mai mai visti” competition in Ravenna. Since 2012, she has has regularly carried out projects as artist-in-residence: 2012, Un Castello per le Arti, Montefiore Conca (Rimini); 2013, Divertissement, Montefiore Conca (Rimini); 2015, Atelier Empriente, Luxembourg; 2016, Zagorie ob Savi, Slovenia. Since 2013, she is a founding member and President of Associazione InSigna of Rome, an organisation engaged in the creation and dissemination of Artists’ Books and Print Making. Since 2016, she coordinates international projects for the Renate Herold Czaschka Foundation. Her works can be found in numerous public collections in Italy and abroad. www.giannabentivenga.com Massimo Berruti Documentazione fotografica massimo.berruti@unirufa.it Discover more Professional since 2005 he was invited to become a member of AgenceVU in 2008. He works as a photojournalist for the most prestigious international media, such as National Geographic Magazine, TIME and the New York Times. Many of his recognitions are the result of his long work from Pakistan, during its involvement in the War on Terrorism. It was here that, thanks to the support of the Carmignac Foundation, he worked on the subject of his first monographic book, The Lashkars. Berruti has won numerous awards including 2 WORLD PRESS PHOTO and 3 POYi, a Visa d’Or Award, the Magnum Foundation EF, the Carmignac Photojournalism Award and the Fellowship de W. Eugene Smith Award, among many others. His images are part of the Carmignac collection, the MAXXI museum in Rome and the Farnesina Collection. In 2017, he left AgenceVU to participate in the foundation of MAPS, a collective that brings together a leading internationally renowned photographers and creatives. Maurizio Beucci RUFA x Leica Akademie - Immagine fotografica per il cinema e i nuovi media Discover more Lecturer of the RUFA x Leica Akademie advanced training course: Immagine fotografica per il cinema e i nuovi media. Maurizio Beucci is a photographer, curator, photography teacher. He is Head of Leica Akademie Italy, the training school dedicated to Leica Camera photography. For Leica Galerie Milano he curated, among others, the exhibitions of Araki (2019), Joel Meyerowitz (2021), Bryan Adams (2022) and Piero Percoco (2023). In March 2023, he curated ANFM’s first national exhibition ‘Nuovi Matrimoni, 2023’ at Palazzo Malvinni Malvezzi in Matera. He was a portfolio reader for VoiesOFF at the Arles Festival “Les Rencontres de la Photographie” in 2018 and 2019 and has been a juror and portfolio reader for Phest in Monopoli since 2020. He is the author of all the photographs in the book “Impossible Langhe” written by Pietro Giovannini and published by the Radical Design Foundation in 2021. Stefano Bianchi Il libro fotografico: creare il libro Discover more Lecturer of the module The photo book: creating the book in the RUFA x Leica Akademie advanced training course: Immagine fotografica per il cinema e i nuovi media. Founder and CEO of Crowdbooks.com with over 20 years of experience as an editorial graphic designer and Art Director, Stefano specialises in the publication and production of photo books. Lorenzo Bolzoni Graphic Design - COMIC BOOK ART lorenzo.bolzoni@unirufa.it Discover more Lorenzo Bolzoni (1981) graduated in Industrial Design at Politecnico University of Milan and attended training courses of comics, typography and type design. Since 2009 he is Senior Designer for the comic book publisher BAO Publishing. He teaches graphic design at the RUFA University of Rome and at the International School of Comics in Milan. In 2020 he was part of the project team for the reprint of the book Alfa-Beta, by Aldo Novarese, entirely financed with a successful crowdfunding campaign. He signs all his works with the pseudonym Officine Bolzoni. Daniele Bonomo COMIC BOOK ART daniele.bonomo@unirufa.it Discover more An author of humorous stories, cartoons, strips, short stories and graphic novels. He works at SkeletonMonster and is one of the five creators of ARF! a Comics Festival in Rome . To date, he has published the following books: Tutti possono fare fumetti, La notte dei giocattoli (based on texts by Dacia Maraini) and the children’s comic series Timothy Top, all published by Tunué. Since 2001, he teaches comic book art in schools. Beatrice Bulla Art Printmaking beatrice.bulla@unirufa.it Discover more She was born in Rome in 1994 from a long generation of art printers, whose roots go back to Paris in 1818. From a young age she assisted her father Romolo and aunt Rosalba in the family print shop, helping them in the production of lithographic and woodcut limited editions of contemporary artists. In 2013 she moved to London where she graduated from Middlesex University in the Media and Performing Arts department. In 2017 she returned to Rome to manage the family archive and co-curate the exhibition ‘Litografia Bulla. A two-hundred-year journey between art and technique presented in the rooms of Palazzo Poli of the Central Institute for Graphics in Rome in 2018. In the same year, together with her sister Flaminia and Alessandro Cucchi, she opened ‘O’, a residency project within Litografia Bulla aimed at emerging artists called upon to produce a limited edition artist’s book. In 2020 he takes the reins of the printworks together with her sister Flaminia with whom, in addition to producing commissioned editions for artists, galleries, foundations and museums, she opens the second residency project ‘Passaggi’ where she co-curates exhibitions in the first rooms of Litografia Bulla of national and international artists, invited to produce graphics and multiples within the printworks. In the same year Litografia Bulla works together with the main artist-run spaces in Rome for sponsorships and commissions. In 2021 Beatrice became co-president of Club Taverna, an initiative of Spazio Taverna by Ludovico Pratesi and Marco Bassan. Paolo Buonaiuto Graphic Design 2 paolo.buonaiuto@unirufa.it Discover more Paolo B. has been working as an art director and visual designer for over 25 years. His projects are signed art-bit.design&c., a visual design and communications studio dealing with the visual communication production process, from the brand design to the coordinated image, throughout the promotion of identity values within institutional, museum, cultural and product communications, in particular signage & wayfinding. Coordinator of the Bachelor of Arts in “Design for Humans” and Professor of Graphic Design and Color at RUFA (Rome University of Fine Arts). Professor of Design and Tourism at Roma Tre University in the Master in Tourism Languages and Intercultural Communication. He collaborated with Villa Médicis – Académie de France à Rome for the exhibition “Thursdays at Villa Medici” within the program “Graphic Lessons”. He held colour lectures at LUISS – Free International University of Social Studies “Guido Carli”, Rome. As a trainer, Paolo taught in the Perception, Light and Matter course and the Colour Design course for Cosmob S.p.a., Pesaro, Italy. He has been a lecturer in the “Visual Communication for Companies” course organized by the Rome Institute for Entrepreneurial Training in collaboration with the CNA – the Italian Confederation of Crafts and Small-medium enterprises based in Rome. Regarding institutional positions, he has been Director of the Lazio Delegation of AIAP – the Italian Association of Visual Communication Design, from 2010 to 2012, then Secretary from 2013 to 2015. In 2016 he started his career at AIAP in Lazio, and eventually became Advisor of the AIAP board for 2019- 2021 biennium. Responsible as designer of the visual communication between Aiap and Confcommercio – Businesses for Italy – Professions. Sito web, Linkedin, Facebook, Instagram C Emanuela Camacci Visual Art Techniques and Technologies; Sculpture Techniques emanuela.camacci@unirufa.it Discover more Emanuela Camacci was born in Rome, she graduated in sculpture at the Academy of Fine Arts in Rome. Once she graduated she attended a specialization in mosaic art at the studio of Costantino Buccolieri. She has participated in numerous temporary exhibitions and land art interventions in Italy and around the world, including GNAP Italy – Global Nomedic Art Project, 2019. She has undertaken many international residencies, such as the Sculpture Symposium in Santiago de Chile in 2017 and the Yatoo International Artist in Residence in South Korea in 2018. In Italy she has won several awards and competitions for works of art in public spaces, such as the Montesacro East Fire Station in Rome, with the work “Mani” in Roman travertine, or such as the sculpture “Bubbles of air” at the permanent collection of the Cantina Producers Cormòns of Gorizia. A determining factor in her research has been the collaboration with artists and professionals from various backgrounds, experiences that offered her the opportunity to live life with a different perspective from an artistic-intellectual and human point of view. Her evocative language is rooted in representations of emotional life, in the link between sculpture, architecture and the environment, in the exploration of the limits and possibilities of various materials. Ideas are only fully realized in an appropriate context. “the work changes meaning in relation to place and space.” Sito web, Instagram, Facebook Simone Cametti PERFORMATIVE TECHNIQUES simone.cametti@unirufa.it Discover more Sculpture and installations are a key part of his poetics, alongside other media, such as photography, audio and video art. Simone Cametti begins by observing materials and their physical characteristics: marble, iron, organic elements. He investigates their colour, mechanical properties, brightness, form, with the precise will to disguise the original material and change it completely. A subtle game used by the artist to silently, and almost invisibly, tell unheard of stories, little fragments of daily life preserving the memory of the functional past of the objects they once were. Recently, he has turned his interest to the study of landscapes and performance, keeping the material transformation of space at the core of his investigation. Literally shifting the focus on the change of perception resulting from the physical transformation of the context by the artist himself. Cinzia Capparelli Fotografia cinzia.capparelli@unirufa.it Discover more Cinzia Capparelli is a photographer specialising in fashion, portraiture and advertising. She works with a continuous tension for experimentation, attention to light and vision, in search of a meditative empathy with the subject. She has published her photo shoots in magazines such as Vogue, L’Officiel, Elle, Vanity Fair, Skira and Manfredi Editore. She produces advertising campaigns and portraits for celebrities. She shot the pride 2021 campaign for H&M and collaborated with brands such as Fendi, Bulgari, Emporio Armani, Laura Biagiotti, 20th Century Fox, Mercedes-Benz, De Agostini Editore, Sky, Enel, Dolce & Gabbana, Veja, Pftizer, Intersport, Kiko, Crodino, Campari, Foreo. In 2022 she founded Moonel, a production and representation agency for artists, models and talent. In her professional experience she has also focused on the photography of luxury events, perfecting her propensity for reportage and listening to the relationship between space and body. She is an academic teacher of design photography and advertising photography. Emanuele Cappelli Brand Design; Graphic Design 3 emanuele.cappelli@unirufa.it Discover more Emanuele Cappelli is the creative director and founder of Cappelli Identity Design. He has been teaching Visual Communication since 2004, at Sapienza University in Rome, and since 2011 at RUFA, Rome University of Fine Arts. After graduating with honours in Industrial Design and serving as creative director in a number of companies, he founded Cappelli Identity Design, a design firm that provides branding and communication strategy services to important Italian and international companies. Acknowledged as one of the best pioneers of the concept of dynamic branding, his experimental approach has earned him 35 international publications and prestigious positions, such as artistic director of international cultural events. Marianna Cappi TELEVISION SCRIPT-WRITING; CREATIVE WRITING marianna.cappi@unirufa.it Discover more Afters studying Communication Sciences in Bologna and journalism in Brussels, she graduated in History of Cinema in Bologna (Alma Mater Studiorum) and in screenwriting at the National Film School (Centro Sperimentale di Cinematografia) in Rome (2001-2003). She has written short films with and for Susanna Nicchiarelli (“La Madonna nel frigorifero”), Francesco Lagi (“Passatempo”, Selection Corto Cortissimo Venice International Film Festival, 2004), Stefano Accorsi (“Io non ti conosco”, David di Donatello 2014). In 2007 she wrote and shot the documentary “Tomaso Monicelli. Un intellettuale in Penombra”. She has worked as a screenwriter for RAI, Mediaset and Discovery Channel (“Il Commissario De Luca”, “Gente di Mare”, “Vivere”, “Love Dilemma”). She has held scriptwriting courses and workshops in Gorizia, Mantua, Bologna, Ramallah, Bellinzona, Pistoia, Rome (CSC). She has written the feature film “Amori Elementari” directed by Sergio Basso (CSC Production, Rai Cinema, Zori Film, 2014). For theater she has made the Italian adaptation of the Broadway musical “Priscilla – Queen of the desert” and Alil Vardal’s “Clan des Divorcées”. She’s a film critic for the newspaper Voce di Mantova, the web portal MyMovies.it and the weekly magazine Film TV. In 2020 she was selected and appointed by MiBact as Expert Trainer of the National Cinema and Images Plan for School. Aureliano Capri Information Design aureliano.capri@unirufa.it Discover more Roman by birth and cosmopolitan by adoption, Aureliano Capri is a multidisciplinary designer and reality observer. Graduated in Systemic and Communication Design at ISIA Rome. he actively collaborates with Studio Azzurro to design interactive narrative multimedia environments and with Iperdesign to design and product digital systems. He carries out didactic activities at the ISIA in Rome, and educational and creative workshops for high school students in the PCTO of the MAXXI Museum. In his developing design philosophy, he queries the roles of design and communication as methods for promoting culture and participation. Constantly looking for the right tone of voice to spread content, his main inspiration comes from J.M. Basquiat’s “Boom For Real” to catch insights from reality and rub off on it with original syntheses and mixed languages. Alessandro Carpentieri Digital Video and Video Editing; Photography (for Visual Arts); Photography 1 alessandro.carpentieri@unirufa.it Discover more Alessandro Carpentieri was born in Rome in 1965. After graduating from secondary school in Aeronautical Engineering, in 1983, he dedicated himself to photography and cinematography working as a cameraman for a small Rome-based agency. In 1989, he followed a course of advertising photography, but it was street photography that kept him away from the film studios. Between 1990 and 1999 he travelled in Europe and the United States, collaborating as a freelance photographer with important Italian daily newspapers (La Repubblica, L’Unità, Il Manifesto, Il Messaggero) and making several documentaries. In the same period, he worked as assistant photographer in 3 feature films and 2 RAI programmes by Silvano Agosti (“The Bullet Man” 1993, “The Second Shadow” 1998, “Pure Reason” 2000 – “Thirty Years of Forgetfulness” 1995, and “Nobel sarà lei” 1999 featuring Dario Fò). Since 1999, he has collaborated with several music magazines and publishers (Musica Jazz, The WIre, Rai Trade, Rudi Rec), which published his photographs. Since 2004, he teaches at RUFA in the academic courses of Photography, Digital Video and Video Editing and Cinematography. In 2009, he curated the photo-story in the book “Quelle voci dal vuoto “by Guido Tassinari, published by Iacobelli. He has founded the photography group “Benaco12”. Vincenzo Caruso COSTUMES FOR PERFORMING ARTS; HISTORY OF COSTUME vincenzo.caruso@unirufa.it Discover more Costume and fashion designer, he now lives and works and in Rome. He has been cultivating his passion for costumes and fashion for twenty-five years. He is a pupil of the master Gaetano Castelli and graduated in Set Design from the Fine Arts Academy in Rome, and in Fashion and Costume Design from the Koefia Academy of High Fashion and Costume Design in Rome. He started to work in the world of entertainment aged sixteen, at the Biondo Repertory Theatre in Palermo. After this debut in the theatre, he moved on to the worlds of cinema and fashion, working in Italy and abroad, where he created set designs, costumes and garment and accessory collections. He also worked on the set designs and costumes for various theatrical productions, working with directors such as Maurizio Scaparro, Franco Zeffirelli, Ilaria Drago, Pino Ferrara, Roberto Gandini, Sharoo Kharadmand, and many more moving from drama to opera, from ballet and dancing to the cinema. He has created fashion and accessory collections for his own line called Atelier Baalbek, but also collaborates with many fashion houses, such as Valentino, D&G, Christofer Chronis, etc.. He has also worked for companies, such as “Mazzini Eventi”, organising fashion shows for the designers Brioni, Corneliani, Furstenberg, Gai Mattiolo etc.. He has also been invited to sit on juries for fashion competitions in Italy and abroad. Today he works primarily in producing art creations and installations for costumes and high fashion garments. He currently teaches “Costumes for Performing Arts” at RUFA Rome University of Fine Arts, at the Fine Arts Academy, where he has published a study on costumes for performing arts called “La Magia del Costume” (Magical Costumes). He organises art and cultural events on fashion and costumes, has held a number of meetings and conferences on costumes for performing arts, also working with Gabriella Pescucci, Lina Nerli Taviani, Giancarlo Nanni, Ilaria Drago etc.. He is an eclectic professional and artist who has always found himself at ease in the magical world of fashion and costumes. Silvia Cassetta Storia del Design 1 silvia.cassetta@unirufa.it Discover more Architect, after having worked in Milan and London, is based in Rome, where she opens her office as a designer and performer. She is focused on the relationship between dance and architecture, and she attends the 2nd Biennium in Composition at the National Academy of Dance in Rome. In 2022 she was a guest performer at the “KM278 Demanio Marittimo” Festival, curated by P.Ciorra / C. Colli. In 2020 she collaborated with Prof. L. Prestinenza Puglisi at RUFA, for the History of design course. Among her most important projects: a show room in Abu Dhabi for the Brand Bespoke Italia, interiors for private clients and in 2014 she patented an innovative tool for food design: “Pipoliva”. This project was selected for the “ROMA DESIGN LAB 2014”. In 2013 she was selected for the “FUORISALONE” with the “Dancing Shape” project. In 2008 she obtained a Master in Interior Design at the Polytechnic School of Design in Milan. From 2008-2009 she worked in Design International in London, a company that carries out large retail design projects. In 2005 she graduated with 110 cum laude at the Faculty of Architecture of Ascoli Piceno. Since 2007 she has been enrolled in the Order of Architects of the Province of Bari and she also has designed various projects in Puglia, her homeland. Maria Chiara Castelli SET DESIGN chiara.castelli@unirufa.it Discover more Since 1997 Maria Chiara Castelli, graduated with honours in set design from the Academy of Fine Arts in Rome, began her career by passing a selection of Rai as an assistant set designers. After a series of collaborations with some set designers she joined the Castelli studio, where she still works today. Since 2010 she went from being an assistant to a set designer. Among the customers: Rai uno, Mediaset, Sky, Tv2000, Arcobaleno tre, Stand by me. From 2000 she started her teaching career; she collaborated with other institutes such as the Academy of Costume and Fashion and IL CSC (experimental centre of cinematography). In addition to her interest in TV set design, she is always strongly involved in painting and drawing, especially in the creation of her portraits. In recent years she has been working in teams for the realization of projects both for TV and private companies, such as restyling the restaurant “Il Lanificio” with her colleague Alessia Petrangeli. The team with which she collaborates is made up of set designers and designers. The coordinator of the group is: Manuel Bellucci. Andrea Cavallari Web Design 1; Web Design 2 andrea.cavallari@unirufa.it Discover more Andrea Cavallari, a partner of Iperdesign since 2008, works in the fields of development, analysis and programming. Over the years he has developed websites using WordPress CMS, for clients such as the Evangelical Lutheran Churc, Enel Rete Gas, LifeShield, and applications for iOS and Android smartphones, for clientssuch as DaleCarnegie, Hausmann&Co, Rezza Immobiliare, WWF, Abbott, Bracco, Cangene and PaesiOnLine. He is an expert programmer in various languages, including iOS, Android, C#, Pascal, Java, PL/SQL, Oracle, TomCat, XML, HTML, Javascript, VB.NET 2.0, Visual Basic 6.0, ASP 3.0, and ASP.NET. His achievements include a workflow system for Johnson&Johnson, the development of a CRM for Sistemia, of a Project Management System, and a software for managing shares, bonds and securities for Cedacri, as well as a participation in the Pegasus Project (a software for managing auction, seizure, mortgage and certification services). Alice Cellupica APP DESIGN alice.cellupica@unirufa.it Discover more I graduated right here at Rufa in Visual and Innovation Design. Shortly before obtaining my Master’s degree, I joined PwC’s Experience Centre in Rome. Now I’m a designer with 7 years of experience working on Visual Design, User Experience, User Interface, Motion Graphic, Motion UI and Illustration across different industries such as Retail, Energy & e-Mobility, Transportation and Financial Services. I collaborate with clients designing new digital user experiences, co-creating customer journeys with different stakeholders, facilitating workshop sessions, creating digital video material, creating Design Systems and visual guidelines and finally managing the art direction of websites and mobile apps used by millions of users every day. Guenda Cermel SUSTAINABLE FASHION DESIGN guenda.cermel@unirufa.it Discover more Head of Fashion with significant experience in the retail sector at an omnichannel level. Guenda Cermel is a 360-degree professional who blends creativity and strategy, from design (collection design) to operations (buying and merchandising), negotiation (worldwide sourcing), and numbers (budget, purchase, and sales). She has eventually grown a wide and solid managerial experience in leading fashion companies. Guenda graduated in Art history, then she began working in the fashion industry as an Assistant Designer at Stefanel, and later as an Assistant Buyer and Brand Manager in the Coin Group, becoming responsible for the design, development, buying, and sales of three Coin-owned brands. Afterward, she became Category Manager for 3 Fashion categories, assuming a key managerial and strategic role supervising the Group’s 50 department stores. In 2018, she joined as Head of Fashion HSE24 TV, the Italian branch of a German ‘shoppertainment’ company among the leaders in the sector with branches in five countries. She has recently earned a Master’s in Philosophy, and she is now undertaking her MA degree in Integral Ecology. Guenda has been appointed as the Academic Coordinator of the BA in Sustainable Fashion Design at RUFA – Rome University of Fine Arts. Irene Cerrati MODELLISTICA PER LA MODA irene.cerrati@unirufa.it Discover more Irene Cerrati was born in 1965 and, after graduating from high school, she trained as a model maker at the Ida Ferri school, graduating in ’89 with top marks. She began her professional training at the Gattinoni atelier and then continued working as an external workshop for several years. At the same time, she began teaching in the technical sector of Fashion, i.e. modelling and tailoring, at various Design and Fine Arts Academies based in Rome. She collaborates as a model maker for several fashion houses and as a teacher with the Italian Institute of Fashion in Rome from 2000 to 2019 and with the Academy of Fine Arts in Rome from 2012 to the present. She has modelling skills both in the industrial sector using cad systems and in tailoring using moulage and TR method techniques, skills that she tries to pass on to her students in the courses she teaches. Anna Cianca PERFORMATIVE TECHNIQUES anna.cianca@unirufa.it Discover more Trained at the Laboratory of Performative techniques in Rome, directed by Gigi Proietti (academic year 1983/85) and under the direction of Proietti himself, she made her debut in the theater with the show “Cirano” by E. Rostand. Later she worked in the companies of Paolo Ferrari, Lando Buzzanca, Giuseppe Pambieri and Lia Tanzi, Flavio Bucci, Anna Mazzamauro and with directors such as Coltorti, Lucchesi, Carafoli, Frattaroli and Scaccia, dealing with texts from both the classical and contemporary repertoire. She alternates the theatrical activity with radio: “Il Consiglio Teatrale” (Rai3) “A doctor in the family”, “Maria Montessori” (awarded as best TV film in the first edition del RomaFictionFest). From 2003 to 2005 she was an acting lecturer at the “Cinema Profession” school in Rome, founded by Giulio Scarpati. In 2013 she participates as a teacher of text analysis at the “Stage al Castello”, an event promoted by the Piedmont region and which offered seminars and workshops held by nationally and internationally renowned teachers such as Bruce Myers, Michael Margotta, Danny Lemmo. Since 2018 she has been collaborating with RUFA, Rome University of Fine Arts, holding acting and text analysis workshops for the Cinema courses. Alessandro Ciancio EXHIBIT DESIGN alessandro.ciancio@unirufa.it Discover more Graduated in design at ISIA in Rome and with a diploma in graphic design at the “Scuola DI Arti Ornamentali di Roma”, he worked for eight years in the studio of architect Michele De Lucchi where he completed his training in exhibit design. He supervised various exhibition projects at the Scuderie del Quirinale in Rome (Burri e i maestri della materia, Dürer e l’Italia, Filippino Lippi e Sandro Botticelli nella Firenze del ‘400, Tintoretto) and the layout of museum structures such as the Palazzo delle Esposizioni (Rome), Palazzo Barberini (Rome), the Roberto Capucci’s Foundation (Florence) and the Gallerie d’Italia (Milan). He collaborated on the design of the Italian pavilion at the International Expo in Zaragoza and supervised the new layout of the Central Archaeological Area in Rome (Colosseum, Palatine and Roman Forum). Since 2013 he’s a freelance professional and he designs booths and scenography, continuing to design exhibitions and museums, such as the series of contemporary art exhibitions “The Making Of” or the setting up of the museum structure “Interpretation Center of Erbil Citadel” (Iraq) on behalf of UNESCO. He collaborates with the most important Italian communication companies designing layouts for events of international companies such as BNL, Assicurazioni Generali, ENEL, Poste Italiane, FCA, Audi, Renault, TIM, and many others. Since 2015, he has been teaching at the Rufa Academy holding an Exhibit Design course in the second and third year of design courses, a subject where he combines students’ experiences in both interior and product design. Anne-Riitta Ciccone FILM DIRECTOR AND AUTHOR anneriitta.ciccone@unirufa.it Discover more Anne-Riitta Ciccone, Film Director and Writer. Born in Helsinki (Finnish mother and Sicilian father) she lives now in Rome. Graduated in Philosophy, during the University years she also carried out a long and patient apprenticeship in Theater and Cinema, then attended the Course RAI / Script training and specialization for screenwriters. At the same time she continued to deepen her preparation in writing and shooting techniques (two MEDIA program screenwriting development workshops held in collaboration with Columbia University in New York, an intensive Mentoring as Script Doctor held by Sources2; in the meantime she attended workshops on the use of new technologies, digital and stereoscopic 3D). She debuted as Director in 2000 with her first feature film “Le Sciamane” (“The Witch Doctors); “L’amore di Màrja”(“Marja) released in 2004 was the first independent-movie box office of the year and won numerous awards including the Golden Globe of the Foreign Press as “Outstandig Director”; “Il Prossimo tuo” (“Thy Neighbour”) released in 2009 was selected at “Rome Film Festival – Extra l’Altro Cinema”. Since 2010 she has specialized in 3D, making the first Italian 3D short film, “Victims”, selected for the European Prize “Mèlies d’or” for the best fantasy short film. She made the first feature-length film in 3D live action directed by a woman, “I’M endless like the space”, selected as Special Event during the “Venice Days” of the 2017 Venice Film Festival, later released in Italy with the title “I’M infinita come lo spazio” acclaimed by the Press, she won the “Best Director” Award at “Festival dei due mondi” in Spoleto in 2018. “I’M infinita come lo spazio” is also a novel, published in Italy by the Publishing House Il Foglio Letterario, book which Anne-Riitta wrote as a spin-off during the multiple drafts of the film’s script. The novel was selected for “Premio Strega” Award. In 2020 the Publishing House “Resh Stories”published her Handbook “The Director’s Journey”. Over the years, she has worked as Script Doctor for screenplays and as Tutor for young directors, the last experience in September ’19, at the Cinecampus Terre di Cinema, international cinematographers days. Currently the film “Gli Anni belli” by Lorenzo d’Amico de Carvalho (written by Anne-Riitta Ciccone and Lorenzo d’Amico de Carvalho) is in post production. Sito web, IMDb, Linkedin, Instagram, Facebook Pietro Ciccotti ANIMATION 1 pietro.ciccotti@unirufa.it Discover more Pietro Ciccotti was born in Rome in 1976. After some rather erratic educational career choices, which took him from the faculty of communication sciences to a school of comic drawing, from the study of graphics to film-making, in 2005 he ended up in Turin, at the Experimental Centre of Cinematography (Centro Sperimentale di Cinematografia). There he learnt new skills and especially the focal point of it all: animation. He graduated in 2006 and returned to Rome, where he founded mBanga Studio, with Harald Pizzinini. The studio’s mission is to create and design animations and animated graphics from a blank sheet of paper to the final rendering, ranging from intros and title sequences to animated logos, video clips, series, shorts or feature-length films. Clients include: Cartoon network, Boing, Rai, la7, Venice Biennale, Colorado film, Fao. Sito web, Instagram Alessio Cimato Light design 2 alessio.cimato@unirufa.it Discover more “Light connects us with the outside world more directly than any other vehicle of information. It is our richest and most complete research and knowledge tool“. Cit. by Andrea Frova Design is the perfect union of various consequential themes, form – light – perception. In 2020 he obtained the 1st Level Master in Lighting Design at the “La Sapienza” University of Rome. In 2018 he was the tutor of the Master in Lighting Design at the “La Sapienza” University of Rome; activity that allowed him to interact with prominent professionals in the field of Lighting Design. In 2017 he obtained a 1st Level Diploma in Design at RUFA – Rome University of Fine Arts. Since 2017 he has been collaborating with several Roman studios. This allows him to deal with different design realities and to grow professionally by fully living the profession of Interior and Lighting Designer, contributing to architectural and lighting design. Since 2019 he has been responsible for the communication activities of the Master in Lighting Design MLD, starting and curating the cultural column “High Light In”. In 2017 he participated in the design workshop with the international light artist Yann Kersalé. In 2010 he collaborated in the realization of the sets for the opera “Terzo Tempo” at the Sala Uno Theater in Rome and in the realization of the “Group Therapy” sets at the Trastevere theater in Rome. Stefano Cipolla Visual Design 2; Visual and Innovation Design 2 B stefano.cipolla@unirufa.it Discover more Stefano Cipolla is an Italian art director, graphic designer and journalist. He always worked in the editorial field: in the 90’s he started collaborating with magazines as a freelance and in 2001 he lands at the daily “Il Manifesto”, a newspaper with an important graphic design tradition. There, in the year of the terrorist attacks at New York’s twin towers and of the Genova G8, he realises that news and their visualization will become his professional future. In 2004 he arrives at the daily newspaper “La Repubblica”, being in charge of designing sections and special projects of the paper (La Domenica di Repubblica, R2, libri di Repubblica) and two graphic restylings (2007 and 2014). From February 2018 he’s the Art Director of the weekly “L’Espresso”. He teaches Editorial Graphic Desgin, Infographic and History of Communication Design. He taught for 15 years at the roman Istituto Europeo di Design. Now he is at the Scuola di Giornalismo di Urbino, MiMaster in Milano and he holds conferences and workshops. He is also a Domestika teacher and his course “Foundamentals of Editorial Graphic Desgin for Magazines” is online since May 2022. His job is his passion: he believes working with images is the greatest luck you can have, and that is what he tries to convey to his students. Emiliano Coletta TECHNIQUES FOR SCULPTURE/MOLDING; DECORATING; CONTEMPORARY SCULPTURE TECHNIQUES emiliano.coletta@unirufa.it Discover more Emiliano Coletta is a sculptor, specialised in modelling and casting, as well as the use of rubber and plastic resins, and a skilled ceramist. He was one of the founding members, in 1999, of Mazzone Srl, associated painters and sculptors, an artistic firm specialising in the production and implementation of works and projects using visual arts techniques and technologies. Since 2000 he is a member of the group of independent artists com.plot S.YS.tem. He teaches Plastic Decorating at the School of Ornamental Arts of Rome, where he also teaches Plastic Techniques and Modelling. Since 2010, he teaches various sculpting techniques – modelling, technology and typology of materials – at RUFA – Rome University of Fine Arts. Stefano Compagnucci PHOTOGRAPHY (FOR CINEMA); PHOTOGRAPHY 2 (Fine ArtS); PHOTOGRAPHY 3 stefano.compagnucci@unirufa.it Discover more He was born in Rome in 1975. In 1999 he graduated in photography from the Higher Institute of Photography and Integrated Communication, and embarked on a professional career, initially conducting research work in the field of portraiture and specialising in the field of advertising photography. He has collaborated in various national and international campaigns, working with a number of advertising agencies, including McCann Erickson, Young&Rubicam, J.W.Thompson, Ogilvy&Mather, Saatchi&Saatchi, Leo Burnett, Armando Testa. He has exhibited his works in Italian and foreign galleries, as follows: 2007 Galleria Social Gallery (Florence), 2008 Galleria Minima (Rome), 2009 Wine Museum (Monte Porzio Catone), 2010 Fototeca de Veracruz (Mexico), 2010 Scuderie Aldobrandini (Frascati), 2011 Scuderie Aldobrandini (Frascati), 2012 Ethnographic Museum (Belgrade). In 2008, he published the photographic book “75 cl” dedicated to the world of wine and wine-making in the area of the Castelli Romani. In 2008, he was designated as a member of the jury for reading portfolios, at the Festival of Travel Literature open to photographers and held at the Palazzo delle Esposizioni in Rome. In the 2008-2009 academic year, he served as Deputy Director of the Rome School of Photography. www.stefanocompagnucci.com Stefania Conti SET DESIGN 3; SET CONSTRUCTION 1-2 stefania.conti@unirufa.it Discover more After secondary school, in 1980 Stefania Conti graduated in Set Design, from the Rome Fine Arts Academy (Accademia di Belle Arti) and from the Hotech Academy. She has also participated in the activities and attended the courses in Engraving and Graphics at the National Graphics Institute (Istituto Nazionale della Grafica) in Rome. During the same period, she started collaborating as an assistant set designer, with the studio of the Art Director Misha Scandella, developing fundamental knowledge and experience in the opera theatre sector. She then built up a long experience in television set design and, in 1989, designed the sets for a number of TV programmes in Italy and abroad. She has also designed trade fair and convention spaces and collaborated with the Italian Institute for Foreign Trade (Istituto Italiano del Commercio Estero), as well as sets for theatrical productions and concerts, and designs for the refurbishment of public and private venues and spaces. www.stefaniaconti.it Riccardo Corbò HISTORY OF PRINTING AND PUBLISHING riccardo.corbo@unirufa.it Discover more Journalist, expert in youth culture and curator of exhibitions on pop icons from the world of comics. After a few years as an editor and translator for comic publisher and as a press office for Comics festivals, in 1997 he began collaborating with the Radio Rai programs as an expert in comics, video games and cartoons. In 2001 he started his work with Rai Net, where he is responsible for the Portal and the Community until 2007. For Rai Net he curated the Italian edition of “Food Force”, a video game created by the United Nations WFP. He is the editor of Vincenzo Mollica’s book of interviews “DoReCiakGulp” (2006) for the Eri Rai editions. Since 2011 he has been working on Tg3, his TV reports are for the “Tg3 Agenda del Mondo”, “Tg3 Mondo” and “Tg3 People” programs. For Rai Isoradio, from 2014 to 2017 he conceived and conducted the programs “Comics with wheels” and “The night, a video game? “. He is the curator, together with Vincenzo Mollica, of the exhibition “Spider-Man, the most human of super-heroes” at the Museo del Vittoriano in Rome; of the exhibition at Palazzo Bufalini, in Città di Castello, “Batman, Darkness and Light”; of the exhibition “Batman, 80 years of Technology” at the National Museum of Science and Technology in Milan and of the tifernate exhibition “Simone Bianchi: Amazing Talent” at Palazzo Vitelli. Since 2007 he is a professor in the “Master in Journalistic Criticism for Theater, Cinema, Television and Music” of the National Academy of Dramatic Art “Silvio d’Amico”, for “Morphology and criticism of paraliterature (comics, videogames and cartoons). Andrea Costantini DIRECTION - BA cinema andrea.costantini@unirufa.it Discover more He started his production career at a very young age, working on the production of feature films and TV series, collaborating with many Italian and foreign directors. He later founded his production company with which he produced and co-produced several films in Italy. (nominated for the David di Donatello as Best Producer 2008). Since 2009 he has been primarily focused on his direction work for tv series and feature films for cinema. He published his first novel with Edizioni Robin . He regulary holds acting classes for professional actors. Daniela Cotimbo Teoria e metodo dei mass media daniela.cotimbo@unirufa.it Discover more Daniela Cotimbo is an art historian and independent curator based in Rome. Her research is focused on problematic issues of the present, investigated through different expressive means, in particular new technologies. She recently founded and curated the Re: Humanism Art Prize dedicated to the relationship between Art and Artificial Intelligence, later becoming a cultural association of which she is president. Daniela has curated exhibitions in various galleries, museums and festivals, including MAXXI – National Museum of 21st Century Arts, AlbumArte, Colli Independent, Operativa Arte Contemporanea and Romaeuropa Festival. She writes for numerous contemporary art magazines such as Inside Art, Flash Art, NERO and has curated or taken part in a series of panels for institutions such as Palazzo Te (Mantua), Cubo Unipol (Bologna), Manifattura Tabacchi (Florence), Maker art (Rome), Brera Academy of Fine Arts (Milan), Ca ‘Foscari University (Venice), John Cabot University (Rome). Since 2021 she is co-founder of Erinni, a curatorial collective that combines transfemism and media languages. Alessio Cremisini VIRTUAL ARCHITECTURE; DIGITAL 3D MODELLING 1; DIGITAL 3D MODELLING 2 alessio.cremisini@unirufa.it Discover more He graduated in 2004 in Product Design from I.S.I.A., in Rome, with an experimental thesis on Photovoltaic Bus Shelters, in collaboration with the Design Office of A.T.A.C. S.p.a., the public transport operator of Rome. He then went on to collaborate with various design, architecture, multimedia and set design firms, furthering his knowledge of and experience in 2D/3D modelling software and graphics and compositing techniques for the realistic rendering of projects. In 2011, he curated the development of the Great Theatre at the “Magicland” theme park in Valmontone. He has a passion for Fantasy, Sci-Fi, Horror, Comics, Design, Modelling and Videogames, and, since November 2011, teaches “Virtual Architecture” and “3D Digital Modelling Techniques” at RUFA in Rome. Rosella Cuppone BASICS OF COMPUTER DESIGN rosella.cuppone@unirufa.it Discover more She was born in 1963, in Neviano (Lecce), but moved to live in Rome after secondary school, where she graduated in architecture from Sapienza University, specialising in the protection and recovery of heritage-classified buildings. After graduating from university she worked for several architecture and engineering firms, while studying to become a practising architect, eventually qualifying from the Faculty of Architecture of Sapienza University in Rome. At present, she works as a professional architect, in the private building sector, and teaches at Rufa Rome University of Fine Arts. Dario Curatolo VISUAL DESIGN 2 dario.curatolo@unirufa.it Discover more Dario Curatolo, architect, graduated at the Sapienza University of Rome, where he specialized in Theory of Architecture. He works with architecture, design and visual communication. He was a member of the Scientific Committee of the Triennale Design Museum, member of the ADI national steering committee as the Aiap Lazio Delegate. He was Art Director of the Italian Pavilion at the 13th Venice Architecture Biennale and is currently Creative Director of Four in the Morning and art director for a number of companies and institutions. From 2018 to 2022 he’s appointed as “Italian Design Ambassador” for the Italian Design Day organized by the Italian Ministry of Foreign Affairs. D Bruno D’Annunzio FILM SHOOTING TECHNIQUES; EDITING TECHNIQUES; Sound Design bruno.dannunzio@unirufa.it Discover more In the first years of his activity he collaborated in theoretical-practical seminars related to the History and Criticism of the film of the University of Rome “La Sapienza”. Subsequently he made short films of various types: industrial, scientific, educational, etc. The anthropological and ethnographic documentaries, which he shot in different parts of the world, have ensured that his name was mentioned in the “History of Italian Cinema” (Mario Verdone, Tascabili Economici Newton, Rome 1995). From 1999 to 2018 he taught Editing with Digital Techniques and Direct Sound at the “Nuova University of Cinema and Television ”of Rome. Since 2000 he has collaborated with the Rossellini family and the Maiori Film Festival Association in the creation of the Roberto Rossellini Film Festival @ Maiori. In 2008 he taught “Image and Sound Analysis” to a select group of police officers State, Postal and Communications Police Service of the Department of Public Security, collaborating with the C.N.C.P.O. (National Center for the Fight against On-line Child Pornography). In 2008 he was commissioned by CANON Italia, with which he has been collaborating for years on the occasion of the Roberto Rossellini Film Festival @ Maiori, as head of the Video Portfolio within the event PHOTOGRAPHY ’08 in Milan. Since 2008 he has been a lecturer at the “Rome University of Fine Arts” in Rome and, as part of the Diploma course in Cinematography, teaches the following disciplines: Editing Techniques, Shooting Techniques, Sound Design, Audiovisual Documentation Techniques, Digital Video and Video Editing. In 2011 he was commissioned by the Ministry of Foreign Affairs to receive and optimize the art videos of the 89 Institutes Italians of Culture (IIC) in the world, to be included in an installation of the Italian Pavilion at the Biennale of Venice. With his students of the Audiovisual Documentation Techniques course of the RUFA School of Cinema makes a film, addressed to all IICs in the world, on the inauguration of the Italian Pavilion and the Venice Biennale. In 2012, with his students of the RUFA he created a commercial for the State Police-Police Railway. In the following years, in addition to the normal teaching and always for the RUFA, he leads Shooting and Editing workshops in the context of PCTO training projects. Veronica D’Auria Cultura visiva e media Discover more Veronica D’Auria graduated with honors in Historical and Artistic Sciences, address Curator of artistic and cultural events, at the University of Rome Sapienza. In 2009 she co-founded C.A.R.M.A. – Center for Applied Multimedia Arts and Research – in which she is the coordinator of the curatorial group. In this context she organizes exhibitions and events of contemporary arts, dedicating particular attention to video art, computer art, multimedia installations, experimental music and intermediate theater in prestigious spaces in Italy and abroad (M.A.C.RO., MAXXI, mu .B.A., White Box Museum of Art, M.L.A.C., Centrale Montemartini-Musei Capitolini, G.A.M.C.). In 2018 she co-founded the record label Handmade Supernova and from 2020 she is Communication Manager for Strangis Realities, a software house of games and applications in virtual reality. She collaborated with institutions, festivals, associations, non-profit organizations, foundations. Sergio D’Innocenzo ANIMATION 1; Character Animation sergio.dinnocenzo@unirufa.it Discover more Afterart high school his first work experiences began, especially in the field of comics and illustration. He created, among other things, a 25-page color story of “Radar”, a superhero of the “Phoenix” universe written by Giorgio Lavagna, and a complete cycle of illustrations for the role-playing game “Lex Arcana” published by Dal Negro. Immediately after he began working in the field of graphics and advertising communication, an experience that he developed between the late 80s and 2006 when he became the art director of the studio he co-founded “Plan B Communication”, working for clients such as CAPITALIA, POSTE ITALIANE, ANSA, CONFITARMA. In the early 2000s he discovered 3D graphics and attended courses both in Italy and in the UK, that allowed him to integrate more and more CGI in his work. In 2008 he attended a character animation course at Escape Studios in London. From here his passion for animation exploded. Soon he began his collaboration with the animation studio TeamTO (France), which lasted 4 years. He initially worked on television productions, some of which were very successful, such as PJMasks (Superpigiamini), Angelo Rules, The new adventures of Babar, and then also feature films (Yellowbird). Other studios and other productions have followed since then including: Gladiators of Rome (Rainbow CGI); Jungle book (MPC); Zombillenium (Pipangai); Trash (AL/1); Ricky Zoom (Maga Animation). D Lorenzo d’Amico de Carvalho DIRECTOR lorenzo.damico@unirufa.it Discover more Born in Rome in 1981, his work ranges between screenwriting (I’M endless like the space 74° Mostra d’arte Cinematografica di Venezia – Venice Days) documentaries (Terra da Fraternidade; Sulle tracce del mito; L’Aquila: la cultura rinascente), and short film (Pausa Pranzo, 2005 Centenario CGIL Cinema e Lavoro award, 4FilmFestival oficial selection; Nouvelle Vague, 2004 DAMS film festival Roma award, Milano Film Festival oficial selection) . He also works as a theatre director (A bright room called day 53° Festival dei Due Mondi, Spoleto; Partita spagnola, Quartieri dell’Arte, Viterbo). D Franca De Angelis CREATIVE WRITING franca.deangelis@unirufa.it Discover more Since 1995 Franca has written for both cinema and television. She has collaborated with directors such as Carlo Lizzani and Giuliano Montaldo. Her short film Senza Parole (Without Words) was nominated for an Oscar in 1997 and won the David prize at the Donatello Awards, Italy’s BAFTA’s. She also wrote the film La Vespa E La Regina (The Wasp And The Queen) with Claudia Gerini. For television she has written numerous miniseries including Nobody Excluded (Italy Award); Maria José – The Last Queen (Grolla D’Oro); The Five Days of Milan; Of War Friendship; Handsome Antonio; Exodus – The Dream Of Ada (nominated for Best Screenplay at the Magnolia Festival Shanghai); Don Zeno – The Man From Nomadelfia (Signis award) and Sissi. She was co-creator and head writer for four seasons of the popular series A Doctor In The Family. For theatre she has written about ten plays that have been successfully represented in Italy and abroad. Massimiliano De Blasi Elementi di produzione video:Cinema massimiliano.deblasi@unirufa.it Discover more For 20 years in Sales & Marketing for several multinational companies, since 2021 I have been following and implementing marketing strategies and tactics for many different industries as a consultant at Publicis Sapient. My passion and study of marketing, combined with my daily, hands-on experience in campaigns for prospects and clients, has led me, for many years now, on a path as a trainer in the automotive, pharmaceutical, retail, electronics and film industries. I firmly believe that what can make the difference today in customer relationship management is continuous innovation; being able to combine data and heart, technology and creativity, so as to transform traditional funnels into individual, seamless journeys; all based on a data-driven approach aimed at designing authentic CRM experiences… guided by heart and emotions, because the brand remains as the memory of the emotion and experience we bring to our customer. Francesco Del Grosso Direction of Photography francesco.delgrosso@unirufa.it Discover more Francesco Del Grosso was born in Rome in 1982. After graduating from DAMS he began his career as a director directing commercials, short films, TV series and documentaries, the latter selected in numerous international festivals and winners of various awards, including “Stretti al vento ”,“ In the Eyes”, “The Penalty”,“ Friendly Fire”, “Never Look Back” and “On the Front Line”. Parallel to the work behind the camera he works as a film critic, collaborating with magazines and sites in the sector. Fabrizio Dell’Arno PAINTING 1; PAINTING 2-3; TECHNIQUES AND TECHNOLOGIES FOR PAINTING; PAINTING TECHNIQUES fabrizio.dellarno@unirufa.it Discover more Fabrizio Dell’Arno was born in Sào Gaetano do Sul (Sào Paulo, Brazil) in 1977. He graduated in “Advertising and Communication” at IMES University (SCSul) in 1999, he attended the postgraduate course in art history at the FAAP (SP) faculty. He began his teaching career in the teaching staff of the “Pueri Domus Un.Jardim” Lyceum in Santo Andre (SP) as a professor of history of art and painting. He worked as a professor of artistic drawing at the IMES-SP University, Brazil. He obtained the specialization in scenography in the “cenographic espago, J.C.Serroni”, working in the scenographic sector in theater, cinema and TV projects. In 2003 he moved to New York, where he studied painting and drawing at the SVA (School Visual Arts), returning to Brazil he attended the painting studio of Master Rubens Matuck, in Sao Paulo. In 2005 he obtained his master’s degree in Sculpture from RUFA, where he currently works as a professor of painting technology in the academic course and professor of the free course of painting and drawing. Personal website Fabrizio Des Dorides ARTISTIC ANATOMY fabrizio.desdorides@unirufa.it Discover more Fabrizio des Dorides was born in Rome in 1987. He began working as a cartoonist in 2012, drawing the number 17 of the last season of John Doe (‘Questa lunga storia d’amore’). Afterwards he collaborated with: Aurea Editoriale (Lanciostory and Skorpio); Villain Comics (Brutti Sporchi e Cattivi); Cosmo Editoriale (Battaglia-La Figlia del Capo, John Hays-Brutti Sporchi e Cattivi); Edizioni Starcomics (I Maestri dell’Orrore-Dracula); Sergio Bonelli Editore (Dylan Dog, Orfani- Nuovo Mondo; Orfani-Sam). He currently works for Sergio Bonelli Editore and Editions Soleil. Facebook, Instagram Genny Di Bert HISTORY OF ART AND OF COSTUMES; PHENOMENOLOGY OF CONTEMPORARY ART ; CONTEMPORARY ART HISTORY genny.dibert@unirufa.it Discover more Art historian and critic. Her activities include journalism, criticism, curating and research, which focuses on the interdisciplinary nature of different art forms as well as their relationship to society and new philosophical and scientific developments. She is on the roll of the National Order of Journalists and Court Art Experts. She publishes catalogues and monographs of artists, articles and essays; she edits art video-documentaries, and collaborates with art foundations, organisations and institutions. She is a lecturer at RUFA, having taught at NABA, Università Cattolica, Università di Bologna, Accademia di Brera and Accademia Palermo. Luca Di Cecca Tecniche di modellazione digitale - computer 3D 1 luca.dicecca@unirufa.it Discover more Luca Di Cecca is a director, screenwriter, 3D artist, animator. He studied in Rome where he graduated in Industrial Design and in Historical-Artistic Studies at the Sapienza University with top marks. He studied animation, drawing and anatomical studies for artists. Since 2010 he has been working at Light & Color in Rome as a director and CG supervisor, where he participated in the realisation of several projects including Buonanotte, a short animated film that won the MigrArti MiBACT competition and was selected in several festivals such as Giffoni Film Festival, Corti d’Argento, Biennale di Venezia; Youtopi (Berardo Carboni’s film), supervising the realisation of 12 minutes of CGI animation; Giù dal Nido (2 Rai Kids TV series, CGI supervisor and editing), Come foglie al vento (Rai Gulp Special, co-director). Winner of the MiBACT ‘Direzione Generale Cinema’ 2018 call for tenders for the subject and screenplay of the animated short film ‘Argo and Odi’, currently in production and for which he also signed the direction. Arturo e il Gabbiano, distributed in festivals by Premiere Film, is his first project as a director. He has lectured at RUFA, the Quaroni Faculty of Architecture, Sapienza, and at Cine-Tv Rossellini. Nicola Di Cosmo App Design nicola.dicosmo@unirufa.it Discover more Nicola Di Cosmo, co-founder of Iperdesign, is a Project Manager of the Web and Mobile area of Iperdesign and coordinator of activities at the Rome office. User Experience and User Interface Designer for Mobile Applications on behalf of clients such as Abbott Nutrition, WWF Italia, Dale Carnegie USA, Hausmann & Co, Cangene Bio Pharma, Croma Pharma User Experience and User Interface Designer for Web Applications on behalf of clients such as Enel Rete Gas, Smarter Agent, Lifeshiel Security, the Evangelical Lutheran Church in Italy, Cangene Bio Pharma. He graduated from the Istituto Superiore per le Industrie Artistiche (Higher Institute for Art Industries) in Rome (1999) with a thesis on “Matter – in – formation, maps for a new hyperdesign of digital products”, in which he looks into the techniques and opportunities offered by digital technology for creating, using and sharing contents. He has worked as Multimedia Designer in New York, at Material ConneXion, where he coordinated presentations for Nike, Puma, Steelcase, Hermann Miller, Mattel. www.iperdesign.com Valerio Di Nitto Special Effects valerio.dinitto@unirufa.it Discover more Nuke Compositor and 3D Generalist, Valerio Di Nitto was born in Rome in 1992. His studies led him to leave the hometown and move abroad in UK, there he graduated in BA Hons Computer Animation (2016) at the University of South Wales (UK). Back home he specialized in the field of VFX earning a University Master in Visual Effects at the Quasar Institute (2017), marking the beginning of his career. He has worked at Metaphyx, Digimax, Direct2Brain, Frame by Frame. Currently he is covering the role of digital compositor at Lightcut Film VFX, working on Italian and foreign productions. Giorgio Di Noto PHOTOGRAPHY 1 giorgio.dinoto@unirufa.it Discover more Born in 1990 in Rome (Italy). He studied photography at Centro Sperimentale di Fotografia A.Adams and learned Darkroom and Printing techniques working with some master printers in Italy. He started in 2011 a research about the materials and languages of photography, studying the relationship between technical processes and the contents of images. In 2012 he self-published a limited edition artist book “The Arab Revolt”, which is mentioned in “The Photobook, A History Vol.III” by Gerry Badger and Martin Parr. In 2013 he has been selected by British Journal of Photography as one of the “Ones to watch”. The education experiences continued after being selected for the Reflexion Masterclass and the Joop Swart Masterclass (World Press Photo), where he focused and developed interactive projects through the experimentation of different printing processes. In 2017 he published “The Iceberg” (Edition Patrick Frey) and received a special mention at the Author Book Award at Les Rencontres d’Arles 2018. His projects have been exhibited in several festivals and events in Europe. D Caterina Di Rienzo Psicologia dell'arte Discover more Caterina (Katia) Di Rienzo is a PhD in Philosophy and Theories of Human Sciences (Roma Tre). She deals with aesthetics and phenomenology of the arts, and with theories of dance, body and performance. She has carried out didactic and teaching activities at the Roma Tre University, and at the School of Higher Education in Art and Theology of the Pontifical Theological Faculty of Southern Italy in Naples. Among her publications, the volumes “L’esito della pittura nell’ultimo Merleau-Ponty” (Mimesis) and “Per una filosofia della danza. Danza, corpo, chair” (Mimesis); the essays “Danzare fuori dal corpo. Estetica contemporanea e ‘nuova’ danza italiana”, (Ephemeria) and “Potresti cadere nell’aria. Nijinsky, i diari di una salvezza impossibile” (Ágalma, n.44); the translations from the French by Michel Bernard, “Della corporeità come “anticorpo” o del sovvertimento estetico della categoria tradizionale di corpo” (Ágalma, n.35) and by Guy Debord, Note sulla “questione degli immigrati” (Ágalma, n.34). She is editor-in-chief of the journal of cultural studies and aesthetics Ágalma, founded and directed by the philosopher Mario Perniola. She has worked with various publishing houses including Castelvecchi and Elliot. In parallel with her academic and teaching activities, she carries out the professional artistic activity of a dancer, performer and choreographer, training in Caserta, Rome, Montecarlo. A double field that marks the direction of her research and her poetics, currently working on the relationship between dance and visual arts. She is Alto Esperto in ANVUR evaluation for the AFAM sector. D Antonin Joseph Di Santantonio TECHNOLOGY AND MATERIALS FOR SET DESIGN antonin.disantantonio@unirufa.it Discover more He graduated in Architecture from Sapienza University of Rome (Supervisor: Prof. Arch. Paolo Portoghesi). A member of the National Professional Association of Architects of Rome, he has qualified to practice the profession. He has gained a Master in designing interactive spaces for communication from the Faculty of Architecture of Sapienza University, Rome, and attended specialisation courses in set designs for performances. After several experiences in the construction industry, he furthered his professional career at RAI Radiotelevisione Italiana, the Italian state broadcaster, which he joined in1983, and where he held various production positions, from Supervisor to Organiser, participating in no less than 65 TV fiction programmes and events. From 1994 to date, he works in the Set Design sector, where he has held a number of positions: from Manager of the RAI set design sites and laboratories, coordinating the teams of Builders, Decorators, Construction Workers, Graphic Designers, Model Builders, Modelling Operatives, and Special Effects designers, supervising about 200 set designs; to manager and coordinator of the set planning and design sector and now of the Project evaluation office of the Set design sector of RAI. Stefano Dominici Web Design and User Experience stefano.dominici@unirufa.it Discover more He started his career as a graphics designer in 1988. His career initially revolved around graphic design and publishing projects development and, starting from 1998, web related activities. In 2004 he establishes UtLab aka Usertestlab, now called UtLab, the company that helps other organizations understand the choices, behavior and ways the clients get in contact with them and assists these companies in implementing human-centered design processes. Stefano is a university professor at RUFA – Rome University of Fine Arts and IULM (University Institute of Modern Languages) and a conference speaker at the Italian Summit on Architecture and Information, World Usability Day and other conferences in Italy. Furthermore, he is a founder of UXUniversity, specializing in professional training, and of a publishing firm UXU Edizioni. He is also member of the Italian Association for Design and Visual Communication (AIAP). Linkedin, Instagram, Facebook, Blog, UtLab Davide Dormino DRAWING; SCULPTURE; ICONOGRAPHY AND ANATOMICAL DRAWING davide.dormino@unirufa.it Discover more My work is expressed in scuplture and design. I seek new forms by favouring old-fashioned systems for working on materials such as marble, bronze and iron. The entirety of my artistic research is entrusted to the grandeur of a creative process rooted in fundamental human issues. I dialogue with size, working in every physical scale, in order to represent an idea and insert it in the most suitable vessel. Every artistic expression becomes a fertile terrain with which to estabish exclusive and incisive relations with an external environment. Flux, vectors, bridges, and works both great and small: materials transformed without artifice but shaped by a will to become the timeless interpretor of the Spirit of Art. Born in Udine in 1973, Davide Dormino lives and works in Rome. His art pieces are divided between public and private works, whose size can vary from tiny to gigantic. Primarily a sculptor, works sometimes with marble but mostly with iron. His research focuses on the formal relationship with the material, folded up to the distorting nature to meet their needs of expression. E Meltem Eti Proto Product Design \| Design meltem.etiproto@unirufa.it Discover more She graduated from Marmara University Faculty of Fine Arts Interior Architecture Department. She has a first Level Master from the University of Mimar Sinan Institute of Science and the Proficiency in Art from Marmara University Institute of Social Sciences. She is a professor at Marmara University Faculty of Fine Arts Interior Design Department, Istanbul. She was the director of the Department between 2006-2019. She has played several roles within the University; as the Erasmus Coordinator of the Department, President of the 6th International Student Triennial Organization Board, Member of the Administrative Council, Member of the Research Council for the foundation of the Italian University in Turkey. She works on the relationship between art and design. She has carried out many projects for hotels, offices, homes, cafes, furniture design, curatorial exhibitions, jewellery design. F Andrea Fabiani Sound design andrea.fabiani@unirufa.it Discover more Andrea Fabiani, born on 31 December 1974, is a renowned Italian Sound Designer and Music Production Manager. After earning a Higher National Diploma in Audio Engineering at S.A.E. London his professional career started in 1999, when he worked as part of the In-House Audio Team at the Royal Albert Hall in London, taking care of the sound set-up for live events. He took his first steps as a Sound Engineer at Forward Studios where he contributed to the production of recordings for Fabrizio De Andrè, Pino Daniele, Andrea Bocelli, Michele Zarrillo, Ivano Fossati, Giorgia, Valeria Rossi and Claudio Baglioni. Over the years, he has accumulated important awards and credits for his work, including the soundtrack for Roberta Torre’s film ‘I Baci Mai Dati’ in competition at the 67th Venice Film Festival in the Controcampo section and at the Sundance Film Festival. This recognition led him to be interviewed on Cinematografo by Gigi Marzullo. In addition to being a music consultant for the You Tube channel of the Vatican Museums, he has held the position of Music Supervisor and Sound Designer at Clonwerk S.r.l., contributing to audio post-production for museums, multimedia projects and live events, collaborating with many realities including Filmaster. Since 2010 he has also been a composer and music producer for Rai S.p.a. Daniele Falchi Regia Multimediale daniele.falchi@unirufa.it Discover more Daniele Falchi is a young artist, critic and curator who focuses his research in the field of cinema and new media art. He completed his studies at RUFA – Rome University of Fine Arts, where he continues to teach as a Teacher Assistant for the chair of “Contemporary art and new media”. He currently teaches “Video Production Elements” and “Digital Video” at DAM Academy in Rome. Since 2019 he has collaborated with Dancity Festival, organizing talks, exhibitions and meetings on contemporary culture. In 2020 he participated at Romaeuropa Festival with the installation “THE POST-FUTURIST CAVE”, as part of the Digitalive exhibition. His latest publication, “Techno-maenads. From the classical world to the contemporary West” is contained in “Electronics is Woman. Media, bodies, transfeminist and queer practices”, published by Castelvecchi in 2022. Giulio Fermetti Graphic Design - Comics giulio.fermetti@unirufa.it Discover more My name is Giulio Fermetti and I was born in Rome, on 16 March 1965. I have been working as a professional graphic designer since 1989. Over the last 30 years, I have built up so profound a knowledge of the Adobe software suite [Illustrator, InDesign and Photoshop first and foremost] as to hold training courses, specialising in editorial graphics, branding and coordinated image, illustration and infographcis. You may find a portfolio of my more recent work at issuu.com/essegistudio/docs/essegistudio_roma. Regarding by editorial graphics projects, I began by joining the studio of the great Piergiorgio Maoloni, creating layouts for the daily newspaper “il manifesto” [including the supplements], “Sfera”, “Eupalino” and more besides. From 2002 to 2009, I worked at studenti.it [which has now merged with Banzai Media], as“ CMYK guru”, i.e. chief project, making and printing officer of all the group’s paper magazines [“Yet-Studenti.it”, “Tribu” and “Studenti Magazine”], developing the diaries, calendars and various advertising pages, for self-promotion and other purposes. In 2014, with Essegistudio [a small but very active graphic design studio, which I founded in 2006], we won a nationwide competition organised by Telecom Italia Media, for creating the logo (and related brand book) of the newly-established holding company “Persidera”. Since 2007, I also work for the “Formiche” Foundation, creating the layouts for and illustrating their two monthly magazines “Formiche” and “Airpress”, involving 170 printed pages per month. I have worked for a number of daily newspapers [“Europa”, “Il Romanista”, “Il Clandestino”], building up an in-depth familiarity with the work of editorial offices and their stringent deadlines. I work with Quark XPress since release 3 [1990] and Adobe InDesign since release 1.0. For illustration work, I prefer vectors [Adobe Illustrator], although I am fully skilled in airbrushing, photomontages, corrections, etc. with Adobe Photoshop. I have also been working in the field of infographics on an almost daily basis, for a number of years now, at the editorial offices of the daily newspaper “Europa”, and for a studio providing infographics for the Italian news agency Agi – Agenzia Giornalistica Italiana. Francesco Fidani ILLUSTRATION francesco.fidani@unirufa.it Discover more Illustrator and graphic designer based in Rome. He studied industrial design at ISIA in Rome and the Hochschule in Mainz (DE), complete his studies at ISIA in Urbino in illustration. He works in different fields of communication: publishing, branding, institutional and performance, creating still or moving illustrations by several media: digital, collage, painting and handmade printing or sculptures made of paper. He’s a founder of the project Tothem Tour, a travelling workshop format that aims to communicate the identity of the territory through cutting and printing technique as public performances. Among his clients: Donna Moderna, Il Foglio, Quotidiano Nazionale, Confcooperative, Mondadori, Zanichelli. He won the 15th edition of the Tapirulan Award, Termini d’Identità in 2018 and has been selected several times in the Annual of Autori D’immagini. He is an AIAP member and tutor of the image laboratory at ISIA in Rome. Aleksandra Filipovic Tecniche di modellazione digitale - computer 3D per la moda 1 aleksandra.filipovic@unirufa.it Discover more 3D pattern maker, Architect, PhD at Sapienza University of Rome. Active for years in teaching and research between Rome and Belgrade dedicated to the formation of space, in particular on how a construction system creates it, producing several scientific articles and monographs (such as “Tradition and experimentation in Serbian architecture of the second half of XII century”, Florence University Press 2020). Since 2016, the digital presentations of the monuments have been accompanied by a new field of study and profession, still emerging at the time, that of digital fashion design. The targeted union of many years of experience has offered the possibility of creating new work systems and being able to transmit them in the teaching of 3D fashion modeling (with the patented system of the same MAM school, Maiani Accademia Moda in Rome). As an integral part of GLEA, since 2020, it focuses on the transitions from virtual to reality by creating tailor-made products that do not need testing. For ALTORICAMO, becoming co-founder in 2022, she continues to create the prototypes of eco-innovative wedding dresses, and takes care of the entire 3D design system. Francesco Filosa SET CONSTRUCTION 2 francesco.filosa@unirufa.it Discover more Graduated with honors in Set Design from RUFA and teacher of Set construction 2, he immediately collaborated, as an assistant, in a prestigious studios such as Stefania Conti and Studio Castelli’s, for RAI, Mediaset and Sky events and television programs. In 2018 he founded, with other former university students, the production company “Threeab “, signing the scenography of many short films presented at international Festivals such as Cannes and Venice. At the same time he curates events, short films, theatrical performances and television programs as a set designer. In 2019 he signed the XIII Ambassadors’ conference for the Ministry of Foreign Affairs at Auditorium Parco della Musica, collaborated for the broadcast Tu si que Vales and curated the external sets of Alessandro Siani’s Sky Christmas show. In 2020 he worked on various projects including the Italian FIFA and Pes championship, the construction of a conference room for the public, media & legal affairs company “Utopia” and the Sanremo Junior 2020 at the Ariston Theatre. Filippo Foglietti ANIMATION DRAWING Discover more He graduated from the then 5th Art School (currently Giorgio De Chirico) in 2003. He attended the painting course at the Academy of Fine Arts in 2005. He then attended the C.S.C. – Department of Animation in Piedmont in the three-year period 2006-2008. After graduating from the experimental centre, he began his professional experience between 2009 and 2010; initially as a 3D animator for a mixed technique short film, and then moved on to storyboarding, which will characterise most of his professional experience to date. From the first RAI TV series “Spike Team”, moving on to other RAI productions such as “The Qpiz” – “Spike Team 2” – “Adrian”- initially with Mondo TV and later with Clan Celentano and Movimenti. He worked for a period on the TV series “Bat Pat” again with Movimenti until “Dixiland 2” currently in production. In addition to the animated TV series, he works as story artist on other projects: video clips and video promos in animation, live action and mixed media. He also works as a visualiser with Clonwerk, for competitions and events related to various brands and trademarks, including Enel, Siemens, Fiat, Maserati. Lara Forgione Culture digitali lara.forgione@unirufa.it Discover more She graduated in Saperi e Tecniche dello spettacolo at the “La Sapienza” University in Rome and continued her studies by obtaining two Master’s degrees, “3D animation, compositing, animation techniques in performance” and “Virtual Reality”. She started working in 2015 as a lecturer collaborating with different Italian institutions and universities. Constantly balancing between two worlds that are only apparently distant, the humanities and computer science, and interested in every contemporary artistic expression, she gives students a better understanding of the combination of both technical and theoretical skills. She is convinced that the present imagery will take shape the future reality. Lucia Forte Disegno tecnico e progettuale per la moda lucia.forte@unirufa.it Discover more Fashion designer, during her career she has gained significant freelance experience in the field of design and creative direction of women’s pret-a-porter and luxury accessories collections, as well as the entrepreneurial activity of her brands ‘Lucia Forte haute coutur’ and ‘aquaforte pret-a-porter’. A complete professionalism that has been able to creatively set new collections and inspire new fashion trends thanks to her knowledge of exclusive tailoring techniques and constructions. After her academic studies of fashion and costume in Rome, she began her work experience at the Maison Valentino as assistant and head designer in charge of the creative studio and relations with suppliers; she took part in the planning of the fashion shows in Rome, Paris, New York and Tokyo. Her career path continued in Milan as artistic director for “Trussardi”, where she designed the women’s, men’s and accessories pret-a-porter collections and supervised the presentation of the fashion shows for “Loewe” (Vuitton Spain Group); she curated the women’s luxury pret-a-porter night collection with accessories and Bijou; for the brand “Krizia” she curated the “poi by Krizia” collection of knitwear and fabrics, and collaborated in the organisation of the Milan défilé; for the brand “genny” of Ancona she designed and supervised the creation of women’s pret-a-porter knitwear for the Milan défilé. For “ethic” she was responsible for the style and foreign production (India) of women’s, kids and accessories collections. She designs exclusive fabric prints and embroideries for some of the most prestigious Italian textile companies, such as “Sisan”, “la gattolla” and “Scotland house”. She is the entrepreneur of her own women’s pret-a-porter brand ‘aquaforte’, presented at the Milan collections fair, for which she has completely taken care of the image, style, packaging and distribution. She feels it is her duty to pass on her solid professional knowledge to young students and to direct them to face the competitive ‘fashion planet’ of Made in Italy with the right awareness. Emanuele Frascà Web design 1 emanuele.frasca@unirufa.it Discover more Emanuele Frascà worked in the Web, UX/UI, Graphics and Communication fields for over a decade, including great attention to the evolution of techniques and technologies during his design process. For every project he is facing, a simple but well-structured vision is applied: functionality first, not in contrast but rather in collaboration with the visual. This rule of thumb leads him to design different typologies of websites: landing pages for marketing or feeds collection, multilingual eCommerce, eCommerce for nonprofit, News website, and much more – projects all developed with great care of layouts, interfaces, using all the UI/UX best practices to design an all-around (comprehensive is better?) product. Influenced by his many side interests, like photography, music and art, Emanuele Frascà actively uses his cultural background to create projects that can create an impact on people’s lives, thoughts and emotions. Donatello Fumarola History of Cinema and video donatello.fumarola@unirufa.it Discover more He studied music in Milan and philosophy in Bologna. Since 1999 he is one of the authors of the Rai 3 TV program “Fuori Orario”. For years he has written about cinema for the monthly “filmcritica”, for the newspaper “il manifesto”, for the weekly magazine “nòva / il sole 24 ore”, holding a monthly column in the rock magazine “Blow Up”. In 2013 he wrote “Sentimental Atlas of Cinema for the 21st Century”, with Alberto Momo (with whom he founded, in 2015, Zomia, an independent film society that released in Europe films by Lav Diaz, Pedro Costa, Tariq Teguia, Julio Bressane), winning the Limina / FilmTV award for the best movie book of the year. He has collaborated – as producer, actor, musician or director of photography – with Amir Naderi, Jean-Marie Straub, Enrico Ghezzi, Tonino De Bernardi, Ado Arietta, Luis Fulvio. He directed two episodes (the first and the last) of the tv-series “Zaum” (broadcasted on Rai3 in 2011). He is co-author of the script for the film Monte (2016) directed by iranian master Amir Naderi, winner of “Contenders 2016” at the MoMA in
5438	dbpedia	1	10	https://www.festivaldelcinemaeuropeo.com/ed21/en/events/per-grazia-ricevuta-2/	en	BETWEEN MIRACLES	https://www.festivaldelc…PER-GRAZIA-1.jpg	https://www.festivaldelc…PER-GRAZIA-1.jpg	[ "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_120_w.png", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_120_w.png", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_120_b.png", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_120_b.png", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_120_b.png", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_120_w.png", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_120_w.png", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_120_w.png", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_120_b.png", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_120_b.png", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_120_b.png", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_120_b.png", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_120_b.png", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_120_w.png", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_120_w.png", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_120_w.png", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_120_b.png", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_120_b.png", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2021/10/WEBSITE-Per-grazia-ricevuta-1.jpg", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2021/10/WEBSITE-Per-grazia-ricevuta-1.jpg", "https://www.festivaldelcinemaeuropeo.com/ed21/wp-content/uploads/2021/10/PER-GRAZIA-1.jpg 300w, https://www.festivaldelcinemaeuropeo.com/ed21/wp-content/uploads/2021/10/PER-GRAZIA-1-150x150.jpg 150w", "https://www.festivaldelcinemaeuropeo.com/ed21/wp-content/uploads/2021/10/PER-GRAZIA-1.jpg", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2021/10/csc-cineteca-pos-col-ok-1.jpg", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2021/10/csc-cineteca-pos-col-ok-1.jpg", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2021/10/FCE2021partner.png", "https://www.festivaldelcinemaeuropeo.com/wp-content/uploads/2021/10/FCE2021partner.png", "https://www.festivaldelcinemaeuropeo.com/ed21/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_q180.png 180w, https://www.festivaldelcinemaeuropeo.com/ed21/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_q180-150x150.png 150w, https://www.festivaldelcinemaeuropeo.com/ed21/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_q180-100x100.png 100w", "https://www.festivaldelcinemaeuropeo.com/ed21/wp-content/uploads/2020/03/Festival-del-cinema-europeo-logo_q180.png" ]	[]	[]	[ "" ]	null	[]	2021-10-29T15:32:50+00:00	Benedetto Parisi is in serious condition in the hospital after attempting suicide. While he is being operated on to save his life, a series of flashbacks reconstructs his life.	en		Festival del Cinema Europeo	https://www.festivaldelcinemaeuropeo.com/ed21/en/events/per-grazia-ricevuta-2/	Per grazia ricevuta 8 novembre > SALA 3 ore 17.30 Italy – 1971 – colore – 122′ CREDITS Direction: Nino Manfredi Screenplay: Leo Benvenuti, Piero De Bernardi, Nino Manfredi Cinematography: Armando Nannuzzi Editing: Alberto Gallitti Set design: Danilo Donati Music: Guido e Maurizio De Angelis Costumes: Danilo Donati Cast: Nino Manfredi, Delia Boccardo, Lionel Stander, Paola Borboni, Mario Scaccia, Fausto Tozzi, Mariangela Melato Production: Rizzoli Film Restored in 2021 by Centro Sperimentale di Cinematografia – Cineteca Nazionale and Istituto Luce-Cinecittà from the original 35mm picture negative made available by RTI-Mediaset in collaboration with Infinity+. For the soundtrack restoration an optical positive preserved at Cineteca Nazionale has been used as source. Laboratory work carried out at Istituto Luce – Cinecittà. SYNOPSIS Benedetto Parisi is in serious condition in the hospital after attempting suicide. While he is being operated on to save his life, a series of flashbacks reconstructs his life. As a child, he was orphaned, and lived with an unmarried aunt who used religion to make an impression on him and conceal her clandestine relationships. On the day of his First Communion, feeling sinful, he jumped off a precipice, but when he emerged unscathed, the villagers believed he had been saved by miracle. He was sent to live in a convent of friars who educated him, but he was sent away from there and went to live with an atheist pharmacist, whose daughter he fell in love with, reciprocated. Benedetto increasingly began to share his ideas, but when he saw the pharmacist on his deathbed kissing the cross, hurt and confused, he jumped off a cliff. But once again, he was miraculously saved. THE DIRECTOR: NINO MANFREDI After attending the Academy of Dramatic Arts in Rome and taking his first artistic steps at the Piccolo Teatro in Milan, he soon established himself on stage in revue as well as in film. In the course of a career studded with achievements, he won the David di Donatello Award as Best Actor for I See Naked, The Conspirators, Bread and Chocolate and In the Name of the Pope King, and as Best Screenwriter for Eye of the Cat, along with Best New Director for Between Miracles. At the Silver Ribbons, he was awarded Best Actor for Let’s Talk About Men, The Conspirators, In the Name of the Pope King and Café Express, in addition to Best Original Story and Screenplay for Between Miracles. He made one more feature film as a director, Portrait of a Nude Woman, in 1981. AWARDS 1971 Cannes FF – Competition: Best First Film 1971 David di Donatello Awards: Special David to Nino Manfredi as Best New Director 1971 Golden Globes, Italy: Best New Director
5438	dbpedia	2	12	https://www.skepto.net/en/content/skepto-international-film-festival-2018-jury	en	Skepto International Film Festival 2018: the jury	https://www.skepto.net/s…20logo_black.png		[ "https://www.skepto.net/sites/default/files/logo.png", "https://www.skepto.net/sites/default/files/CONSUELO%20BAUTISTA.jpg", "https://www.skepto.net/sites/default/files/Marielle.jpg", "https://www.skepto.net/sites/default/files/IMG-20180409-WA0000.jpg", "https://www.skepto.net/sites/default/files/Screen%20Shot%202018-04-03%20at%2017.07.36.png", "https://www.skepto.net/sites/default/files/MARIO02.jpg", "https://www.skepto.net/sites/default/files/Daniele-Lucca.jpg", "https://www.skepto.net/sites/default/files/foto-Chiara_0.jpg", "https://www.skepto.net/sites/default/files/Robi.jpg", "https://www.skepto.net/sites/default/files/pictures/NicolaUnedit.jpg", "https://www.skepto.net/sites/default/files/matt-portrait-BW.png", "https://www.skepto.net/sites/default/files/SH-logo120.jpg", "https://www.skepto.net/sites/default/files/bavari120_0.jpg", "https://www.skepto.net/sites/default/files/Antonello-Murgia.png", "https://www.skepto.net/sites/default/files/mschirru.jpg", "https://www.skepto.net/sites/default/files/CaterinaSpiga.png", "https://www.skepto.net/sites/default/files/comune_home.jpg", "https://www.skepto.net/sites/default/files/regione.jpg", "https://www.skepto.net/sites/default/files/filmcommission.png", "https://www.skepto.net/sites/default/files/ctm.png", "https://www.skepto.net/sites/default/files/logo-hostel-marina.jpg", "https://www.skepto.net/sites/default/files/Polomuseale.jpg", "https://www.skepto.net/sites/default/files/lago%20logo_black.png", "https://www.skepto.net/sites/default/files/lettering_usn_2020.png", "https://www.skepto.net/sites/default/files/piemontemovie.jpg", "https://www.skepto.net/sites/default/files/sust_home.jpg", "https://www.skepto.net/sites/default/files/KARMA_marchio_mod.png", "https://www.skepto.net/sites/default/files/sardiniapost.jpg", "https://www.skepto.net/sites/default/files/radiox_home.jpg", "https://www.skepto.net/sites/default/files/youtube.png", "https://www.skepto.net/sites/default/files/twitter.png", "https://www.skepto.net/sites/default/files/facebook.png" ]	[]	[]	[ "Skepto International Film Festival" ]	null	[]	null	Skepto International Film Festival 2018: the jury	en	https://www.skepto.net/sites/default/files/Skepto_0.ico		https://www.skepto.net/en/content/skepto-international-film-festival-2018-jury	Consuelo Bautista Degree in Advertising at the University of Bogotá, Colombia, Jorge Tadeo Lozano. She lives in Barcelona, Spain, where she works as an independent photographer. She has carried out projects in Cuba, Colombia, Israel, Montenegro, Galicia, Barcelona, Morocco, Senegal, Mexico, the United States and Canada, linked to documentary photography, having a vision of the author and published in different media, international journals and catalogs in the case of exhibitions. She has been awarded the City of Barcelona 2007 Visual Arts prize for the project "A Los Invisibles". She is a founding member of the association CENTRO DE FOTOGRAFIA DOCUMENTAL DE BARCELONA lafotobcn. She has published as a photojournalist in different media including the Món, Ajoblanco, La Vanguardia, El Periodico, and the newspaper El País. Marielle Gaudry News correspondent for regional press and then cinema journalist until 2003, now she works on the web on local political tasks in the field of communication and marketing. Since 2008, she is also Marketing and Communication manager at AlloCiné, second mondial platform for cinema and TV series promotion, where she works mainly on partnerships, festivals and event organisation. She also runs a club of cinema bloggers and influencers (Club 300), for whom she selects and programmes films, screened in preview every month. This club is a quality trademark for AlloCiné. Marielle also writes about music, culinary arts, interior design, lifestyle and photography. Nicola Guaglianone Educated at Leo Benvenuti's school, in 1999 he moves to Los Angeles, where he attended seminars on screenplay and narrative structure. Back in Italy, he begins to collaborate with the most important TV production companies: Endemol, Magnolia, Palomar, Publispei. In 2004 he wrote script and screenplay of the short film "Il produttore", this is the beginning of the partnership with the director Gabriele Mainetti. Together they made the short films "Basette" (finalist at David di Donatello 2009) and Tiger Boy (winner of Nastro d'Argento 2013, finalist at David di Donatello 2012, it was included in the shortlist at Oscar 2014 but did not obtain the nomination). In 2015 he writes (together with Menotti) the screenplay of his first feature film ("They Call Me Jeeg"), that obtains good audience and critical success and wins seven David di Donatello: Guaglianone obtains a nomination for the best screenplay, his third one after the one obtained the previous year for the short film "Due piedi sinistri", that later won the Globo d'Oro award. In 2017 he is among the screenwriters of the comedy "L'ora legale" with the Italian comedians Ficarra and Picone. In the same year he wins the David di Donatello for the script and screenplay of the feature film "Indivisibili", directed by Edoardo De Angelis and presented in preview at Venice Film Festival (Giornate degli Autori). In the same year he writes, together with Menotti and Carlo Verdone, script and screenplay of "Benedetta Follia", directed by Carlo Verdone. With Luca Miniero, he writes script and screenplay of "Sono Tornato", produced by Indiana Production. He also works on script and screenplay of two episodes of the series "Suburra". Michael Nouri Michael Nouri graduated at the Film Academy Baden-Wuerttemberg as Creative Producer. Since then he has worked as an Executive Producer with over 20 years experience in the commercials and film industry. After running one of the top ten German production companies in the nineties, he joined Stillking Films in 2005 as the International EP, producing commercials on all continents. In 2013 Michael Nouri moved to Spain as the Exec. Producer at Palma Pictures on Mallorca and opened his production company NOURI Films in Barcelona beginning 2018. As the Executive Producer he provided production services for many international production companies such as Iconoclast - Stink Films - The Sweet Shop - Rattling Stick - Bacon … and worked with Directors including: Joel Schumacher - Wim Wenders - Martin Werner - Adam Berg - Mark Albiston - James Gray - Louis Leterrier and many more partners and friends. Mario Piredda Sardinian director, he has lived in Bologna since 1999. He graduated at DAMS, specialising in Cinema. In 2005 he shot his first short film "Il Suono Della Miniera", produced by the Regional Ethnographic Institute of Sardinia. His second work, "Io sono qui", produced by Elenfant Film, received a nomination at David di Donatello in 2011, won over 70 awards and were in the official selection in many international film festivals. In 2011 he shoots in Havana (Cuba) “Los aviones que se caen”, which has won many international awards. In 2015 he shoots "Homeward", documentary on the situation of migrants from Cambodia to Thailand. His last short film "A casa mia", produced by Articolture, won the David di Donatello in 2017. He is now working on his first feature film. Daniele Lucca Born in Turin in 1963, radio speaker since 1978, he started his career of theatre actor and author in 1986. Cultural worker, art consultant, radio and TV anchorman, music producer and… Slowfood gourmand. Cosmopolitan by definition, he has lived and worked in theatres, cinema, Tv and radio around U.S.A., Spain, France and Italy. He is creative consultant, artistic director, anchorman of big events for brands and public institutions. He is historic associate of Club Tenco (Sanremo). "Extremist" cinephile, he has always collaborated with SKEPTO. Since 2015 he has been creator and artistic director of the first European web-radio dedicated to the wine: La Voce del Vino/The Wine Voice. Chiara Pellegrini After the degree in Political Science, she decides to follow one of her greatest passions and enrols in a Fim Production Master in Turin. Since then, she starts to work for several festivals and, since 2016, she has directed the Fish&Chips Film Festival, international festival of erotic and sexual cinema. Roberta Pozza Born in Biella (Italy) in 1985, she graduates at Dams of Turin in 2011, and the following year she obtains the Master for Analysts in Cinema and TV Production and Cross Media Communication. She worked as an intern at the National Cinema Museum of Turin. She collaborates with the Piemonte Movie Association, organising contests and curating the section “Spazio Piemonte” of Piemonte Movie gLocal Film Festival. Since 2017 she has curated the short film section at Fish&Chips Film Festival.
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Discover 9 Italian movies on Netflix, that are perfect for learning Italian.	en	https://storylearning.co…ning_favicon.png	StoryLearning	https://storylearning.com/learn/italian/italian-tips/italian-movies-on-netflix	If you want to learn Italian without moving all the way to Italy, then you'll need to immerse yourself in the language at home. One of the more enjoyable ways to do this is to watch Italian movies on Netflix! You'll be able keep yourself entertained while learning at the same time. Thanks to movies, you can improve your conversational grammar as well as your vocabulary. And you can even assess your comprehension level. Watching an Italian movie sounds like fun right? But you're probably wondering what you should watch among the huge variety of Italian cinema out there. Well, you’re in the right place. In this post, I'll countdown my top nine favourite Italian movies that are available to stream on Netflix. I chose these movies especially for intermediate learners. You'll find that they don’t have too much challenging dialect, and they include plenty of real life dialogue to help you get used to the style and speed of native speech. Toss some popcorn in the microwave and let’s get started with the countdown! By the way, if you want to go from intermediate level to fluency in Italian and level up your listening skills along the way, I recommend Conversations. It's an exciting story based course that helps you understand real Italian and transform your listening skills in 90 days or less. By the time you finish Conversations, you'll be more than ready to tackle the fantastic movies coming up in this list… My Top 9 Italian Movies On Netflix 9. La Pazza Gioia (Like Crazy) La Pazza Gioia is an awesome tale of friendship between two women. Two women who just so happen to be escapees from a psychiatric hospital. One is quiet and introspective while the other is talkative and in-your-face. Watching them search for happiness in the world outside the hospital's walls is a moving experience that I highly recommend. 8. Benvenuto Presidente! (Welcome, Mr. President!) Get ready, comedy fans! Benvenuto Presidente! was released in 2013 and is a hilarious watch. A passionate librarian in a sleepy Lombardy village happens to share his name – Giuseppe Garibaldi – with the famous Italian general who helped bring about Italian unification. He's taken completely by surprise when a fluke in Rome and a deluge of write-in votes for the general election result in… him becoming president! You’ll be rolling on the floor with laughter as you witness his madcap adventure as President of Italy. 7. Fiore In the opening scene of Fiore, a teenage Italian girl named Daphne robs a woman at knife-point. Then, she sells the woman’s cellphone and uses the money to buy a feast of chocolate and cookies. The movie follows her to prison, where she falls in love with Josh, who's serving time in the men’s wing of the same jail. Actress Daphne Scoccia plays the character of the same name with impressive depth, supposedly inspired by her own rebellious teen years. This movie is a touching coming-of-age story with an exciting, gritty setting. 6. Fuocoammare (Fire At Sea) I had to include at least one documentary. Fuocoammare was filmed on the island of Lampedusa, which lies between Sicily and the African coast. Over the last twenty years, over four hundred thousand migrants have landed there. Fifteen thousand have died while attempting to reach Europe. This documentary focuses on the daily life of a twelve-year-old boy in a fishing village. It follows him through activities like climbing trees and making slingshots. But you can see that a crisis is unfolding in the background. This is both a moving and timely documentary. 5. Il Giovane Favoloso (Leopardi) Every Italian high school student studies the work of poet and philosopher Giacomo Leopardi. This movie tells the story of his life as a nineteenth century nobleman. This is an excellent pick for lovers of period-pieces. In fact, it won awards for Best Costume, Best Makeup, Best Hairstyling, and Best Sets and Decorations at the 60th David di Donatello Awards (basically the Italian Oscars!). Il Giovane Favoloso moves slowly, but rewards thoughtful and patient viewers with a staggering final sequence. Not to mention, the poetry included is, of course, superb. 4. Le Meraviglie (The Wonders) Le Meraviglie is a beautiful movie – simultaneously gritty and whimsical. Times are hard on the farm where Gelsomina lives with her parents and younger sisters. She works hard to help her father with beekeeping and honey production. When an enchanting television show begins filming in the area and launches a competition for farmers to have their products featured, Gelsomina is determined that her family should compete with their honey. Every shot in this movie seems like something out of a dream. It's a truly enchanting and moving watch that will not only keep you watching but might even an inspire you to book a trip to the Italian countryside! 3. Bianca Come Il Latte, Rossa Come Il Sangue (White Like Milk, Red Like Blood) Bianca Come Il Latte, Rossa Come Il Sangue starts off as a cute rom-com about teenager Leo, who has a big crush on an older girl named Beatrice at his Turin high school. The film style is endearing, with lots of quirky special effects. Leo makes slap-dash attempts to win Beatrice’s heart with his nerdy best friend by his side. And mouths off to a new teacher who offers the class interesting insight. However, things become a little less lighthearted when Beatrice is diagnosed with cancer. You’ll definitely improve your contemporary conversational Italian while you watch Leo’s adventure unfold. And you’ll find your heart is warmer by the time the credits start rolling. 2. Cinema Paradiso Cinema Paradiso is a must-see for film buffs and casual film fans alike. It won the Grand Prix at Cannes Film Festival in 1989 as well as Best Foreign Language Film in the 1989 Academy Awards. Cinema Paradiso tells the origin story of Salvatore Di Vita, a famous (fictional) film director hailing from Sicily. It explores his childhood friendship with Alfredo, the projectionist at the local movie house, and his forbidden romance with the beautiful Elena. The story is told with aching nostalgia and gorgeous visuals. Whether you’re passionate about postmodern films, or you just want to watch a movie with a solid coming-of-age story, Cinema Paradiso is a great pick. As an Italian learner, the “cult” popularity of this film make it a must watch if you're serious about understanding more of the culture of the language you're learning. 1. La Vita È Bella (Life Is Beautiful) In the #1 spot on my Italian movies on Netflix list is Roberto Benigni’s 1997 classic Life is Beautiful. This movie is part drama, part comedy, part love story, and part war story. There is truly a little something for everyone. Famed Florentine, Roberto Benigni starred in the film as well as writing and directing it. You will absolutely fall in love with his character, Guido, who wins the heart of the girl of his dreams in the years leading up to World War II. The family is later sent to a concentration camp where Guido must use his cleverness and imagination to protect his young son. It’s hard to imagine a comedy in a concentration camp, but this movie pulls it off with tenderness and beauty. You will laugh and you will cry (and you’ll improve your Italian, too)! Create Your Italian Cinema Experience From Home Creating an immersion environment at home is one of the best ways make Italian a part of your everyday life. Moving abroad to learn Italian is not all it's cracked up to be and as my own personal experience shows, you can learn Italian just as well if not better from home! With these 9 Italian movies on Netflix, you can enjoy an adventure into Italian culture and language right from your living room. Whether you want to watch a romantic comedy with a twist, a period drama or a documentary, you'll find it all on this list. By the way, if you'd love to watch these movies, but listening is a struggle for you in Italian, then you're going to love what I've created for you. It's Italian Conversations, my story-based listening material for intermediate Italian learners. It's perfect for you if you've ever felt frustrated listening to fast Italian. And let's face it, who hasn't? I've designed conversations specifically to bridge the gap between beginner and native level listening material. It's a a set of dialogues (transcripts plus audio) that tell an intriguing story in 20 parts. It'll help you understand real spoken Italian and transform your listening skills in less than 90 days.
5438	dbpedia	3	25	https://www.shootonline.com/spw/italian-screenwriter-suso-damico-receive-wgaws-inaugurual-jean-renoir-award/	en	Italian Screenwriter Suso D'amico To Receive WGAW's Inaugurual Jean Renoir Award	https://wp-shoot.s3.amaz…imi_logo-svg.png	https://wp-shoot.s3.amaz…imi_logo-svg.png	[ "https://wp.shootonline.com/wp-content/uploads/2022/01/SPW-FolioLogo.png", "https://wp.shootonline.com/wp-content/uploads/2022/01/SPW-FolioLogo.png", "https://www.shootonline.com/wp-content/uploads/2023/06/SHOOTlogo_WH.png", "https://www.shootonline.com/wp-content/uploads/2023/06/SHOOTlogo_WH.png", "https://www.shootonline.com/wp-content/uploads/2023/06/SHOOTlogo_WH.png", "https://www.shootonline.com/wp-content/uploads/2023/06/SHOOTlogo_WH.png", "https://wp.shootonline.com/wp-content/uploads/2022/01/SPW-FolioLogo.png", "https://wp.shootonline.com/wp-content/uploads/2022/01/SPW-FolioLogo.png", "https://www.shootonline.com/wp-content/uploads/2023/06/SHOOTlogo_WH.png", "https://www.shootonline.com/wp-content/uploads/2023/06/SHOOTlogo_WH.png", "https://www.shootonline.com/wp-content/uploads/2023/06/SHOOTlogo_WH.png", "https://www.shootonline.com/wp-content/uploads/2023/06/SHOOTlogo_WH.png", "https://www.google-analytics.com/collect?v=2&api_secret=hpm9Erm5SkKNvKfbeE2VJw&tid=G-C2MYFY3XED&measurement_id=G-C2MYFY3XED&cid=GA1.2.429710244.1686220364&timestamp_micros=1694158856459000&t=event&ec=112958&ea=open&el=112958&ev=112958&cn=112958&en=112958&session_id=1693314499", "https://www.google-analytics.com/collect?v=2&api_secret=hpm9Erm5SkKNvKfbeE2VJw&tid=G-C2MYFY3XED&measurement_id=G-C2MYFY3XED&cid=GA1.2.429710244.1686220364&timestamp_micros=1694158856459000&t=event&ec=112958&ea=open&el=112958&ev=112958&cn=112958&en=112958&session_id=1693314499", "https://wp-shoot.s3.amazonaws.com/wp-content/uploads/2024/08/28160208/ALIBI-Music-Global-Groove-Party-e1724875369487.jpg", "https://wp-shoot.s3.amazonaws.com/wp-content/uploads/2024/08/28160208/ALIBI-Music-Global-Groove-Party-e1724875369487.jpg", "https://www.google-analytics.com/collect?v=2&api_secret=hpm9Erm5SkKNvKfbeE2VJw&tid=G-C2MYFY3XED&measurement_id=G-C2MYFY3XED&cid=GA1.2.429710244.1686220364&timestamp_micros=1694158856459000&t=event&ec=253248&ea=open&el=253248&ev=253248&cn=253248&en=253248&session_id=1693314499", "https://www.google-analytics.com/collect?v=2&api_secret=hpm9Erm5SkKNvKfbeE2VJw&tid=G-C2MYFY3XED&measurement_id=G-C2MYFY3XED&cid=GA1.2.429710244.1686220364&timestamp_micros=1694158856459000&t=event&ec=253244&ea=open&el=253244&ev=253244&cn=253244&en=253244&session_id=1693314499", "https://www.google-analytics.com/collect?v=2&api_secret=hpm9Erm5SkKNvKfbeE2VJw&tid=G-C2MYFY3XED&measurement_id=G-C2MYFY3XED&cid=GA1.2.429710244.1686220364&timestamp_micros=1694158856459000&t=event&ec=253242&ea=open&el=253242&ev=253242&cn=253242&en=253242&session_id=1693314499", "https://www.google-analytics.com/collect?v=2&api_secret=hpm9Erm5SkKNvKfbeE2VJw&tid=G-C2MYFY3XED&measurement_id=G-C2MYFY3XED&cid=GA1.2.429710244.1686220364&timestamp_micros=1694158856459000&t=event&ec=253207&ea=open&el=253207&ev=253207&cn=253207&en=253207&session_id=1693314499", "https://www.google-analytics.com/collect?v=2&api_secret=hpm9Erm5SkKNvKfbeE2VJw&tid=G-C2MYFY3XED&measurement_id=G-C2MYFY3XED&cid=GA1.2.429710244.1686220364&timestamp_micros=1694158856459000&t=event&ec=253193&ea=open&el=253193&ev=253193&cn=253193&en=253193&session_id=1693314499", "https://www.google-analytics.com/collect?v=2&api_secret=hpm9Erm5SkKNvKfbeE2VJw&tid=G-C2MYFY3XED&measurement_id=G-C2MYFY3XED&cid=GA1.2.429710244.1686220364&timestamp_micros=1694158856459000&t=event&ec=253074&ea=open&el=253074&ev=253074&cn=253074&en=253074&session_id=1693314499", "https://www.google-analytics.com/collect?v=2&api_secret=hpm9Erm5SkKNvKfbeE2VJw&tid=G-C2MYFY3XED&measurement_id=G-C2MYFY3XED&cid=GA1.2.429710244.1686220364&timestamp_micros=1694158856459000&t=event&ec=253072&ea=open&el=253072&ev=253072&cn=253072&en=253072&session_id=1693314499", "https://www.shootonline.com/wp-content/uploads/2023/06/SHOOTlogo_WH.png" ]	[]	[]	[ "" ]	null	[ "SPW Editor" ]	2013-01-29T15:23:20+00:00	Legendary Italian screenwriter Suso D’Amico has been chosen as the first recipient of the WGAW’s newly created Jean Renoir Award for Screenwriting A	en	https://wp-shoot.s3.amaz…imi_logo-svg.png	SHOOTonline	https://www.shootonline.com/spw/italian-screenwriter-suso-damico-receive-wgaws-inaugurual-jean-renoir-award/	LOS ANGELES -- (SPW) -- Legendary Italian screenwriter Suso D’Amico has been chosen as the first recipient of the WGAW’s newly created Jean Renoir Award for Screenwriting Achievement. D’Amico is credited with writing more than 100 films, including The Bicycle Thief, Rocco and His Brothers, and Big Deal on Madonna Street. Named after the immortal filmmaker Renoir, who wrote almost all of his films, the lifetime achievement award will be given on an occasional basis to honor screenwriters working outside the U.S. and in other languages. “Renoir used to say ‘everyone has his reasons.’ No other observation, it seems to me, has said more about the way to view humanity or suggested a better way for writers to humanize their creations,” said screenwriter Robert Towne, who served on the Guild committee which established the new international award. “Renoir was that rarest of beings, a great artist and a great teacher. And though Suso D’Amico has famously referred to herself as an artisan not an artist, may this award help disabuse her of that notion. My heartfelt congratulations to Ms. D’Amico.” “We felt that Ms. D’Amico deserved this honor for The Bicycle Thief alone,” commented WGAW Board of Directors member Nicholas Kazan, who also served on the committee. “In light of her astonishing list of credits, our only regret is that we can’t give it to her twice.” Along with other honorees, D’Amico will be feted at the 2009 Writers Guild Awards’ West Coast ceremony on Saturday, February 7, 2009, in Los Angeles. Nominated for an Academy Award in 1966 for her screenplay for Casanova ’70 (shared with Agenore Incrocci, Furio Scarpelli, Mario Monicelli, Tonino Guerra, and Giorgio Salvioni), D’Amico has previously earned David di Donatello Awards for Best Screenplay for Speriamo che sia femmina (Let’s Hope It’s a Girl, 1986, shared with Tullio Pinelli, Mario Monicelli, Leonardo Benvenuti, and Piero De Bernardi) and Il Male oscuro (The Obscure Illness, 1990, shared with Tonino Guerra), as well as receiving a Special David Award in 1980 and a 50th Anniversary Special David Award in 2006, as well as the Luchino Visconti Award, a special honor given on the tenth anniversary of Visconti’s death. Over the past six decades, D’Amico has garnered a stunning eight Silver Ribbon Awards for her screenwriting work from the Italian National Syndicate of Film Journalists, including shared nods for Il Male oscuro (The Obscure Illness, 1991), L’Inchiesta (The Inquiry, 1987), Speriamo che sia Femmina (Let’s Hope It’s a Girl, 1986), Rocco e i suoi fratelli (Rocco and His Brothers, 1960), La Sfida (The Challenge) and I Soliti ignoti (Big Deal on Madonna Street, 1959, tied that year), E primavera… (It’s Forever Springtime, 1950), Ladri di biciclette (The Bicycle Thief, 1949), and Vivere in pace (To Live in Peace, 1947). D’Amico has also received a pair of honorary awards from the Venice Film Festival for lifetime achievement: the Career Golden Lion in 1994 and the Pietro Bianchi Award in 1993. D’Amico’s other writing credits include writing or co-writing classic Italian films such as Bruno Is Waiting on the Car, Private Affairs, History, White Nights, Husbands in the City, The Anatomy of Love, and Red Shirts, as well as television miniseries including Jesus of Nazareth and The Adventures of Pinocchio. The Guild’s inaugural Jean Renoir Award for Screenwriting Achievement is given to “that international writer who has advanced the literature of motion pictures through the years and who has made outstanding contributions to the profession of screenwriter.” The 93-year-old D’Amico will not be traveling to Los Angeles. Instead, she will receive her WGAW honorary award next month at a ceremony in Rome sponsored by Medusa Film S.p.A. The 2009 Writers Guild Awards will be held on Saturday, February 7, 2009, at simultaneous ceremonies at the Hyatt Regency Century Plaza Hotel in Los Angeles and the Hudson Theatre at the Millennium Broadway Hotel in New York City. For more information about the 2009 Writers Guild Awards submission process, guidelines, and official entry forms, please visit www.wga.org or www.wgaeast.org. The Writers Guild of America, West (WGAW) and the Writers Guild of America, East (WGAE) represent writers in the motion picture, broadcast, cable, and new media industries in both entertainment and news. © 2009 Writers Guild of America, West. All Rights Reserved. Contact: For inquiries about the 2009 Writers Guild Awards Los Angeles show, please contact Gregg Mitchell in the WGAW Communications Dept. at (323) 782-4574 Contact: For inquiries about the 2009 Writers Guild Awards New York show, please contact Sherry Goldman in the WGAE Public Relations Dept. at (718) 224-4133 MySHOOT Profiles
5438	dbpedia	3	7	https://variety.com/2000/scene/people-news/leo-benvenuti-1117796420/	en	Leo Benvenuti	https://s0.wp.com/i/blank.jpg	https://s0.wp.com/i/blank.jpg	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/build/svg/brand-logo.svg", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://pixel.quantserve.com/pixel?a.1=&a.2=p-31f3D02tYU8zY", "https://px.ads.linkedin.com/collect/?pid=1429113&fmt=gif" ]	[]	[]	[ "" ]	null	[ "David Rooney" ]	2000-11-16T07:00:00+00:00	Obituary	en	https://variety.com/wp-c…e-touch-icon.png	Variety	https://variety.com/2000/scene/people-news/leo-benvenuti-1117796420/	Italian screenwriter Leo Benvenuti, who was part of a team behind five decades of hit comedies from directors such as Pietro Germi, Mario Monicelli and Carlo Verdone, died Nov. 3 in a Rome hospital following heart surgery. He was 77. Throughout his long career, Benvenuti worked with scripting partner Piero De Bernardi, starting with Valerio Zurlini’s 1954 feature “The Girls of San Frediano,” based on Vasco Pratolini’s novel. During their 46-year collaboration, Benvenuti and De Bernardi penned scripts for Alberto Lattuada, Vittorio De Sica, Sergio Leone, Luigi Comencini, Dino Risi, Lina Wertmuller and Nino Manfredi, among many others. Despite his heart condition, Benvenuti had continued working steadily in recent months, co-scripting Ugo Fabrizio Giordani’s “Coconut Heads,” which is currently in release, and comedian Piero Chiambretti’s debut, “All That’s Left Is Lost,” now in post. At the time of his death, Benvenuti was working with De Bernardi, Suso Cecchi D’Amico and Monicelli on a project for television, following their two-part telefilm “Like When It Rains Outside,” directed by Monicelli, which went to air on pubcaster RAI in October. Among the best-known films scripted by Benvenuti and De Bernardi are those written for Monicelli, including the massively successful “My Friends” and its two sequels, “Il Marchese del Grillo,” with Alberto Sordi, and “Let’s Hope It’s a Girl.” Other memorable titles include Risi’s “The Bishop’s Bedroom,” De Sica’s “Marriage Italian Style,” with Sophia Loren and Marcello Mastroianni, and Manfredi’s “Between Miracles.” The team also wrote the long-running “Fantozzi” comedy franchise starring Paolo Villaggio. Notable among Benvenuti’s excursions outside comedy is his work as co-scripter on Leone’s 1984 English-language gangster epic, “Once Upon a Time in America,” which starred Robert De Niro and James Woods. He is survived by his wife Cristiana; two sons, Roberto and Francesco, both of whom work in the film sector; and two grandchildren.
5438	dbpedia	0	31	https://www.gutenberg.org/files/34479/34479-h/34479-h.htm	en	The Project Gutenburg ebook of The History of Painting in Italy, Vol. 1, by Luigi Lanzi.			[ "https://www.gutenberg.org/files/34479/34479-h/images/chart.jpg", "https://www.gutenberg.org/files/34479/34479-h/images/image2.jpg" ]	[]	[]	[ "" ]	null	[]	null		en			null	The Project Gutenberg EBook of The History of Painting in Italy, Vol. 1 (of 6), by Luigi Antonio Lanzi This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: The History of Painting in Italy, Vol. 1 (of 6) From the Period of the Revival of the Fine Arts to the End of the Eighteenth Century Author: Luigi Antonio Lanzi Translator: Thomas Roscoe Release Date: November 29, 2010 [EBook #34479] Language: English Character set encoding: ISO-8859-1 * START OF THIS PROJECT GUTENBERG EBOOK HISTORY OF PAINTING * Produced by Barbara Tozier, Carol Brown, Bill Tozier and the Online Distributed Proofreading Team at http://www.pgdp.net THE HISTORY OF PAINTING IN ITALY. VOL. I. THE HISTORY OF PAINTING IN ITALY, FROM THE PERIOD OF THE REVIVAL OF THE FINE ARTS TO THE END OF THE EIGHTEENTH CENTURY: TRANSLATED From the Original Italian OF THE ABATE LUIGI LANZI. By THOMAS ROSCOE. IN SIX VOLUMES. VOL. I. CONTAINING THE SCHOOLS OF FLORENCE AND SIENA. LONDON: PRINTED FOR W. SIMPKIN AND R. MARSHALL, STATIONERS'-HALL COURT, LUDGATE STREET. 1828. J. M'Creery, Tooks Court, Chancery Lane, London. [Pg iii] ADVERTISEMENT. After the very copious and excellent remarks upon the objects of the present history contained in the Author's Preface, the Translator feels that it would be useless on his part to add any further explanation. It would not be right, however, to close these volumes without some acknowledgment of the valuable assistance he has received. Amongst others, he is particularly indebted to Dr. Traill, of Liverpool, who after proceeding to some length with a translation of this work, kindly placed what he had completed in the hands of the Translator, with liberty to make such use of it as might be deemed advantageous to the present undertaking. To Mr. W. Y. Ottley, who also contemplated, and in part executed, a version of the same author, the Translator has to express his obligations for several explanations of terms of art, which the intimacy of that gentleman with the fine arts, in all their branches, peculiarly qualifies him to impart.[1] Similar acknowledgments are[Pg iv] due to an enlightened and learned foreigner, Mr. Panizzi, of Liverpool, for his kind explanation of various obscure phrases and doubtful passages. Notwithstanding the anxious desire and unremitting endeavours of the Translator to render this work, in all instances, as accurate as the nature of the subject, and the numerous difficulties he had to surmount would allow, yet, in dismissing it from his hands, he cannot repress the feeling that he must throw himself upon the indulgence of the public to excuse such errors as may be discoverable in the text. He trusts, however, that where it may be found incorrect, it will for the most part be in those passages where doubtful terms of art lay in his way, intelligible only to the initiated, and which perhaps many of the countrymen of Lanzi themselves might not be able very readily to explain. CONTENTS OF THE FIRST VOLUME. Page Advertisement iii Preface by the Author i Biographical Notice by the Translator xli HISTORY OF PAINTING IN LOWER ITALY. BOOK I. FLORENTINE SCHOOL. Epoch I. Origin of the revival of painting—Association and methods of the old painters—Series of Tuscan artists before the time of Cimabue and Giotto. Sect. I. 1 Florentine painters who lived after Giotto to the end of the fifteenth century. Sect. II. 51 Origin and progress of engraving on copper and wood. Sect. III. 105 Epoch II. Vinci, Bonarruoti, and other celebrated artists, form the most flourishing era of this school 147 Epoch III. The imitators of Michelangiolo 229 Epoch IV. Cigoli and his Associates improve the style of painting 280 Epoch V. Pietro da Cortona and his followers 335 BOOK II. SIENESE SCHOOL. Epoch I. The old masters 372 Epoch II. Foreign painters at Siena—Origin and progress of the modern style in that city 406 Epoch III. The art having declined through the disasters of the state, is revived by the labours of Salimbeni and his sons 433 [Pg i] PREFACE. When detached or individual histories become so numerous that they can neither be easily collected nor perused, the public interest requires a writer capable of arranging and embodying them in the form of a general historical narrative; not, indeed, by a minute detail of their whole contents, but by selecting from each that which appears most interesting and instructive. Hence it mostly happens, that the diffuse compositions of earlier ages are found to give place to compendiums, and to succinct history. If this desire has prevailed in former times, it has been, and now is, more especially the characteristic of our own. We live in an age highly favourable, in one sense at least, to the cultivation of intellect: the boundaries of science are now extended beyond what our forefathers could have hoped, much less foreseen; and we become anxious only to discover the readiest methods of obtaining a competent knowledge, at least, of several sciences, since it is impossible to acquire them all. On the other hand, the ages [Pg ii]preceding ours, since the revival of learning, being more occupied about words than things, and admiring certain objects that now seem trivial to the generality of readers, have produced historical compositions, the separate nature of which demands combination, no less than their prolixity requires abridgment. If these observations are applicable to other branches of history, they are especially so to the history of painting. Its materials are found ready prepared, scattered through numerous memoirs of artists of every school which, from time to time, have been given to the public: and additional articles are supplied by dictionaries of art, letters on painting, guides to several cities, catalogues of various collections, and by many tracts relating to different artists, which have been published in Italy. But these accounts, independent of want of connexion, are not useful to the generality of readers. Who, indeed, could form a just idea of painting in Italy by perusing the works of certain historians of latter ages, and some even of our own time, which abound in invectives, and in attempts to exalt favourite masters above the artists of all other schools; and which confer eulogies indiscriminately upon professors of first, second, or third-rate merit?[2] How few are there who feel[Pg iii] interested in knowing all that is said of artists with so much verbosity by Vasari, Pascoli, or Baldinucci; their low jests, their amours, their private affairs, and their eccentricities? What do we learn by being informed of the jealousies of the Florentine artists, the quarrels of the Roman, or the boasts of the Bolognian schools? Who can endure the verbal accuracy with which their wills and testaments are recorded, even to the subscription of the notary, as if the author had been drawing up a legal document; or the descriptions of their stature and physiognomy, more minute than the ancients afford us of Alexander or Augustus?[3] Not that I object to the introduction of such particulars in the lives of the great luminaries of art: in a Raffaello or a Caracci minute circumstances derive interest from the subject; but how intolerable do they become [Pg iv]in the life of an ordinary individual, where the principal incidents are but little interesting? Suetonius has not written the lives of his Cæsars and his grammarians in the same manner: the former he has rendered familiar to the reader; the latter are merely noticed and passed over. The tastes of individuals, however, are different, and some people delight in minutiæ, as it regards both the present and the past; and since it may be of utility to those who may hereafter be inclined to give a very full and perfect history of every thing relating to Italian painting, let us view with indulgence those who have employed themselves in compiling lives so copious, and let those who have time to spare, beguile it with their perusal. At the same time, due regard should be paid to that very respectable class of readers, who, in a history of painting, would rather contemplate the artist than the man; and who are less solicitous to become acquainted with the character of a single painter, whose solitary and insulated history cannot prove instructive, than with the genius, the method, the invention, and the style of a great number of artists, with their characteristics, their merits, and their rank, the result of which is a history of the whole art. To this object there is no one whom I know who has hitherto dedicated his pen, although it seems to be recommended no less by the passion [Pg v]indulged by princes for the fine arts, than by the general diffusion of a knowledge of them among all ranks. The habit of travelling, rendered more familiar to private persons by the example of many great sovereigns, the traffic in pictures, now become a branch of commerce important to Italy, and the philosophic genius of this age, which shuns prolixity in every study, and requires systematic arrangement, are additional incentives to the task. It is true that very pleasing and instructive biographical sketches of the most celebrated painters have been published by M. d'Argenville, in France; and various epitomes have since appeared, in which the style of painting alone is discussed.[4] But without taking into account the corruptions of the names of our countrymen in which their authors have indulged, or their omission of celebrated Italians, while they record less eminent artists of other countries, no work of this sort, and still less any dictionary, can afford us a systematic history of painting: none of these exhibit those pictures, if we may be allowed the[Pg vi] expression, in which we may, at a glance, trace the progress and series of events; none of them exhibit the principal masters of the art in a sufficiently conspicuous point of view, while inferior artists are reduced to their proper size and station: far less can we discover in them those epochs and revolutions of the art, which the judicious reader most anxiously desires to know, as the source from which he may trace the causes that have contributed to its revival or its decline; or from which he may be enabled to recollect the series, and the arrangement of the facts narrated. The history of painting has a strong analogy to literary, to civil, and to sacred history; it too requires, from time to time, the aid of certain beacons, some particular distinction in regard to places, times, or events, that may serve to divide it into epochs, and mark its successive stages. Deprive it of these, and it degenerates, like other history, into a chaos of names more calculated to load the memory than to inform the understanding. To supply this hitherto neglected branch of Italian history, to contribute to the advancement of the art, and to facilitate the study of the different styles in painting, were the three objects I proposed to myself when I began the work which I am now about to lay before the indulgent reader. My intention was to form a compendious history of all our schools, in two volumes; adopting, with [Pg vii]little variation, Pliny's division of the country into Upper and Lower Italy. It was my design to comprehend in the first volume the schools of Lower Italy; because in it the reviving arts came earlier to maturity; and in the second to include the schools of Upper Italy, which were more tardy in attaining to celebrity. The first part of my work appeared at Florence in 1792: the second I was obliged to defer to another opportunity, and the succeeding years have so shaken my constitution, that I have scarcely been able to bring it to a conclusion, even with the assistance of many amanuenses and correctors of the press.[5] One advantage, however, has been derived from this delay; and that is, a knowledge of the opinion of [Pg viii]the public, a tribunal from which no writer can appeal; and I have been thus enabled to prepare a new edition conformable to its decision.[6] I have understood through various channels, that an additional number of names and of notices were necessary to afford satisfaction to the public; and this I have accomplished, without abandoning my plan of a compendious history. Nor does the Florentine edition on this account become useless: it will even be preferred by many to that published at Bassano; the inhabitants, for instance, of Lower Italy will be pleased to possess a work on their most illustrious painters, without concerning themselves about accounts of other places. To a new work, then, so much more extensive than the former, I prefix a preface almost entirely new. The plan is not wholly my own, nor altogether that of others. Richardson[7] suggested that some historian should collect the scattered remarks on art, especially on painting, and should point out its progress and decline through successive ages. He has not even omitted to give us a sketch, which he brought down to the time of Giordano. [Pg ix]Mengs[8] accomplished the task more perfectly in the form of a letter, where he judiciously distinguished all the periods of the art, and has thus laid the foundations of a more enlarged history. Were I to follow their example, the chief masters of every school would be considered together, and we should be under the necessity of passing from one country to another, according as painting acquired a new lustre from their talents, or was debased by a wrong use of the great example of those artists. This method might be easily pursued, if the subject were to be treated in a general point of view, such as Pliny has considered and transmitted it to posterity; but it is not equally adapted to the arrangement of a history so fully particular as Italy seems to require. Besides the styles introduced by the most celebrated painters, such infinite diversities of a mixed character, often united with originality of manner, have arisen in every school, that we cannot easily reduce them to any particular standard: and the same artists at different periods, and in different pictures, have adopted styles so various, that at one time they appear imitators of Titian, at another of Raffaello, or of Correggio. We cannot, therefore, adopt the method of the naturalist, who having arranged the vegetable kingdom, for example, in classes more or less numerous, according to the systems of [Pg x]Tournefort or of Linnæus, can easily reduce a plant, wherever it may happen to grow, to a particular class, adding a name and description, at once precise, characteristic, and permanent. In a complete history it is necessary to distinguish each style from every other: nor do I know any more eligible method of performing this task, than by composing a separate history of each school. In this I follow Winckelmann, the best historian of ancient art in design, who specified as many different schools as the nations that produced them. A similar plan seems to me to have been pursued by Rollin, in his History of Nations, who has thus been enabled to record a prodigious mass of names and events within the compass of a few volumes, in the clearest order. The method I follow in treating of each school is analogous to that prescribed to himself by Sig. Antonio Maria Zanetti,[9] in his Pittura Veneziana, [Pg xi]a work of its kind highly instructive, and well arranged. What he has done, in speaking of his own, I have attempted in the other schools of Italy. I accordingly omit the names of living painters, and do not notice every picture of deceased artists, as it would interrupt the connexion of the narrative, and would render the work too voluminous, but content myself with commending some of their best productions. I first give a general character of each school; I then distinguish it into three, four, or more epochs, according as its style underwent changes with the change of taste, in the same way that the eras of civil history are deduced from revolutions in governments, or other remarkable events. A few celebrated painters, who have swayed the public taste, and given a new tone to the art, are placed at the head of each epoch; and their style is particularly described, because the general and characteristic taste of the age has been formed upon their models. Their immediate pupils, and other disciples of the school, follow their great masters; and without a repetition of the general character, reference is made to what each has borrowed, altered, or added to the style of the founder of the school, or at most such character is cursorily noticed. This method, though not susceptible of a strict chronological order, is, on account of the connexion of ideas, much better adapted to [Pg xii]a history of art than an alphabetic arrangement, which too frequently interrupts the notices of schools and eras; or than the method pursued in annals, by which we are often compelled to make mention of the scholar before the master, should he survive the former; or that of separate lives, which introduces much repetition, by obliging the writer to bestow praises on the pupil for the same style which he also commends in the master, and to notice in each individual that which was the general character of the age in which he lived. For the sake of perspicuity, I have generally separated from historical painters artists in inferior branches, such as painters of portraits, of landscape, of animals, of flowers and of fruit, of sea-pieces, of perspectives, of drolls, and all who merit a place in such classes. I have also taken notice of some arts which are analogous to painting, and though they differ from it in the materials employed, or the manner of using them, may still be included in the art; for example, engraving of prints, inlaid and mosaic work, and embroidering tapestry. Vasari, Lomazzo, and several other writers on the fine arts, have mentioned them; and I have followed their example; contenting myself with noticing, in each of those arts, only what has appeared most worthy of being recorded. Each might be the subject of a separate work; [Pg xiii]and some of them have long had their own peculiar historians, and in particular the art of engraving. By this method, in which I may boast such great examples, I am not without hopes of affording satisfaction to my readers. I am, however, more apprehensive in regard to my selection of artists; the number of whom, whatsoever method is adopted, may to some appear by far too limited, and to others too greatly extended. But criticism will not so readily apply to the names of the most illustrious artists, whom I have included, nor to those of very inferior character, whom I trust I have omitted; except a few that have some claim to be mentioned, from their connexion with celebrated masters.[10] The accusation then of having noticed some, and omitted others, will apply to me only on account of artists of a middle class, that can be neither well reckoned among the senate, the equestrian order, nor vulgar herd of painters; they constitute the class of mediocrity. The adjustment of limits is a frequent cause of legal contention; and the subject of art now under [Pg xiv]discussion, may be considered like a dispute concerning boundaries. It may often admit of doubt whether a particular artist approaches more nearly to the class of merit or of insignificance; which is, in other words, whether he should or should not obtain a place in a history of the art. Under such uncertainty, which I have several times encountered, I have more usually inclined to the side of lenity than of severity; especially when the artist has been noticed with a degree of commendation by former authors. We ought to bow to public opinion, which rarely blames us for noticing mediocrity, but frequently for passing it over in silence. Books on painting abound with complaints against Orlandi and Guarienti, for their omissions of certain artists. Still more frequently are authors censured, when the Guide to a city points out some altar-piece by a native artist, who is not named in our Dictionaries of Painting. The describers of collections repeat similar complaints in regard to every painting bearing the signature of an artist whose name appears in no work of art. Collectors of prints do the same when they discover the name of some designer, of whom history is silent, affixed to an engraving. Thus, were we to consult the opinion of the public, the majority would be inclined to recommend copiousness, rather than to express satisfaction at a more discriminating [Pg xv]selection of names. Almost all artists and amateurs belonging to every city, would be desirous that I should commemorate as many of their second rate painters as possible; and our selection, therefore, in this respect, nearly resembles the exercise of justice, which is generally applauded as long as it visits only the dwellings of others, but is cried down by each individual when it knocks at his own door. Thus a writer who is bound to observe impartiality towards every city, can scarcely shew great severity to artists of mediocrity in any. This too is not without reason; for to pass mediocrity in silence may be the study of a good orator, but not the office of a good historian. Cicero himself, in his treatise De claris Oratoribus, has given a place to less eloquent orators, and it may be observed that, after this example, the literary history of every people does not merely include its most classic writers, and those who approached nearest to them; but it adds short and concise accounts of authors less celebrated; and in the Iliad, which is a history of the heroic age, there are a few eminent leaders, many valiant soldiers, and a prodigious crowd of others, whom the poet has transiently noticed. In our case, it is still more incumbent on the historian to give mediocrity a place along with the eminent and most excellent. Many books describe that class in terms so vague, and sometimes [Pg xvi]so discordant, that to form a proper estimate of their claims, we must introduce them among superior artists, as a sort of performers in third-rate parts. Such, however, I am not solicitous to exhibit very minutely, more especially when treating of painters in fresco, and generally of other artists, whose works are now unknown in collections, or add more to the bulk than the ornament of a gallery. Thus also in point of number, my work has maintained the character of a compendium: but if any of my readers, adopting the rigid maxim of Bellori, that, in the fine arts, as in poetry, mediocrity is not to be tolerated,[11] should disdain the middle class of artists, he must look [Pg xvii]for the heads of schools, and for the most eminent painters: to these he may dedicate his attention, and turn his regard from the others like one, Having described my plan, let us next consider the three objects originally proposed, of which the first was to present Italy with a history that may prove important to her fame. This delightful country is already indebted to Tiraboschi for a history of her literature, but she is still in want of a history of her arts. The history of painting, an art in which she is confessedly without a rival, I propose to supply, or at least to facilitate the attempt. In some departments of literature, and of the fine arts, we are equalled, or even surpassed by foreigners; and in others the palm is yet doubtful: but in painting, universal consent now yields the triumph to Italian genius, and foreigners are the more esteemed in proportion to their approach towards us. It is time then, for the honour of Italy, to collect in one point of view, those observations on her painting, scattered through upwards of a hundred volumes, and to embody them in what Horace terms series et junctura; without which the work cannot be pronounced a history. I [Pg xviii]will not conceal, that the author of the "History of Italian Literature" above mentioned, frequently animated me to this undertaking, as a sequel to his own work. He also wished me to subjoin other anecdotes to those already published, and to substitute more authentic documents for the inaccuracies abounding in our Dictionaries of painting. I have attended to both these objects. The reader will here find various schools never hitherto illustrated, and an entire school, that of Ferrara, now first described from the manuscripts of Baruffaldi and of Crespi; and in other schools he will often observe names of fresh artists, which I have either collected from ancient MSS.[13] and the correspondence of my learned friends, or deciphered on old paintings. Although such pictures are confined to cabinets, it cannot prove useless to extend a more intimate acquaintance with their authors. The reader will also meet with many new observations on the origin of painting, and on its diffusion in [Pg xix]Italy, formerly a fruitful subject of debate and contention; and likewise here and there with some original reflections on the masters, to whom various disciples may be traced; a branch of history, the most uncertain of any. Old writers of respectability often mention Raffaello, Correggio, or some other celebrated artist, as the master of a painter, without any better foundation than a similarity of style; just as the credulous heathens imagined one hero to be the son of Hercules, because he was strong; another of Mercury, because he was ingenious; a third of Neptune, because he had performed several long voyages. Errors like these are easily corrected when they are accompanied by some inadvertency in the writer; as for instance, where he has not been aware that the age of the disciple does not correspond with that of his supposed master. Occasionally, however, their detection is attended with more difficulty; and in particular when the artist, whose reputation is wholly founded upon that of his master, represented himself in foreign parts, as the disciple of men of celebrity, whom he scarcely knew by sight. Of this we have an example in Agostino Tassi, and more recently in certain soidisant disciples of Mengs; to whom it scarcely appears that he ever so much as said, "Gentlemen, how do you do?" Finally, the reader will find some less obvious notices relating to the name, the country, and [Pg xx]the age of different artists. The deficiency of our Dictionaries in interesting names, together with their inaccuracy, are common subjects of complaint. I can excuse the compilers of these works; I know how easily we may be misled in regard to names which have been often gathered from vulgar report, or even from authors who differ in point of orthography, some giving opposite readings of the same name. But it is quite necessary that such mistakes should once for all be cleared up. The index of this work will form a new Dictionary of Painters, certainly more copious, and perhaps more accurate than usual, although it might be still further improved, especially by consulting archives and manuscripts.[14] [Pg xxi]The second object which I had in view was to advance the interests of the art as much as lay in my power. It was of old observed that examples have a more powerful influence on the arts than any precepts can possess; and this is particularly true in respect to painting. Whoever writes history upon the model of the learned ancients, ought not only to narrate events, but to investigate their secret sources and their causes. Now these will be here developed, tracing the progress of painting as it advanced or declined in each school; and these causes being invariable, point out the means of its improvement, by shewing what ought to be[Pg xxii] pursued and what avoided. Such observations are not of importance to the artist alone, but have a reference also to other individuals. In the Roman school, during its second epoch, I perceive that the progress of the arts invariably depends on certain principles universally adopted in that age, according to which artists worked, and the public decided. A general history, by pointing out the best maxims of art, may contribute considerably to make them known and regarded; and hence artists can execute, and others approve or direct, on principles no longer uncertain and questionable, nor deduced from the manner of a particular school, but founded on maxims unerring and established, and strengthened by the uniform practice of all schools and all ages. We may add, that in a history so diversified, numerous examples occur suited to the genius of different students, who have often to lament their want of success from this circumstance alone, that they had neglected to follow the path in which nature had destined them to tread. On the influence of examples I shall add no more: should any one be desirous also of precepts under every school, he will find them given, not indeed by me, but by those who have written more ably on the art, and whom I have diligently consulted with regard to different masters, as I shall hereafter mention. My third object was to facilitate an acquaintance with the various styles of painting. The artist or [Pg xxiii]amateur indeed, who has studied the manner of all ages and of every school, on meeting with a picture can very readily assign it, if not to a particular master, at least to a certain style, much as antiquarians, from a consideration of the paper and the characters, are enabled to assign a manuscript to a particular era; or as critics conjecture the age and place in which an anonymous author flourished, from his phraseology. With similar lights we proceed to investigate the school and era of artists; and by a diligent examination of prints, drawings, and other relics belonging to the period, we at length determine the real author. Much of the uncertainty, with regard to pictures, arises from a similitude between the style of different masters: these I collect together under one head, and remark in what one differs from the other. Ambiguity often arises from comparing different works of the same painter, when the style of some of them does not seem to accord with his general manner, nor with the great reputation he may have acquired. On account of such uncertainty, I usually point out the master of each artist, because all at the outset imitate the example offered by their teachers; and I, moreover, note the style formed, and adhered to by each, or abandoned for another manner; I sometimes mark the age in which he lived, and his greater or less assiduity in his profession. By an attentive consideration of [Pg xxiv]such circumstances, we may avoid pronouncing a picture spurious, which may have been painted in old age, or negligently executed. Who, for instance, would receive as genuine all the pictures of Guido, were it not known that he sometimes affected the style of Caracci, of Calvart, or of Caravaggio; and at other times pursued a manner of his own, in which, however, he was often very unequal, as he is known to have painted three or four different pieces in a single day? Who would suppose that the works of Giordano were the production of the same artist, if it were not known that he aspired to diversify his style, by adopting the manner of various ancient artists? These are indeed well known facts, but how many are there yet unnoted that are not unworthy of being related, if we wish to avoid falling into error? Such will be found noticed in my work, among other anecdotes of the various masters, and the different styles. I am aware that to become critically acquainted with the diversity of styles is not the ultimate object to which the travels and the eager solicitude of the connoisseur aspire. His object is to make himself familiar with the handling of the most celebrated masters, and to distinguish copies from originals. Happy should I be, could I promise to accomplish so much! Even they might consider themselves fortunate, who dedicate their lives to [Pg xxv]such pursuits, were they enabled to discover any short, general, and certain rules for infallibly determining this delicate point! Many rely much upon history for the truth. But how frequently does it happen that the authority of an historian is cited in favour of a family picture, or an altar-piece, the original of which having been disposed of by some of the predecessors, and a copy substituted in its place, the latter is supposed to be a genuine painting! Others seem to lay great stress on the importance of places, and hesitate to raise doubts respecting any specimen they find contained in royal and select galleries, assuming that they really belong to the artists referred to in the gallery descriptions and catalogues. But here too they are liable to mistake; inasmuch as many private individuals, as well as princes, unable to purchase ancient pictures at any price, contented themselves with such copies of their imitators as approached nearest to the old masters. Some indeed were made by professors purposely despatched by princes in search of them; as in the instance of Rodolph I., who employed Giuseppe Enzo, a celebrated copyist. (See Boschini, p. 62, and Orlandi, on Gioseffo Ains di Berna.) External proofs, therefore, are insufficient, without adding a knowledge of different manners. The acquisition of such discrimination is the fruit only of long experience, and deep reflection on the style of each master: [Pg xxvi]and I shall endeavour to point out the manner in which it may be obtained.[15] To judge of a master we must attend to his design, and this is to be acquired from his drawings, from his pictures, or, at least, from accurate engravings after them. A good connoisseur in prints is more than half way advanced in the art of judging pictures; and he who aims at this must study engravings with unremitting assiduity. It is thus his eye becomes familiarized to the artist's method of delineating and foreshortening the figure, to the air of his heads and the casting of his draperies; to that action, that peculiarity of conception, of disposing, and of contrasting, which are habitual to his character. Thus is he, as it were, introduced to the different families of youths, of children, of women, of old men, and of individuals in the vigour of life, which each artist has adopted as his own, and has usually exhibited in his pictures. We cannot be too well versed in such matters, so minute or almost insensible are the distinctions between the imitators of one master, (such as Michelangiolo, for example,) who have perhaps studied the same cartoon, or the same statues, and, as it were, learned to write after the same model. More originality is generally to be discovered in[Pg xxvii] colouring, a branch of the art formed by a painter rather on his own judgment, than by instruction. The amateur can never attain experience in this branch who has not studied many pictures by the same master; who has not observed his selection of colours, his method of separating, of uniting, and of subduing them; what are his local tints, and what the general tone that harmonizes the colours he employs. This tint, however clear and silvery in Guido and his followers, bright and golden in Titiano and his school, and thus of the rest, has still as many modifications as there are masters in the art. The same remark extends to middle tints and to chiaroscuro, in which each artist employs a peculiar method. These are qualities which catch the eye at a distance, yet they will not always enable the critic to decide with certainty; whether, for instance, a certain picture is the production of Vinci, or Luini, who imitated him closely; whether another be an original picture by Barocci, or an exact copy from the hand of Vanni. In such cases judges of art approach closer to the picture with a determination to examine it with the same care and accuracy as are employed in a judicial question, upon the recognition of hand-writing. Fortunately for society, nature has granted to every individual a peculiar character in this respect, which it is not easy to counterfeit, nor to mistake [Pg xxviii]for any other person's writing. The hand, habituated to move in a peculiar manner, always retains it: in old age the characters may be more slowly traced, may become more negligent or more heavy; but the form of the letters remains the same. So it is in painting. Every artist not only retains this peculiarity, but one is distinguished by a full charged pencil; another by a dry but neat finish; the work of one exhibits blended tints, that of another distinct touches; and each has his own manner of laying on the colours:[16] but even in regard to what is common to so many, each has a peculiar handling and direction of the pencil, a marking of his lines more or less waved, more or less free, and more or less studied, by which those truly skilled from long experience are enabled, after a due consideration of all circumstances, to decide who was the real author. Such judges do[Pg xxix] not fear a copyist, however excellent. He will, perhaps, keep pace with his model for a certain time, but not always; he may sometimes shew a free, but commonly a timid, servile, and meagre pencil; he will not be long able, with a free hand, to keep his own style concealed under the manner of another, more especially in regard to less important points, such as the penciling of the hair, and in the fore- and back-grounds of the picture.[17] Certain observations on the canvas and the priming ground may sometimes assist inquiry; and hence some have endeavoured to attain greater certainty by a chemical analysis of the colours. Diligence is ever laudable when exerted on a point so nice as ascertaining the hand-work of a celebrated master. It may prevent our paying ten guineas for what may not be worth two; or placing in a choice collection pictures that will not do it credit; while to the curious it affords scientific views, instead of creating prejudices that often engender errors. That mistakes should happen is not surprising. A true connoisseur is still more rare than a good artist. His skill is the result of only indirect application; it is acquired amidst other pursuits, and divides the attention with other objects; the means of attaining it fall to the lot of few; and still fewer practise it successfully. [Pg xxx]Among the number of the last I do not reckon myself. By this work I pretend not, I repeat it, to form an accomplished connoisseur in painting: my object is to facilitate and expedite the acquisition of such knowledge. The history of painting is the basis of connoisseurship; by combining it, I supersede the necessity of referring to many books; by abbreviating it I save the time and labour of the student; and by arranging it in a proper manner on every occasion, I present him with the subject ready prepared and developed before him. It remains, in the last place, that I should give some account of myself; of the criticisms that I, who am not an artist, have ventured to pass upon each painter: and, indeed, if the professors of the art had as much leisure and experience in writing as they have ability, every author might resign to them the field. The propriety of technical terms, the abilities of artists, and the selection of specimens of art, are usually better understood, even by an indifferent artist, than by the learned connoisseur: but since those occupied in painting have not sufficient leisure to write, others, assisted by them, may be permitted to undertake the office.[18] [Pg xxxi]By the mutual assistance which the painter has afforded to the man of letters, and the man of letters to the artist, the history of painting has been greatly advanced. The merits of the best painters are already so ably discussed that a modern historian can treat the subject advantageously. The criticisms I most regard are those that come directly from professors of the art. We meet with few from the pen of Raphael, of Titian, of Poussin, and of other great masters; such as exist, however, I regard as most precious, and deserving the most careful preservation; for, in general, those who can best perform can likewise judge the best. Vasari, Lomazzo, Passeri, Ridolfi, Boschini, Zanotti, and Crespi, require, perhaps, to be narrowly watched in some passages where they allowed themselves to be surprised by a spirit of party: but, on the whole, they have an undoubted right to dictate to us, because they were themselves painters. Bellori, Baldinucci, Count Malvasia, Count Tassi, and similar writers, hold an inferior rank; but are not wholly destitute of authority: for though mere dilettanti, they have collected [Pg xxxii]both the opinions of professors and of the public. This will at present suffice, with regard to the historians of the art: we shall notice each of them particularly under the school which he has described. In pronouncing a criticism upon each artist I have adopted the plan of Baillet, the author of a voluminous history of works on taste, where he does not so frequently give his own opinion as that of others. Accordingly, I have collected the various remarks of connoisseurs, which were scattered through the pages of history; but I have not always cited my authorities, lest I should add too much to the dimensions of my book;[19] nor have I regarded their opinion when they seemed to me to have been influenced by prejudice. I have availed myself of the observations of some approved critics, like Borghini, Fresnoy, Richardson, Bottari, Algarotti, Lazzarini, and Mengs; with others who have rather criticised our painters than written their lives. I have also respected the opinions of[Pg xxxiii] living critics, by consulting different professors in Italy: to them I have submitted my manuscript; I have followed their advice, especially when it related to design, or any other department of painting, in which artists are almost the only adequate judges. I have conversed with many connoisseurs, who, in some points, are not less skilful than the professors of the art, and are even consulted by artists with advantage; as, for instance, on the suitableness of the subject, on the propriety of the invention and the expression, on the imitation of the antique, on the truth of the colouring. Nor have I failed to study the greatest part of the best productions of the schools of Italy; and to inform myself in the different cities what rank their least known painters hold among their connoisseurs; persuaded, as I am, that the most accurate opinion of any artist is formed where the greatest number of his works are to be seen, and where he is most frequently spoken of by his fellow citizens and by strangers. In this way, also, I have been enabled to do justice to the merits of several artists who had been passed over, either because the historian of their school had never beheld their productions, or had merely met with some early and trivial specimens in one city, being unacquainted with the more perfect and mature specimens they had produced elsewhere. Notwithstanding my diligence I do not presume[Pg xxxiv] to offer this as a work to which much might not be added. It has never happened that a history, embracing so many objects, is at once produced perfect; though it may gradually be rendered so. The history earliest in point of time, becomes, in the end, the least in authority; and its greatest merit is in having paved the way to more finished performances. Perfection is still less to be expected in a compendium. The reader is here presented with the names of many artists and authors; but many others might have been admitted, whom want of leisure or opportunity, but not of respect, has obliged us to omit. Here he will find a variety of opinions; but to these many others might have been added. There is no man, of whom all think alike. Baillet, just before mentioned, is a proof of this, with regard to writers on literary subjects; and he who thinks the task worthy of his pains might demonstrate it much more fully with respect to different painters. Each judges by principles peculiar to himself: Bonarruoti stigmatized as drivelling, Pietro Perugino and Francia, both luminaries of the art; Guido, if we may credit history, was disapproved of by Cortona; Caravaggio by Zucchero; Guercino by Guido; and, what seems more extraordinary, Domenichino by most of the artists who flourished at Rome, when he painted his finest pictures.[20] Had these artists written of [Pg xxxv]their rivals they either would have condemned them, or spoken less favourably of them than unprejudiced individuals. Hence it is that connoisseurs will frequently be found to approach nearer the truth, in forming their estimate, than artists; the former adopt the impartial feelings of the public, while the latter allow themselves to be influenced by motives of envy or of prejudice. Innumerable similar disputes are still maintained concerning several artists, who, like different kinds of aliment, are found to be disagreeable or grateful to different palates. To hold the happy mean, exempted from all party spirit, is as impossible as to reconcile the opinions of mankind, which are as multifarious as are the individuals of the species. Amid such discrepancy of opinion I have judged it expedient to avoid the most controverted points; in others, to subscribe to the decision of the majority; [Pg xxxvi]to allow to each his particular opinion;[21] but not, if possible, to disappoint the reader, desirous of learning what is most authentic and generally received. Ancient writers appear to have pursued this plan when treating of the professors of any art, in which they themselves were mere amateurs; nor could it arise from any other circumstance that Cicero, Pliny, and Quintilian, express themselves upon the Greek artists in the same manner. Their opinions coincide, because[Pg xxxvii] that of the public was unanimous. I am aware that it is difficult to obtain the opinion of the public concerning the more modern artists, but it is not difficult with regard to those on whom much has been already written. I am also aware that public opinion accords not at all times with truth, because "it often happens to incline to the wrong side of the question." This, however, is a rare occurrence in the fine arts,[22] nor does it militate against an historian who aims more at fidelity of narrative, and impartiality of public opinion, than the discussion of the relative merit or correctness of tastes. My work is divided into six volumes; and I commence by treating in the two first volumes of that part of Italy, which, through the genius of Da Vinci, Michelangiolo, and Raffaello, became first conspicuous, and first exhibited a decided character in painting. Those artists were the ornaments of the Florentine and Roman schools, from which I proceed to two others, the Sienese and Neapolitan. About the same time Giorgione, Tiziano, and Coreggio, began to flourish in Italy; three artists, who as much advanced the art of [Pg xxxviii]colouring, as the former improved design; and of these luminaries of Upper Italy I treat in the third and fourth volumes; since the number of the names of artists, and the many additions to this new impression, have induced me to devote two volumes to their merits. Then follows the school of Bologna, in which the attempt was made to unite the excellences of all the other schools: this commences the fifth volume; and on account of proximity it is succeeded by that of Ferrara, and Upper and Lower Romagna. The school of Genoa, which was late in acquiring celebrity, succeeds, and we conclude with that of Piedmont, which, though it cannot boast so long a succession of artists as those of the other states, has merits sufficient to entitle it to a place in a history of painting. Thus the five most celebrated schools will be treated of in the order in which they arose; in like manner as the ancient writers on painting began with the Asiatic school, which was followed by the Grecian, and this last was subdivided into the Attic and Sicyonian; to which in process of time succeeded the Roman school.[23] The sixth and last volume contains an ample index to the whole, quite indispensable to render the work more extensively useful, and to give it its[Pg xxxix] full advantage. In assigning artists to any school I have paid more regard to other circumstances than the place of their nativity; to their education, their style, their place of residence in particular, and the instruction of their pupils: circumstances, indeed, which are sometimes found so blended and confused, that several cities may contend for one painter, as they are said to have done for Homer. In such cases I do not pretend to decide; the object of my labours being only to trace the vicissitudes of the art in various places, and to point out those artists who have exercised an influence over them; not to determine disputes, unpleasant in themselves, and wholly foreign to my undertaking. [Pg xl] [Pg xli] BIOGRAPHICAL NOTICE. [24] Luigi Lanzi was born in the year 1732, at Monte dell' Olmo, in the diocese of Fermo, of an ancient family, which is said to have enjoyed some of the chief honours of the municipality to which it belonged. His father was a physician, and also a man of letters: his mother, a truly excellent and pious woman, was allied to the family of the Firmani. How deeply sensible the subject of this memoir was of the advantages he derived, in common with many illustrious characters, from early maternal precepts and direction, he has shewn in a beautiful Latin elegy to her memory, which appeared in his work, entitled Inscriptionum et Carminum. Possessed of a naturally lively and penetrating turn of mind, he began early to investigate the [Pg xlii]merits of the great writers of his own country; alike in poetry, in history, and in art. His poetical taste was formed on the models of Petrarch and of Dante, and he was accustomed, while yet a child, to repeat their finest passages to his father, an enthusiastic admirer of Italy's old poets, who took pride in cultivating the same fervour in the mind of his son, a fervour of which in more northern climates, we can form little idea. His imitations of these early poets, whose spirit he first imbibed at the fountain head, before he grew familiar with the corrupt and tasteless compositions of succeeding eras, are said to have frequently been so bold and striking, as to deceive the paternal eye. To these, too, he was perhaps mainly indebted for that energy of feeling, and solidity of judgment, as well as that richness of illustration and allusion, which confer attractions upon his most serious and elaborate works. He was no less intimate with the best political and literary historians at an early age; with Machiavelli, Davila, and Guicciardini; with Muratori and Tiraboschi; whose respective compositions he was destined to rival in the world of art. Lanzi's first studies were pursued in the Jesuits' College at Fermo, where an Italian Canzone, written in praise of the Beata Vergine, is said to have acquired for him, as a youth of great promise, the highest degree of regard. Under the care of his spiritual instructor, father Raimondo Cunich, Lanzi likewise became deeply versed in all the excellences[Pg xliii] of classical literature, not as a vain parade of words and syllables; for along with the technical skill of the scholar, he imbibed the spirit of the ancient writers. In his succeeding philosophical and mathematical studies he was assisted by Father Boscovich, one of the first mathematicians of his day. Thus to a keen and fertile intellect, animated by enthusiasm for true poetry and the beauties of art, was added that regular classical and scientific learning, inducing a love of order and of truth, capable of applying the clear logic derived from Euclid to advantage, in subjects of a less tangible and demonstrative nature. The value of such preliminary acquirements to the examination of antiquarian and scientific remains, which can only be conducted on uncertain data and a calculation of possibilities, as in ancient specimens of art, can bear no question; and of this truth Lanzi was fully aware. To feel rightly, to reason clearly, to decide upon probabilities, to distinguish degrees, resemblances, and differences, comparing and weighing the whole with persevering accuracy; these were among the essentials which Lanzi conceived requisite to prepare a writer upon works of art. These qualities, too, will be found finely relieved and elevated by frequent and appropriate passages of eloquent feeling; flowing from that sincere veneration for his subject, and that love which may be termed the religion of the art to which he became so early attached. How intimately [Pg xliv]such a spirit is connected with the best triumphs of the art of painting, is seen in the angelic faces of Da Vinci, of Raffaello, and Coreggio; and the same enthusiasm must have been felt by a true critic, such as Lanzi. Far, however, from impeding him in the acquisition of his stores of antiquarian knowledge, and in his scientific arrangements, his enthusiasm conferred upon him only an incredible degree of diligence and despatch. He was at once enabled to decipher the age and character, to arrange in its proper class, and to give the most exact description of every object of art which passed under his review. Lanzi thus came admirably prepared to his great task, one of the most complete models of sound historical composition, of which the modern age can boast. It was written in the full maturity of his powers; no hasty or isolated undertaking, it followed a series of other excellent treatises, all connected with some branches of the subject, and furnishing materials for his grand design. Circumstances further contributed to promote his views. Shortly after the dissolution of the order of Jesuits, to which he belonged, he was recommended by his friend Fabroni, prior of the church of S. Lorenzo, to the grand duke Leopold of Florence, who, in 1775, appointed him to the care of his cabinet of medals and gems, in the gallery of Florence. This gave rise to one of his first publications, entitled, A Description of the Florentine Gallery, which he sent in 1782 to the same friend,[Pg xlv] Angiolo Fabroni, then General Provveditore of the Studio at Pisa, and who conducted the celebrated Literary Journal of that place, in which Lanzi's Description appeared. His next dissertation, still more enriched with antiquarian illustration and research, was his Essay on the Ancient Italian dialects, which contains a curious account of old Etruscan monuments, and the ducal collection of classical vases and urns. This was followed by his Preliminary Notices respecting the Sculpture of the Ancients, and their various Styles, put forth in the year 1789, in which he pursues the same plan which he subsequently perfected in the history before us, of allotting to each style its respective epochs, to each epoch its peculiar characters, these last being exemplified by their leading professors, most celebrated in history. He farther adduces examples of his system as he proceeds, from the various cabinets of the Royal Museum, which he explains to the reader as a part of his chief design in illustrating them. He enters largely into the origin and character of the Etruscan School, and examines very fully the criticisms, both on ancient and Italian art, by Winckelmann and Mengs. From the period of these publications, the Grand Duke, entertaining a high opinion of Lanzi's judgment, was in the habit of consulting him before he ventured to add any new specimens to his cabinet of antiquities. He was also entrusted with a fresh arrangement of some new cabinets belonging[Pg xlvi] to the gallery, which together with the latter, he finally completed, on a system which it is said never fails to awaken the admiration of all scientific visitors at Florence. During this task, his attention had been particularly directed to the interpretation of the monuments and Etruscan inscriptions contained in the ducal gallery, which, together with the ancient Tuscan, the Umbrian, and other obsolete dialects, soon grew familiar to him, and led to the composition of his celebrated Essay upon the Tuscan Tongue. For the purpose of more complete research and illustration, he obtained permission from the duke to visit Rome, in order to consult the museums, and prepare the way for his essay, which he published there in 1789; a work of immense erudition and research. It was here Lanzi first appeared as the most profound antiquarian of modern Italy, by his successful explanation of some ancient Etruscan inscriptions and remains of art, which had baffled the skill of a number of his most distinguished countrymen. Upon presenting it to the grand duke, after his return from Rome, Lanzi was immediately appointed his head antiquary and director of the Florentine gallery; while the city of Gubbio raised him to the rank of their first patrician order, on account of his successful elucidation of the famous Eugubine Tables. In one of his Dissertations upon a small Tuscan Urn, he triumphantly refuted some charges which had been invidiously advanced against him, and defended his[Pg xlvii] principles of antiquarian illustration by retorting the charge of fallacy upon his adversaries. In the year 1790, Lanzi, at the request of the Gonfaloniere and priors of Monte dell'Olino, published an inquiry into the Condition and Site of Pausula, an ancient City of Piceno; said to be written with surprising ingenuity, yet with equal fairness; uninfluenced by any prejudices arising from national partiality, or from the nature of the commission with which he had been honoured. This was speedily followed by a much more important undertaking, connected with the prosecution of his great design, which it would appear he had already for some time entertained. During the period of his travels through Italy in pursuit of antiquities, he had carefully collected materials for a general History of Painting, which was meant to comprize, in a compendious form, whatever should be found scattered throughout the numerous authors who had written upon the art. These materials, as well as the work itself, had gradually grown upon his hands, as might be expected from a man so long accustomed to method, to criticism, to perspicuity; in short, to every quality requisite in the philosophical treatment of a great subject. The artists and literati of Italy, then, were not a little surprised at the appearance of the first portion of the Storia Pittorica, comprehending Lower Italy; or the Florentine, Sienese, Roman, and Neapolitan Schools, reduced to a compendious and methodical form,[Pg xlviii] adapted to facilitate a knowledge of Professors and of their Styles, for the lovers of the art. It was dedicated to the grand duchess Louisa Maria of Bourbon, in a style, observes the Cav. Bossi, "which recalls to mind the letters of Pliny to Trajan, composed with mingled dignity and respect; with genuine feeling, and with true, not imaginary, commendations." Elogio, p. 127. But the unfeigned pleasure and admiration expressed in the world of literature and art, on being presented with the Pictorial History of Lower Italy, was almost equalled by its disappointment at the delay experienced with regard to the appearance of the second part; and which it was feared would never see the light. Lanzi's state of health had, some time subsequent to 1790, been very precarious; and he suffered severely from a distressing complaint,[25] which frequently interrupted his travels in which he was then engaged, collecting further materials for his History of Painting in Upper Italy. While thus employed, on his return from Genoa in December, 1793, he experienced a first attack of apoplexy, as he was passing the mountains of Massa and Carrara. After his recovery, and return to Florence, he was advised in the ensuing spring to visit the baths of Albano, which being situated near Bassano, afforded him an opportunity of superintending the publication of his history, in the Remondini [Pg xlix]Press, and on a more extensive scale than he had at first contemplated. He likewise obtained permission from the grand duke Leopold to absent himself, during some time, from his charge at Florence, in September, 1793. The first portion of his labours he conceived to be too scanty in point of names and notices to satisfy public taste, so that upon completing the latter part upon a more full and extensive scale, he gave a new edition of that already published, very considerably altered and augmented. To these improvements he invariably contributed, both in notes and text, at every subsequent edition, a number of which appeared in the course of a few years, until the work attained a degree of completeness and correctness seldom bestowed upon labours of such incredible difficulty and extent. The last which received the correction and additions of the author was published at Bassano, in the year 1809. That a work upon such a scale was a great desideratum, no less to Italy than to the general world of art, would appear evident from the character of the various histories and accounts of painting which had preceded it. They are rather valuable as records, than as real criticism or history; as annals of particular characters and productions derived from contemporary observation, than as sound and enlightened views, and a dispassionate estimate of individual merits. Full of errors, idle prejudices, and discussions foreign to the subject, a [Pg l]large portion of their pages is taken up in vapid conceits, personal accusations, and puerile reasoning, destitute of method. The work of Lanzi, on the other hand, as it is well remarked by the Cav. Boni, observes throughout the precept of the serie et junctura of Horace. It brings into full light the leading professors of the art, exhibits at due distance those of the second class, and only glances at mediocrity and inferiority of character, insomuch as to fill up the great pictoric canvas with its just lights and shades. The true causes of the decline and revival of the art at certain epochs are pointed out, with those that contribute to preserve the fine arts in their happiest lustre; in which, recourse to examples more than to precepts is strongly recommended. The best rules are unfolded for facilitating the study of different manners, some of which are known to bear a resemblance, though by different hands, and others are opposed to each other, although adopted by the same artist; a species of knowledge highly useful at a period when the best productions are eagerly sought after at a high rate. It is a history, in short, worthy of being placed at the side of that on the Literature of Italy by Tiraboschi, who having touched upon the fine arts at the outset of his labours, often urged his ancient friend and colleague to dilate upon a subject in every way so flattering to the genius of Italy; to Italy which, however rivalled by other nations in science and in literature, [Pg li]stands triumphant and alone in its creative mind of art. It is, however, difficult to convey a just idea of a work composed upon so enlarged and complete a scale; which embraces a period of about six centuries, and fourteen Italian schools, but treated with such rapidity and precision, as to form in itself a compendium of whatever we meet with in so many volumes of guides, catalogues, descriptions of churches and palaces, and in so many lives of artists throughout the whole of Italy. (pp. 130-1.) It is known that Richardson expressed a wish that some historian would collect these scattered accounts relating to the art of painting, at the same time noting down its progress and decline in every age, a desideratum which Mengs in part supplied in one of his letters, briefly marking down all the respective eras. Upon this plan, as far as regarded Venetian painting, Zanetti had partially proceeded; but the general survey, in its perfect form, of the whole of the other schools, was destined to be completed by the genius of Lanzi. Here he first gives the general character of each, distinguishing its particular epochs, according to the alterations in taste which it underwent. A few artists of distinguished reputation, whose influence gave a new impulse and new laws to the art, stand at the head of each era, which they may be said to have produced, with a full description of their style. To these great masters, their respective pupils are annexed, with the progress of their [Pg lii]school, referring to such as may have more or less added to, or altered the manner of their prototype. For the sake of greater perspicuity, the painters of history are kept distinct from the artists in inferior branches; among whom are classed portrait and landscape painters, those of animals, of flowers, of fruits, &c. Nor are such as bear an affinity to the art, like engraving, inlaying, mosaic work, and embroidery, wholly excluded. Being doubtful whether he should make mention of those artists who belong neither to the senatorial, the equestrian, nor the popular order of the pictorial republic, and have no public representation, such as the names of mediocrity; Lanzi finally decided to introduce them among their superiors, like third-rate actors, whose figures may just be seen, in order to preserve the entireness of the story. To this he was farther induced by the general appearance of their names in the various dictionaries, guides, and descriptions of cities and of galleries; and by the example of Homer, Cicero, and most great writers; Homer himself commemorating, along with the wise and brave also the less valiant—the fools and the cowards. (Elogio, pp. 129, 130, 131.) After having resided during a considerable period at Bassano, occupied in the superintendence of the first edition of his great work, Lanzi found himself compelled to retire to Udine, in 1796, from the more immediate scene of war; a war which subsequently involved other cities of Italy [Pg liii]in its career. From Udine he shortly returned to Florence, where he again resumed his former avocations in the ducal gallery, about the period of the commencement of the Bourbon government. Lanzi's next literary undertaking was three Dissertations upon Ancient painted Vases, commonly called Etruscan; and he subsequently published a very excellent and pleasing work, entitled, Aloisii Lanzii Inscriptionum et Carminum Libri Tres: works which obtained for him the favourable notice of the Bourbon court. Nor was he less distinguished by that of the new French dynasty, which shortly obtained the ascendancy throughout all Italy, as well as at Florence, and by which Lanzi was appointed President of the Cruscan Academy. Among Lanzi's latest productions may be classed his edition and translations of Hesiod; entitled I Lavori, e le Giornate di Esiodo Ascreo opera con L. Codici riscontrata, emendata la versione latina, aggiuntavi l'Italiana in Terze Rime con annotazioni. In this he had been engaged as far back as the year 1785, and it had been then announced in a beautiful edition of Hesiod, translated into Latin by Count Zamagua. The list will here close with his Opere Sacre, sacred treatises, produced on a variety of occasions, and on a variety of spiritual subjects. One of these was upon the Holy Sacrament, entitled, Il divoto del SS. Sacramento istruito nella pratica [Pg liv]di tal devozione. In truth, Lanzi was a good Christian, and may be ranked in the number of that great and honoured band of Christian philosophers, who like Newton, Locke, and Paley, have triumphantly opposed the whole strength of their mighty intellect, and vast reach of their reasoning powers to the specious and witty, but less powerful and argumentative genius of Gibbon, of Hume, and of Voltaire. Nor was the conviction of these great truths in the mind of Lanzi the result of sickness and misfortunes, or sombre reflections in the decline of life. Great as was the reputation he had acquired by his valuable labours, he was often known sincerely to declare, among his private friends, that he would willingly renounce all kind of literary honours for the pleasure of being assured, that his sacred works had in any degree promoted the cause of Christianity. Shortly after the last edition of the History now before us, which he had personally superintended, though at a very advanced age, in the year 1809, at Bassano, Lanzi's health began rapidly to decline, and he prepared with perfect composure to meet the termination of his earthly career. He had already attained his seventy-eighth year; but his mind preserved its usual tone and vigour, though he could with difficulty pace his apartment. He wrote letters, and even pursued his beloved studies on the day of his decease, which took place on Sunday, the 30th of March, 1810, occasioned by a fresh attack of apoplexy. [Pg lv]For this he had long been prepared, and only the preceding evening had taken an affectionate leave of his friends and domestics, thanking the Cav. Boni for his kindness in continuing so long to mount his staircase to visit an old man. [Pg lvi] [Pg 1] HISTORY OF PAINTING IN LOWER ITALY. BOOK I. FLORENTINE SCHOOL. EPOCH I. Origin of the revival of Painting—Association and methods of the old Painters—Series of Tuscan Artists before the time of Cimabue and Giotto. SECT. I. That there were painters in Italy, even during the rude ages, is attested not only by historians,[26] but by several pictures which have escaped the ravages of time; Rome retains several ancient specimens.[27] Passing over her cemeteries, which have handed down to us a number of Christian monuments, part in specimens of painted glass, [Pg 2]scattered through our museums, and part in those of parietal histories, or walled mosaic, it will be sufficient to adduce two vast works, unrivalled by any others, that I know of, in Italy. The first is the series of the Popes, which in order to prove the succession of the papal chair, from the prince of the Apostles down to the time of St. Leo, this last holy pontiff caused to be painted; a work of the fifth century, which was subsequently continued until our own times. The second is the decoration of the whole church of San Urbano, where there are several evangelical acts represented on the walls, along with some histories of the Titular Saint and St. Cecilia, a production which, partaking in nothing either of the Greek lineaments or style of drapery, may be attributed more justly to an Italian pencil, which has subscribed the date of 1011.[28] Many more might be pointed out, existing in different cities; as for instance the picture at Pesara, of the patron saints of the city, illustrated by the celebrated Annibale Olivieri, which is earlier than the year 1000; those in the vaults of the cathedral at Aquileja,[29] the picture [Pg 3]at Santa Maria Primerana at Fiesole, which seems the work of that or the succeeding age;[30] and the picture at Orvieto which was formerly known by the name of S. Maria Prisca, but is now generally called S. Brizio.[31] I say nothing of the figures of the virgin formerly ascribed to St. Luke, and now supposed to be the production of the eleventh or twelfth century, as I shall have to treat of them at the opening of the third book. The painters of those times were, however, of little repute; they produced no illustrious scholars, no work worthy of marking an era. The art had gradually degenerated into a kind of mechanism, which, after the models afforded by the Greek workers in mosaic employed in the church of St. Mark, at Venice,[32] invariably exhibited the same legends, in which nature appeared distorted rather than represented. It was not till after the middle of the thirteenth century that any thing better was attempted; and the improvement of sculpture was the first step towards the formation of a new style. [Pg 4]The honour of this is due to the Tuscans; a nation that from very remote antiquity disseminated the benign light of art and learning throughout Italy; but it more especially belongs to the people of Pisa. They taught artists how to shake off the trammels of the modern Greeks, and to adopt the ancients for their models. Barbarism had not only overwhelmed the arts, but even the maxims necessary for their re-establishment. Italy was not destitute of fine specimens of Grecian and Roman sculpture; but she had long been without an artist who could appreciate their value, much less attempt to imitate them. Little else was executed in those dark ages but some rude pieces of sculpture, such as what remains in the cathedral of Modena, in San Donato at Arezzo, in the Primaziale at Pisa,[33] and in some other churches where specimens are preserved on the doors or in [Pg 5]the interior. Niccola Pisano was the first who discovered and pursued the true path. There were, and still are, some ancient sarcophagi in Pisa, especially that which inclosed the body of Beatrice, mother of the Countess Matilda, who died in the eleventh century. A chase, supposed to represent that of Hippolytus, is sculptured on it in basso relievo, which must be the production of a good school; being a subject which has been often delineated by the ancients on many urns still extant at Rome.[34] This was the model which Niccola selected, from this he formed a style which participated of the antique, especially in the heads and the casting of the drapery; and when exhibited in different Italian cities "it inspired artists with a laudable emulation to apply to sculpture more assiduously than they had before done," as we are informed by Vasari. Niccola did not attain to what he aspired. The compositions are sometimes crowded, the figures are often badly designed, and shew more diligence than expression. His name, however, will always mark an era in the [Pg 6]history of design, because he first led artists into the true path by the introduction of a better standard. Reform in any branch of study invariably depends on some rule, which, promulgated and adopted by the schools, gradually produces a general revolution in opinion, and opens a new field to the exertions of a succeeding age. About 1231, he sculptured at Bologna the urn of San Domenico, and from this, as a remarkable event, he was named "Niccola of the Urn." He afterwards executed in a much superior style, the Last Judgment, for the cathedral of Orvieto, and the pulpit in the church of San Giovanni, at Pisa; works that demonstrate to the world that design, invention, and composition, received from him a new existence. He was succeeded by Arnolfo Florentino, his scholar, the sculptor of the tomb of Boniface VIII. in San Pietro at Rome; and by his son Giovanni, who executed the monuments of Urban IV. and of Benedict IX. in Perugia. He afterwards completed the great altar of San Donato, at Arezzo, the cost of which was thirty thousand gold florins; besides many other works which remain in Naples and in several cities of Tuscany. Andrea Pisano was his associate, and probably also his disciple in Perugia, who, after establishing himself in Florence, ornamented with statues the cathedral and the church of San Giovanni in that city; and in twenty-two years finished the great gate of bronze "to which we are indebted for all that is excellent, difficult, [Pg 7]or beautiful in the other two, which are the workmanship of succeeding artists." He was, in fact, the founder of that great school that successively produced Orcagna, Donatello, and the celebrated Ghiberti, who fabricated those gates for the same church, which Michelagnolo pronounced worthy to form the entrance of Paradise. After Andrea, we may notice Giovanni Balducci, of Pisa, whose era, country, and style, all lead us to suppose him one of the same school. He was an excellent artist, and was employed by Castruccio, Lord of Lucca, and by Azzone Visconti, Prince of Milan; where he flourished, and left, among other monuments of his art, the tomb of San Pietro Martire, at S. Eustorgio, which is so highly praised by Torre, by Lattuada, and by various other learned illustrators of Milanese antiquities.[35] Two eminent artists, natives of Siena, proceeded from the school of Gio. Pisano, namely, the two brothers, Agnolo and Agostino, who are greatly commended by Vasari as improvers of the art. Whoever has seen the sepulchre of Guido, bishop of Arezzo, which is decorated with an infinity of statues and [Pg 8]basso-relievos, representing passages of his life, will not only find reason to admire in them the design, which was the work of Giotto, but the execution of the sculpture. The brothers also executed many of their own designs in Orvieto, in Siena, and in Lombardy, where they brought up several pupils, who for a long period pursued their manner, and diffused it over Italy. To the improvement of sculpture succeeded that of mosaic, through the efforts of another Tuscan, belonging to the order of minor friars, named Fra Jacopo, or Fra Mino da Turrita, from a place in the territory of Siena. It is not known whether he was instructed in his art by the Romans or by the Greek workers in mosaic,[36] but it is well ascertained that he very far surpassed them. On examining what remains of his works in Santa Maria Maggiore at Rome, one can hardly be persuaded that it is the production of so rude an age, did not history constrain us to believe it. It appears probable that he took the ancients for his models, and deduced his rules from the more chaste [Pg 9]specimens of mosaic, still remaining in several of the Roman churches, the design of which is less crude, the attitudes less forced, and the composition more skilful, than were exhibited by the Greeks who ornamented the church of San Marco, at Venice. Mino surpassed them in every thing. From 1225, when he executed, however feebly, the mosaic of the tribune of the church of San Giovanni, at Florence, he was considered at the head of the living artists in mosaic.[37] He merited this praise much more by his works at Rome, and it appears that he long maintained his reputation. Vasari has not been sufficiently just to the fame of Turrita, in noticing him only casually in the life of Tafi, but the verses he recites, and the commissions he mentions, demonstrate how greatly Turrita was esteemed by his contemporaries. It is maintained that he was also a painter, but this is a mistake which will be cleared up in the Sienese school, and both there and elsewhere I shall question the authority of any author who either greatly commends or underrates him. From a deficiency of specimens, like those above recorded, painting long remained in a more rude state than mosaic, and was very far behind sculpture. But we must not imagine, that at the birth of Cimabue, in 1240, the race of artists was entirely extinct, as erroneously asserted by Vasari: [Pg 10]this must be deemed an exaggeration, for he himself has recounted several sculptors, architects, and painters then living; and the general scope of his less cautious expressions, against which so many writers have inveighed, and still continue to declaim, favours this opinion. I shall be constrained to advert, in almost every book, to their accusations, and to produce the names of the artists who then lived. I shall commence with those who then flourished in Tuscany. The city of Pisa, at this time, had not only painters, but a school for each of the fine arts[38]. The distinguished Signor Morrona, who has illustrated the Pisan antiquities, deduces its origin immediately from Greece. The Pisans, already very powerful by sea and land, having resolved in 1063 to erect the vast fabric of their cathedral, had drawn thither artists in miniature, and other painters, at the same time with Buschetto the architect, and these men educated pupils for the city. The Greeks at that time were but ill qualified to instruct, for they knew little. Their first pupils in Pisa seem to have been a few anonymous artists, some of whose miniatures and rude paintings are still in existence. A parchment, containing the exultet, as usually sung on Sabbato Santo, is in the cathedral, and we may here and there observe, painted on it, figures in miniature, with plants and animals: it is a relique of the early part of the twelfth century, yet a specimen of art not altogether barbarous. There are likewise some [Pg 11]other paintings of that century in the same cathedral, containing figures of our Lady, with the holy infant on her right arm: they are rude, but the progress of the same school may be traced from them to the time of Giunta. This artist lately received a fine eulogium, among other illustrious Pisans, from Signor Tempesta, and he was fully entitled to it from the more early historians. His country possesses none of his undoubted pictures, except a crucifixion with his name, which is believed to be among his earliest productions, a print from which may be found in the third volume of Pisa Illustrata. He executed better pictures in Assisi, where he was invited to paint by Frat' Elia di Cortona, superior of the Minori, about the year 1230. From thence we are furnished with notices of his education, which is thus described by P. Angeli, the Historian of that cathedral: "Juncta Pisanus ruditer à Græcis instructus, primus ex Italis, artem apprehendit circa An. Sal. 1210." In the church of the Angioli there is a better preserved work of the same master; it is a crucifixion, painted on a wooden cross; on the lateral edges and upper surface of which our Lady is represented, with two other half-length figures, and underneath the remains of an inscription are legible, which having copied on the spot, I do not hesitate to publish with its deficiencies now supplied: [Pg 12]I supply Juntini, because Signor da Morrona asserts,[39] that about this time, a Giunta da Giuntino is mentioned in the records of Pisa, whom by the aid of the Assisi inscription, I conjecture to be the painter we have now under notice. The figures are considerably less than life; the design is dry, the fingers excessively long, but these are vitia non hominum sed temporum; in short, this piece shews a knowledge of the naked figure, an expression of pain in the heads, and a disposition of the drapery, greatly superior to the efforts of the Greeks, his contemporaries. The handling of his colours is strong, although the flesh inclines to that of bronze; the local tints are judiciously varied, the chiaroscuro even shews some art, and the whole is not inferior, except in the proportions, to crucifixions with similar half figures usually ascribed to Cimabue. He painted at Assisi another crucifixion, which is now lost, to which may be added, a portrait of Frat' Elia, with this inscription, "F. Helias fecit fieri. Jesu Christe pie miserere precantis Heliæ. Juncta Pisanus me pinxit, An. D. 1236. Indit. IX." The inscription has been preserved by P. Wadingo in his annals of the Franciscan order for that year, and the historian describes the crucifixion as affabre pictum. The fresco works of Giunta were executed in the great church of the Franciscans, and according to Vasari he was there assisted by certain[Pg 13] Greeks. Some busts and history pieces still remain in the gallery and the contiguous chapels, among which is the crucifixion of San Pietro, noticed in the Etruria Pittrice. Some believe that those paintings have been here and there injudiciously retouched, and this may serve to excuse the drawing, which may have been altered in many places, but the feebleness of the colouring cannot be denied. When they are compared with what Cimabue executed there about forty years afterwards, it seems that Giunta was not sufficiently forcible in this species of painting; perhaps he might have improved, but he is not mentioned after 1235; and it is conjectured that he died while yet a young man, at a distance from his native country. I am induced to believe so from observing, that Giunta di Giuntino is noticed in the records of Pisa, in the early part of that century, but not afterwards; and that Cimabue was sent for to paint the altar-piece and portrait of San Francesco of Pisa, about the year 1265, before he went to Assisi. It is more likely that Giunta would have executed this, had he returned home from that city, where he had seen and perhaps painted the portrait of the Holy Father.[40] [Pg 14]From this school the art is believed to have spread in these early times over all Tuscany, although it must not be forgotten that there were miniature painters there as well as in the other parts of Italy, who, transferring their art from small to large works, like Franco of Bologna, betook themselves, and incited others to painting on walls and on panel. Whatever we may choose to believe, Siena, at this period, could boast her Guido, who painted from the year 1221, but not entirely in the manner of the Greeks, as we shall find under the Sienese school. Lucca possessed in 1235 one Bonaventura Berlingieri. A San Francesco painted by him still exists in the castle of Guiglia, not far from Modena, which is described as a work of great merit for that age.[41] There lived another artist about the year 1288, known by his production of a crucifixion which he left at San Cerbone, a short distance from the city with this inscription; "Deodatus filius Orlandi de Luca me pinxit, A. D. 1288." Margaritone of Arezzo was a disciple and imitator of the Greeks, and by all accounts he must have been born several years before Cimabue. He painted on canvas, and if we may credit Vasari, made the first discovery of a method of rendering his pictures more durable, and less liable to cracking. He extended canvas on the panel, laying it down with a strong [Pg 15]glue, made of shreds of parchment, and covered the whole with a ground of gypsum, before he began to paint. He formed diadems and other ornaments of plaster, giving them relief from gilding and burnishing them. Some of his crucifixions remain in Arezzo, and one of them is in the church of the Holy Cross at Florence, near another by Cimabue; both are in the old manner, and not so different in point of merit, but that Margaritone, however rude, may be pronounced as well entitled as Cimabue to the name of painter. While the neighbouring cities had made approaches towards the new style, Florence, if we are to credit Vasari and his followers, was without a painter; but subsequent to the year 1250 some Greek painters were invited to Florence by the rulers of the city, for the express purpose of restoring the art of painting in Florence, where it was rather wholly lost than degenerated. To this assertion I have to oppose the learned dissertation of Doctor Lami, which I have just commended. Lami observes, that mention is made in the archives of the chapters of one Bartolommeo who painted in 1236, and that the picture of the Annunciation of our Lady, which is held in the highest veneration in the church of the Servi, was painted about that period. It is retouched in some parts of the drapery; it possesses, however, much originality, and for that age is respectably executed. When I prepared my first edition I had no knowledge of the work of Lami, which was not then published, [Pg 16]and hence was unable to proceed further than to refute the opinion of those who ascribed this sacred figure to Cavallini, a pupil of Giotto. I reflected that the style of Cavallini appeared considerably more modern in his other works which I had examined at Assisi, and at Florence; yet, various artists whom I consulted, and among others Signor Pacini, who had copied the Annunciation, disputed with me this diversity of style. I further adduced the form of the characters written there in a book, Ecce Virgo concipiet, &c. which resemble those of the thirteenth century; nor have they that profusion of lines which distinguishes the German, commonly denominated the Gothic character, which Cavallini and other pupils of Giotto always employed. I rejoice that the opinion of Lami confirms my conjecture, and stamps its authenticity; and it seems to me highly probable that the Bartolommeo, whom he indicates, is the individual to whom the memorandums of the Servi ascribe the production of their Annunciation about the year 1250. The same religious fraternity preserve, among their ancient paintings, a Magdalen, which appears from the design and inscription, a work of the thirteenth century; and we might instance several coeval pictures that still exist in their chapter house, and in other parts of the city.[42] [Pg 17]Having inserted these notices of ancient painters, and some others, which will be found scattered throughout the work, I turn to Vasari, and to the accusations laid to his charge. He is defended by Monsignor Bottari in a note at the conclusion of the life of Margaritone, taken from Baldinucci. He affirms, from his own observation, "That though each city had some painters, they were all as contemptible and barbarous as Margaritone, who, if compared to Cimabue, is unworthy of the name of painter." The examples already cited do not permit me to assent to this proposition; even Bottari himself will scarcely allow me to do so, as he observes, in another note on the life of Cimabue, "That he was the first who abandoned the manner of the Greeks, or at least who avoided it more completely than any other artist." But if others, such as Guido, Bonaventura, and Giunta, had freed themselves from it before his time, why are they not recorded as the first, in point of time, by Vasari? Did not their [Pg 18]example open the new path to Cimabue? Did they not afford a ray of light to reviving art? Were they not in painting what the two Guidos were in poetry, who, however much surpassed by Dante, are entitled to the first place in a history of our poets? Vasari would therefore have acted better had he followed the example of Pliny, who commences with the rude designers, Ardices of Corinth, and Telephanes of Sicyon; he then minutely narrates the invention of Cleophantes the Corinthian, who coloured his designs with burnt earth; next, that of Eumarus the Athenian, who first represented the distinction of age and sex. Then comes that of Cimon of Cleonæ, who first expressed the various attitudes of the head, and aimed at representing the truth, even in the joints of the fingers and the folds of the garments. Thus, the merits of each city, and every artist, appear in ancient history; and it seems to me just, that the same should be done, as far as possible, in modern history. These observations may, at present, suffice in regard to a subject that has been made a source of complaint and dispute among many writers. Nevertheless it cannot be denied that there is no city to which painting is more indebted than to Florence, nor any name more proper to mark an epoch, whatever may be the opinion of Padre della Valle,[43] than that of Cimabue. The artists [Pg 19]whom I have before mentioned had few followers; their schools, with the exception of that of Siena, languished, and were either gradually dispersed, or united themselves to that of Florence. This school in a short time eclipsed every other, and has continued to flourish in a proud succession of artists, uninterrupted even down to our own days. Let us then trace it from its commencement. Giovanni Cimabue, descended from illustrious ancestors,[44] was both an architect and a painter. That he was the pupil of Giunta is conjectured in our times, only because the Greeks were less skilful [Pg 20]than the Italians. It ought to be a previous question, whether the supposed scholar and master ever resided in the same place, which it would seem, after the observations before adduced, can scarcely be admitted.[45] It appears from history, that he learnt the art from some Greeks who were invited to Florence, and painted in S. Maria Novella, according to Vasari. It is an error to assert that they painted in the chapel of the Gondi, which was built a century after, together with the church; it was certainly in another chapel, under the church, where those Greek paintings were covered with plaister, and their place supplied by others, the work of a painter of the thirteenth century.[46] Not long since a part of the new plaister fell down, and some of the very rude figures of those [Pg 21]Greek painters became again visible. It is probable that Cimabue imitated them in early life, and perhaps at that time painted the S. Francesco and the little legends which surround it in the church of S. Croce. But, if I mistake not, it is doubtful who painted this picture; at least it neither has the manner nor the colouring of the works of Cimabue, even when young. I may refer to the S. Cecilia, with the implements of her martyrdom, in the church dedicated to that Saint, and which was afterwards removed to that of San Stefano, a picture greatly superior to that of S. Francesco. However this may be, like other Italians of his age, Giovanni got the better of his Greek education, which seems to have consisted in one artist copying another without ever adding any thing to the practice of his master. He consulted nature, he corrected in part the rectilinear forms of his design, he gave expression to the heads, he folded the drapery, and he grouped the figures with much greater art than the Greeks. His talent did not consist in the graceful. His Madonnas have no beauty, his angels in the same piece have all the same forms. Wild as the age in which he lived, he succeeded admirably in heads full of character, especially in those of old men, impressing an indescribable degree of bold sublimity, which the moderns have not been able greatly to surpass. Vast and inventive in conception, he executed large compositions, and expressed them in grand proportions. His two great altar-pieces of the Madonna, [Pg 22]at Florence, the one in the church of the Dominicans, the other in that of the Trinity, with the grand figures of the prophets, do not give so good an idea of his style as his fresco paintings in the church of Assisi, where he appears truly magnificent for the age in which he lived. In these histories of the Old and New Testament, such as remain, he appears an Ennius, who, amid the rudeness of Roman epic poetry, gave flashes of genius not displeasing to a Virgil. Vasari speaks of him with admiration for the vigour of his colouring, and justly so of the pictures in the ceiling. They are still in a good state of preservation, and although some of the figures of Christ, and of the Virgin in particular, retain much of the Greek manner, others representing the Evangelists, and Doctors instructing the Monks of the Franciscan Order, from their chairs, exhibit an originality of conception and arrangement that does not appear in contemporary works. The colouring is bold, the proportions are gigantic even in the distance, and not badly preserved; in short, painting may there be said to have almost advanced beyond what the mosaic worker at first attempted to do. The whole of these, indeed, are steps in the progress of the human intellect not to be recounted in one history, and form beyond question the distinguishing excellence of the Florentine artist, when put into competition with either the Pisans or the Sienese. Nor do I perceive how, after the authority of Vasari, who assigns the work of [Pg 23]the ceiling to Cimabue, confirmed by the tradition of five centuries, P. della Valle is justified at this day, in ascribing that painting to Giotto, a painter of a milder genius. If he was induced to prefer other artists to Cimabue, because they gave the eyes less fierceness, and the nose a finer shape, these circumstances appear to me too insignificant to degrade Cimabue from that rank which he enjoys in impartial history.[47] He has moreover asserted, that Cimabue neither promoted nor injured the Florentine school by his productions, a harsh judgment, in the opinion of those who have perused so many old writers belonging to the city who have celebrated his merits, and of those who have studied the works of the Florentine artists before his time, and seen how greatly Cimabue surpasses them. If Cimabue was the Michelangiolo of that age, [Pg 24]Giotto was the Raffaello. Painting, in his hands, became so elegant, that none of his school, nor of any other, till the time of Masaccio, surpassed, or even equalled him, at least in gracefulness of manner. Giotto was born in the country, and was bred a shepherd; but he was likewise born a painter; and continually exercised his genius in delineating some object or other around him. A sheep which he had drawn on a flat stone, after nature, attracted the notice of Cimabue, who by chance passed that way: he demanded leave of his father to take him to Florence, that he might afford him instruction; confident, that in him, he was about to raise up a new ornament to the art. Giotto commenced by imitating his master, but quickly surpassed him. An Annunciation, in the possession of the Fathers of Badia, is one of his earliest works. The style is somewhat dry, but shews a grace and diligence, that announced the improvement we afterwards discern. Through him symmetry became more chaste, design more pleasing, and colouring softer than before. The meagre hands, the sharp pointed feet, and staring eyes, remnants of the Grecian manner, all acquired more correctness under him. It is not possible to assign the cause of this transition, as we are able to do in the case of later painters; but it is reasonable to conclude that it was not wholly produced, even by the almost divine genius of this artist, unaided by adventitious circumstances. There is no necessity for sending [Page 25]him, as some have done, to be instructed at Pisa; his history does not warrant it, and an historian is not a diviner. Much less ought we to refer him to the school of F. Jacopo da Turrita, and give him Memmi and Lorenzetti for fellow pupils, who are not known to have been in Rome when F. Jacopo was distinguished for his best manner. But P. della Valle thinks he discovers in Giotto's first painting, the style and composition of Giunta, (Preface to Vasari, p. 17,) and in the pictures of Giotto at S. Croce, in Florence, which "he has meditated upon a hundred times," he recognizes F. Jacopo, and finds "reason for opining" that he was the master of Giotto. (Vide tom. ii. p. 78.) When a person becomes attached to a system, he often sees and opines what no one else can possibly see or opine. In the same manner Baldinucci wished to refer to the school of Giotto, one Duccio da Siena, Vital di Bologna, and many others, as will be noticed; and he too argues upon a resemblance of style, which, to say truth, neither I nor any one I know can perceive. If I cannot then agree with Baldinucci, can I value his imitator? and more particularly as it is no question here of Vitale, or any other artist of mediocrity, almost unknown to history, but of Giotto himself. Is it likely, with a genius such as his, and born in an age not wholly barbarous, with the advantages enjoyed under Cimabue, especially in point of colouring, that he would take Giunta for his model, or listen to the instruction of Fra Mino, in order to excel his [Pg 26]master. Besides, what advantage can be obtained from thus disturbing the order of chronology, violating history, and rejecting the tradition of Giotto's native school, in order to account for his new style? It is most probable that, as the great Michelangiolo, by modelling and studying the antique, quickly surpassed in painting his master, Ghirlandaio, the same occurred with reg
5438	dbpedia	1	92	https://libguides.stthomas.edu/filmographies/Italian	en	Research and Course Guides at University of St. Thomas	https://www.stthomas.edu…avicon-32x32.png	https://www.stthomas.edu…avicon-32x32.png	[ "https://static.assets.libraries.stthomas.edu/site/_headers/spacer.png", "https://syndetics.com/index.aspx?isbn=1558904255/LC.GIF&client=uofstthom", "https://syndetics.com/index.aspx?isbn=1592413307/LC.GIF&client=uofstthom" ]	[]	[]	[ "" ]	null	[ "Karen Brunner" ]	null	The following filmographies are a compilation of films held at OSF Library. They include documentaries and feature films in the selected subject areas. Feature films and documentaries regarding Italy	en	//www.stthomas.edu/favicon-32x32.png		https://libguides.stthomas.edu/filmographies/Italian	8 1/2 Call Number: PN1997 .O88 2001 Guido Anselmi is a film director overwhelmed by a large production he is working on. He is hassled by producers, his wife, his mistress, and all while he is struggling to find the inspiration to finish his film. The stress eventually forces Anselmi into a psychological world where fantasy and memory overwhelm his present reality. Agata e la Tempesta Call Number: PN1997 .A366 2005 In Genoa, Agata runs her bookstore and, without meaning to, causes light bulbs and appliances to burn out. At the same time that a younger man declares his attraction to her, her brother Gustav, a morose architect, a distant husband, and an indifferent father, discovers that he was adopted and has a half-brother in the Po Valley. To Agata's great pain, she sees her young man with another woman - plus, Gustav cuts himself off from her and from his wife and son. Agata goes to the Po Valley, meets Gustav's brother and the brother's wife, and tries to reconnect. Alza la Testa Call Number: PN1997 .A4548 2010 Region 2 Mero, a skilled shipyard worker, is a single father. His son Lorenzo, born from a relationship with an Albanian girl, is his only reason for living. The father dreams that the boy will become a champion boxer, to make up for his own anonymous career as an amateur in the ring. He puts him through a tough training program, teaching him day after day to throw punches and protect himself from life's low blows. The balance of this relationship is disturbed by the return of Lorenzo's mother Denisa and by the son's meeting with Ana. Mero's trials are not over and he must face up to pain, his prejudices and the remoteness of Italy's north east. Artemisia Call Number: ND623.G364 A7 2001 In French Artemisia Gentileschi is forbidden to fully pursue her own passion of painting. She convinces a renowned artist to tutor her. He not only liberates her into the world of art but initiates her into the world of sex and love. Baarìa Call Number: PN1997 .B314 2011 The course of a lifetime reflects the evolution of a country as Peppino takes work as a shepherd to support his family in the Sicilian town of Bagheria, nicknamed "Baarìa" by its residents. During the next five decades he experiences the love of his life, undergoes a political awakening and discovers a destiny he could have never imagined. Baciami Ancora Call Number: PN1997 .B337 2010 Region 2 Set in Rome, Italy, this film looks at the lives of Carlo, Giulia, and their friends some 10 years after the events of "L'ultimo bacio." Over the years since Carlo and Giulia were married, they had a beautiful baby girl, Sveva, but soon left one another after a series of betrayals and mutual resentments. Now Carlo is single, turning forty, and has difficulties having long-lasting relationships with women, while Giulia and her daughter live with a new boyfriend named Simone, a penniless actor. Adriano returns from a long journey, after serving two years in jail in Cuba for trying to smuggle cocaine into Italy. Now he intends to make up for lost time with his son, who has not heard from him for ten years and who lives with his mother Livia, who is romantically involved with Paul. Bella addormentata Call Number: PN1997 .B446 2014 Assisted suicide made national headlines in Italy when the decision was made to end the life of Eluana Englaro, after she spent seventeen years in a vegetative state after a car accident. This drama, set suring the last six days of Englaro's life, affects the lives of four people struggling with their own beliefs. A senator, forced to vote for a law with which he profoundly disagrees, is torn between his conscience and his loyalty toward the leaders of his party. His daughter, a right-to-life activist, falls in love with an advocate for assisted suicide. A famous actress turns towards faith and miracle cures in the hope of bringing her daughter out of an irreversible coma. And Rossa is saved by the doctor Pallido and reawakens to life. Benvenuti al Sud Call Number: PN1997 .B463 2010 Region 2 Alberto, a postmaster trying to secure a transfer to Milan to please his wife, attempts a subterfuge which results in his banishment to a small town south of Naples. Culture shock ensues. Caos Calmo Call Number: PQ4882.E7675 C3 2010 After an eventful afternoon at the beach with his brother, Pietro, a successful executive, returns to his summer home only to discover that his wife has suddenly died. Devastated, he vows to be a source of stability for their ten-year-old daughter, Claudia, while trying to make sense of his loss. But in the meantime, his company is in the midst of a high-stakes merger, with Pietro's colleagues desperate to know which side he's on, and his volatile sister-in-law has unexpected news of her own. Caravaggio Call Number: ND623.C26 C3 2008 In English Set during the late Italian Renaissance in 17th-century Rome. Michelangelo da Caravaggio was rescued from the streets by the Catholic Church, in order to create Biblical paintings. However, Caravaggio did not adhere to his religious creations, but instead traveled among thieves and prostitutes, many of whom were his models, kept a deaf and mute child as a slave, squandered every penny he ever made, and ultimately killed a man in a brawl, eventually leading him to his life's own violent end. Cesare deve morire Call Number: PN1997 .C337 2013 As part of a rehabilitative prison program, inmates at a high-security prison in Rome prepare for a public performance of Shakespeare's "Julius Caesar." As they rehearse, the prisoners find that the classic play has both a striking resonance and contrast to their confined lives. Ciao Call Number: PN1997 .C50 2010 In English After his best friend Mark dies, Jeff decides to meet Andrea, an Italian man who Mark has been internet dating. The two strangers quickly bond and develop a meaningful friendship that changes their lives forever. Cinema Paradiso Call Number: PN1997 .C532 2006 A famous film director returns home to a Sicilian village for the first time after almost 30 years after receiving word from his aging mother that a mentor from his past has died. His return causes him to reminisce about his childhood at the Cinema Paradiso where his friend and mentor Alfredo, the projectionist, first brought about his love of films. Their bond was one that contained many highlights and tragedies, and shaped the way for a young boy to grow and move out of his rundown village to pursue a dream, which also meant leaving behind his teenage love, Elena. Clare and Francis Call Number: BX4700.F6 C6 2008 In English & Italian Francis renounces his inheritance of wealth to live the Gospel and serve the poor and outcasts. Clare reads deep into his heart and decides to follow him, leaving her home and family to give herself as the bride of Christ. Both found major religious orders and together they inspire many to follow their radical call to live the Gospel, and their impact has even reached across the centuries to change the world. Come te nessuno mai Call Number: PQ4913.U33 C6 2007 Restless Silvio and his close friend Ponzi find themselves in a desperate search for life and love, or at the very least, sex. When student radicals occupy their high school, Silvio and Ponzi join the melee--not for the politics, but for the chance to score. Caught between parents, protest, and the blind rush of a generation eager to stake its claim on the world, Silvio and Ponzi will not only confront history, but also the future of their friendship. Comizi d'amore Call Number: DG451 .C66 2003 A documentary featuring director Pier Paulo Pasolini asking questions about sex, love, and morality of a variety of people from all over Italy: he asks children where babies come from, young and old women if they are men's equals, men and women if a woman's virginity matters, how they view homosexuals, how sex and honor connect, if divorce should be legal, and if they support closing the brothels (the Merlina Act). It features interviews with psychologist Cesare Musatti and author Alberto Moravia. The Confessions Call Number: PQ4861.N295 C6 2017 A G8 meeting is being held at a luxury hotel where the world's most powerful economists are gathered to enact provisions that will influence the world economy. One guest is a mysterious Italian monk, Salus, invited by Daniel Rochè, the director of the International Monetary Fund. Rochè wants him to receive his confession--that night--in secret. The next morning, Rochè is found dead and Salus is now the main suspect in his death. Cosa Voglio Di Più Call Number: PN1997 .C6785 2010 A married woman becomes involved in a heated affair with a married waiter, and as their neatly ordered world falls apart, they are faced with a life-changing choice which neither is entirely prepared to make. Cosimo e Nicole Call Number: PN1997 .C6795 2013 Region 2 Cosimo and Nicole are a young couple in love. She is french and he is Italian, they live in Genoa where they work for a concert organizer, Paolo. On day a clandestine man from Guinea falls on the ground while working on the stage construction. Paolo knows that if the police finds the body his whole business will be in trouble as he also finds himself to be in big debt with the banks. Therefore he decides to hide the corpse of the worker in an abandoned place, helped by Nicole and Cosimo. Nicole though, cannot forget what happened and obsessed by her sense of guilt decides to do something about it. Cristo si è Fermato a Eboli Call Number: PQ4827.E93 C4 2003 The story follows a real life anti-fascist intellectual, Carlo Levi, into his forced exile in small, isolated village in a remote region of Southern Italy. The village is populated by inhabitants who barely survive on the meager harvest of the unyielding land. Eboli, the closest train station, is the last outpost of civilization (such as it is) before entering a world that has changed very little since the Middle Ages. The movie title, after the book written by Carlo Levi, expresses all the sense of abandon, neglect, desolation and human despair. According to the local tales, even Christ, in his southward journey, went no further than Eboli. Daughter of Mine Call Number: PN1997 .F542 2019 Shy, ten-year-old Vittoria has a close relationship with her loving mother, Tina ... but their life is upset when the young girl discover that local party girl Angelica ... is her birth mother. When Angelica is forced to move away because of financial troubles, she asks to become acquainted with Vittoria. Tina agrees, knowing the woman will leave town soon, but Vittoria and Angelica soon spend more time together against Tina's will Dillo Con Parole Mie Call Number: PN1997 .D55 2003 After breaking up with her boyfriend, 30-year-old Stefania vacations on the Greek "Isle of Love", and reluctantly agrees to chaperone her precocious 15-year-old niece, Meggy. But Stefania doesn't know that Meggy plans to lose her virginity before the summer is over, and the guy she has her eye on is none other than Stefania's ex. Divorzio all'italiana Call Number: PQ4864.E23934 D5 2005 Ferdinando longs to marry his cousin Angela, but one obstacle stands in his way: his wife, Rosalia. His solution? Since divorce is illegal, he hatches a plan to lure his spouse into the arms of another and then murder her in a justifiable effort to save his honor. Duns Scoto Call Number: BX4705.D89 D8 2011 True story of the Franciscan priest and theologian who won a famous debate against the Dominicans in the 13th century in which he defended Our Lady's privilege of her Immaculate Conception, laying the groundwork for the Church to later define that as a dogma of the Catholic faith. Edith Stein: The Seventh Chamber Call Number: BX4705.S814 E3 2010 A portrayal of the life of Jewish philosopher, Catholic convert and Carmelite martyr, Edith Stein, capturing her interior struggles, as well as the great conflicts from her decision to convert to Catholicism. Influenced by the writings of St. Teresa of Avila, she joined the Carmelites and took the name of Teresa Benedicta of the Cross, was put to death in Auschwitz in 1942, and canonized by John Paul II in 1998. Enrico IV Call Number: PQ4835.I7 E5 2000 After a modern aristocrat falls off his horse, he believes that he is Henry IV, Emperor of the Holy Roman Empire. For years, everyone around him adapts to this fantasy, dressing and acting accordingly. Then one day, some friends try to cure "Henry." Fate Ignoranti Call Number: PN1997 .F38 2003 Antonia and her husband Massimo have been happily married for the better part of 10 years when a sudden and tragic accident kills Massimo. While going through her husband's possessions, Antonia discovers that her beloved Massimo has had a secret life for the last seven years. Ferdinando e Carolina Call Number: PQ4883.E7 F4 2006 After an arranged marriage, King Ferdinando and Carolina discover that the one thing they have in common is sexual desire. The sovereigns begin to lapse in their reigning duties, oblivious to the tide of revolution threatening to tear France apart. Finestra di fronte Call Number: PN1997.F56 2004 A young working-class wife and mother, Giovanna, has no time for the senile elderly man her husband has rescued from the streets. But as she uncovers the stranger's secrets, it unlocks a freedom within her heart she never expected; a freedom that will lead her to the arms of a neighbor she secretly adores, and to fulfillment her husband and family cannot provide. Fiorile Call Number: PN1997 .F565 2008 The Benedetti family has been haunted by a curse for generations. On a long drive to visit their grandfather in Tuscany, Luigi Benedetti tells his children the mysterious story of their ancestors -- a tale filled with forbidden love, passion, vengeance, and betrayal. Fuori dal Mondi Call Number: PN1997 .F86 2002 Caterina, a beautiful young nun, is about to take her final vows. But her life changes when she takes in an abandoned baby. As she seeks the baby's family, she meets Ernesto. Together, they seek the truth about the baby, and re-evaluate their own lives. Germania, Anno Zero Call Number: PN1997 .G47 2002 12-year-old Edmund Koehler struggles for survival. Among the nine people he lives with are: a father, who is suffering from malnutrition and a fatal illness; a brother, who is a former Nazi soldier hiding to avoid arrest; and a sister, who has turned to prostitution. Scouring the rubble-strewn city for food, money, and cigarettes, he comes upon a former teacher, Herr Enning, who evinces a barely restrained sexual attraction to the boy while providing him with records of Hitler's speeches that can be bartered on the black market. He also drums into the boy a classic piece of Nazi propaganda about the importance of having the courage to let the weak be destroyed. Under his influence, the confused young protagonist heads down a tragic path. Gianni e le donne Call Number: PN1997 .G53 2012 A middle-aged retiree has become invisible to all the women of Rome, regardless of age or relation. He contends with a demanding mother; a patronizing wife; a slacker daughter; and a wild party-girl neighbor who uses him, as a dog walker. Watching his codger friends snare girlfriends on the sun-kissed cobblestones of Trastevere, Giovanni tries his polite, utterly gracious best to generate some kind of extracurricular love life--with both hilarious and poignant results. Ginger & Fred Call Number: PQ4867.U3 G5 2007 Fellini's satirical attack on television in general and Italian TV in particular, portrays Amelia and Pippo, who wowed crowds with recreations of the dances of Fred Astaire and Ginger Rogers decades ago, reuniting for a nationwide TV special that features a list of guest stars that is both long and bizarre. Giorni e Nuvole Call Number: PN1997 .G56 2008 Well-to-do, sophisticated couple, Elsa and Michele, have a 20 year-old daughter, Alice, and enough money for Elsa to leave her job and fulfill an old dream of studying art history. After she graduates, however, their lives change. Michele confesses he hasn't worked in two months and was fired by the company he founded years ago. Elsa overcomes her initial shock by pouring extra energy into facing the crisis while Michele, exhausted by an unsuccessful job hunt, lets himself go, alternating between vivacity and apathy. The growing distance between them eventually leads to a break-up. Only when they part will they realize that they risk losing their most precious possession: the love that binds them. The Girl in the Fog Call Number: PQ4903.A666 R3 2019 Follows the sudden disappearance of Anna Lou, a 16-year-old girl from a small mountain village in the Italian Alps. Called to investigate the mystery is the enigmatic Detective Vogel ..., who soon realizes that this case is far from simple. Working against the clock and amidst an unprecedented and growing media frenzy, Vogel must make use of his unconventional methods to uncover the truth, in a town where motives are obscure, facts are distorted--and everyone could be a suspect. Habemus papam Call Number: PQ4876.I3143 H3 2012 At the Vatican, following the demise of the Pope, the conclave to elect his successor settles on Cardinal Melville. Caught off guard and unwilling to take the job, Melville panics as the faithful wait for the new Pope's appearance in St. Peter's Square. To prevent a worldwide crisis, the Vatican calls in an unlikely psychiatrist to find out what is wrong with Melville and get him to take the position. While the world waits outside, inside the Vatican Palace the therapist works desperately with Melville to rid him of his fears and reaffirm his duty to God. Happy family Call Number: PN1997 .H3733 2010 Region 2 Recently dumped screenwriter Ezio is having trouble writing a story about two neurotic families whose paths cross when their teenage children, Filipo and Marta, decide to marry. Filipo's parents and Marta's parents arrange to have dinner to meet for the first time, with hilarious consequences. Ezio soon writes himself into his script, and into a love story, while the characters bother him about having bigger and better roles! Harem suare Call Number: PQ4915.Z73 H3 2003 Region 2 In Baghdad in the early 1900's, a woman rises up through the ranks of power in the waning days of the Ottoman Empire. She and a eunuch plan an elaborate scheme for the release of the female slaves. Heaven Call Number: PN1997 .H42 2001 Philippa a British teacher living in Turin, Italy, has watched helplessly as her husband and friends have fallen victim to drug overdoses. To compound her desperation, the police -- who are complicit in the actions of Turin's biggest drug dealer -- have completely ignored Philippa's repeated offers of information. So, with the unexpected help of a sympathetic police officer, Philippa feels she has nothing to lose by taking divine justice into her own hands! I bambini ci guardano Call Number: PQ4847.I5 B3 2006 A four-year-old boy, Pricò, is trapped in a loveless family, with his suicidal father, his adulteress mother, and inattentive relatives. I cento passi Call Number: PQ4866.A87 C4 2001 Region 2 "One hundred steps" was the distance between the Impastatos' house and the house of Tano Badalamenti, an important Mafia boss, in the small Sicilian town of Cinisi. Based on the true story of Peppino Impastato, a left-wing activist, that in the late seventies repeatedly denounced Badalamenti crimes and the whole Mafia system using a small local radio station. In 1978 Peppino was killed by an explosion. The police archived the case as an accident or a suicide, which his friends never accepted. Ieri, oggi, domani Call Number: PQ4815.I48 I3 2011 Three different stories set throughout Italy. In the first vignette, a woman avoids jail time by pumping out babies with a willing accomplice; in the second, a pair of clandestine lovers are forced to work out their problems in a car; and in the third, a prostitute quits her best john for a wavering priest. I fidanzati Call Number: PQ4875.L65 F5 2003 In the industrial North, Giovanni is a skilled Milanese factory worker offered a promotion if he'll go to Sicily for 18 months to assist in a new department. His impending absence strains his already nearly wordless relationship with Liliana, his fiancée. Across this distance, can anything bring about a breakthrough? Do they have a future? I girasoli Call Number: PQ4867.U3 G5 2011 Mere days after marrying Giovanna, Antonio is called to the Russian front to fight for the Italian forces. Years after Antonio is reported missing in action, Giovanna travels to Russia to learn what happened to him, only to discover he's alive. Their reunion is bittersweet, however, as Antonio has married another woman. Il capitale umano Call Number: PS3551.M52 C3 2015 Hedge-fund manager Giovanni Bernaschi seemingly has it all. Meanwhile, real-estate agent Dino Ossola struggles to maintain his family's middle-class existence and faces even worse financial straits when his wife announces that she is pregnant with twins. Leveraging his daughter's relationships with Giovanni's son, Dino deceives the bank and manipulates his way into the Bernaschi hedge-fund. As the destinies of both families become further entwined, a fateful hit-and-run accident sets in motion a chain of events, triggering dangerous consequences that will change their lives forever. Il Casanova di Federico Fellini Call Number: PN1997.C372 2010 An episode tale which mostly takes place in 18th century Italy. Giacomo Casanova is a modestly wealthy adventurer who leads a futile existence; his only strengths lie in seduction and sexual performance. His life becomes increasingly meaningless as lovers slip away. The film is loosely based off of the biography by Giacomo Casanova himself, although, like all of Fellini's literary adaptations (post 8 1/2), the film is decorated with a wreathe of absurdity. Il Cielo Cade Call Number: PQ4873.A956 .C5 2003 In 1944, newly-orphaned sisters, Penny and Baby, come to live in the Tuscan villa of their aunt and uncle. Their uncle is a German-Jewish intellectual, and discourages the pro-Mussolini and fascist sympathies the girls inherited from their late father. Penny and Baby gradually make friends in their new surroundings and become somewhat smitten with their uncle; but as war rages around them, the family receives a warning from the local priest to flee to Switzerland as the Nazis make towards their town. Il Commissario Montalbano Call Number: PQ4863.A3894 D4 2010 Detective Salvo Montalbano and his police squad solve crimes in the town of Vigata, crossing paths with Mafia dons, priests, housewives, liars, and saints. He also wages a personal war with his own demons, which fight against his professional ideals and personal commitment to his long-distance girlfriend, Livia. Il compleanno Call Number: PN1997 .C662 2011 A group of old friends rent an Italian seaside villa to spend the afternoon together. Their reunion changes, however, when Shary and Diego's son David shows up and attracts everyone's attention. Even happily married psychiatrist Matteo finds himself drawn to David, although he carefully hides this from his wife. Soon a dangerous tension builds up, although the friends pretend nothing is wrong. Before it ends, this vacation will indelibly mark all of their lives. Il decameron Call Number: PQ4267.A1 D4 2012 Boccaccio's classic tales of passion brought to the screen. Among the stories are a man's exploits with a gang of robbers, a flock of randy nuns who sin with a gardener, and a pupil of the painter Giotto working on a massive fresco. Il Divo Call Number: PN1997 .D585 2009 Seven-time Italian prime minister Giulio Andreotti's long career was dogged by persistent accusations of conspiracy, Mafia connections and state-sponsored terror. This film explores the political machinations and criminal underworld surrounding this controversial figure. Il fiore delle mille e una notte Call Number: PQ4835.A48 F5 2012 A selection of erotic stories from "The Thousand and One Nights". The film focuses on the book's more erotic tales, framed by the story of a man's quest to reconnect with his beloved slave girl. Il generale Della Rovere Call Number: PQ4829.O575 G4 2009 Emanuele Bardone, a petty con man in wartime Genoa, fleeces his victims by posing as a colonel. Persuaded by the Nazis to impersonate a partisan leader they have killed, he assumes the admirable qualities of the heroic officer and the German plan backfires. Il giardino dei Finzi Contini Call Number: PQ4807.A79 G5 2001 Set in Italy in 1938, when Mussolini's anti-Semitic edicts began to isolate the Jews from their communities. Among them were the Finzi-Continis, an aristocratic Jewish family forced for the first time to acknowledge the world beyond its fenced garden. Il giovane Montalbano Call Number: PQ4863.A3894 G5 2012 In this prequel series to Detective Montalbano, watch the genesis of the friendships, the rivalries and the romance as the players arrive to take their places in the Sicilian town of Vigata. These stories set the stage for the group's transformation from rookie cops to the experienced crime-solving ensemble they are now. Il Postino Call Number: PQ8098.29.K3 A7 1995 Il sorpasso Call Number: PN1997 .S6738 2014 Roberto, a shy law student in Rome, meets Bruno, a forty-year-old exuberant, capricious man, who takes him for a drive through the Roman and Tuscany countries in the summer of 1962. They will spend two days together, meet both Roberto's and Bruno's family. The time Roberto spends with Bruno is a hilarious, but sometimes emotionally merciless accelerated maturization process. While Bruno's easy going "l'usage du monde" and societal success attract Roberto's great admiration, he also slowly realizes Bruno's hollowness, superficiality and unhappiness. Il Sud è niente Call Number: PN1997 .S8619 2016 Region 2 Grazia, a 17-year-old teenage girl, lives in a small town in the south of Italy. Her brother Pietro disappeared--emigrated to Germany--years ago; her father told her that he was dead and never wanted to talk about it. One night, after a fight, Grazia enters into the sea and sees a human figure whom she recognized as her brother. That night she decides to search for him, breaking the silence that her father has always held on to. Il Vangelo Secondo Matteo Call Number: PN1997 .V36 2003 The birth, life, teachings and death on the cross of Jesus Christ presented almost as a cinema-verité documentary. Pasolini's second feature ... is an attempt to take Christ out of the opulent church and present him as an outcast Italian peasant. Il villaggio di cartone Call Number: PQ4875.L65 V5 2012 Region 2 An elderly priest is devastated when his church is deconsecrated, leaving him without a role in life. It is not long before a group of illegal immigrants find shelter in the "church" and give the priest a new role and set of responsibilities. Incantato Call Number: PN1997 .I5315 2006 Nello is a shy and clumsy man devoted to the academic world. His lack of interest in women worries his father, who sends him to work at a school to find a wife. Nello finds himself at a dance where he meets and falls for a beautiful blind woman. The Inspector Vivaldi mysteries Call Number: PN1997 .I568 2013 Inspector Federico Vivaldi is an old-school cop in a new world. His son, Stefano, is also a cop, and father and son make a good team solving crimes together in the northeastern Italian city of Trieste. Together, they investigate cases ranging from insurance fraud to murder and human trafficking. Their toughest challenge involves the murder of a math professor who had been solving some equations linked to a long-ago kidnapping and murder. When Federico's best friend and former colleague gets called in as a suspect in the same cold case, it seems as if his world has turned inside out. Io e te Call Number: PQ4861.M54 I59 2013 Region 2 A 14-year-old pretends to go on a ski trip, but actually spends the week in isolation in his basement, escaping society's pressure. When his 25-year-old half-sister enters the basement, a few emotional and confronting days and nights ensue. Io Non Ho Paura Call Number: PQ4861.M54 I6 2004 While playing outside one day in a wheat field, nine-year-old Michele discovers Filippo, who is chained to the ground at the bottom of a hole. Michele witnesses town bad boy Felice nearby and suspects something bad is happening. Michele is unsure whom he should tell about his discovery, eventually spilling the tale to his closest friend. When Michele's parents learn of his discovery, they warn him to forget whatever he saw. Io sono l'amore Call Number: PN1997 .I63 2010 The Recchi family has undergone sweeping changes. Eduardo Sr. has named a successor to the reins of his company, and surprised everyone by splitting power between his son Tancredi and grandson Edo. But Edo had always dreamed of opening a restaurant with his friend Antonio. To make matters worse, the very foundation of the entire family may be totally shattered after Tancredi's wife Emma falls in love with Antonio and begins a love affair. Io sono Li Call Number: PN1997 .I635 2013 Shun Li works in a textile factory near Rome. She is suddenly transferred to work as a bartender at a pub in a small town along the Venetian Lagoon. The pub is the hangout of the local fishermen, including Bepi, a Slav immigrant nicknamed "The Poet." A friendship grows between them, but gossip soon threatens their innocent relationship; a bond that had once transcended two very different, yet not at all distant cultures. I racconti di Canterbury Call Number: PC947.9.P3 R3 2012 A selection of stories from Chaucer's "The Canterbury Tales". Shot in England, it offers an earthy re-creation of the medieval era. From the story of a nobleman struck blind after marrying a much younger and promiscuous bride, to a climactic trip to a hell populated by friars and demons. I soliti ignoti Call Number: PQ4869.N395 S6 2001 Five men conspire to burglarize a small-time jeweler's safe. When the time comes to carry out the scheme, the men become hopelessly clumsy and have to eventually give up and go home. I vitelloni Call Number: PQ4815.L23 V5 2004 This film details a year in the life of five young men lingering in post-adolescent limbo, dreaming of adventure and escape from their small town and struggling to find meaning in their lives. Jona che visse nella balena Call Number: PT5881.25.B39 L6 2007 Dubbed in English, Italian version unavailable Depicts a hope-filled view of the Holocaust from the perspective of a young Dutch boy, Jonah, who spends much of his childhood behind the bars of a Nazi concentration camp. Only through strength and perseverance does he emerge from the camp and grow. Kaos Call Number: PQ4835.I7 K3 2008 Magic, drama, horror and humor are all evoked in this adaptive collection of five tales of Sicilian peasantry, based on short stories by Luigi Pirandello. In "The Other Son," a mother spends her life waiting for news from two sons, emigrated to America, while ignoring her third. "Moonsickness" tells the tale of a newly-wed girl who discovers her husband acts strangely every full moon. "The Jar" tells the story of a wealthy man's brand new olive jar, which is repaired with the craftsman inside. The fourth vignette, "Requiem," tells the story of villagers banding together against their landlord. An epilogue is included, which centers on Pirandello's journey home. Each of four vignettes examines a varied point of view to convey a sense of understanding and compassion for ordinary people and their extraordinary plights. Kapò Call Number: PN1997 .K365 2010 The story of a Jewish girl from Paris sent to a concentration camp during World War II and her struggle to survive by stealing another's identity and becoming a warden. L'Albero Degli Zoccoli Call Number: PN1997 .A42 2004 Details the life of three peasant families in 19th century Italy. Evokes the time and place rather than telling a narrative. L'amore ritrovato Call Number: PQ4809.A679 A4 2010 Region 4 Set in Tuscany in 1936, this is the story of two lovers, Giovanni and Maria. Their first meeting, as teenagers, was a brief infatuation in the seaside town of Livorno, but it isn't until a chance encounter, years later, that their romance kindles. Giovanni, now settled in life as a bank worker with a wife and a young son, is transferred back to his hometown of Livorno, where he again meets Maria, who has always been in the back of his mind since their first encounter. They begin an affair, but the complications of their personal lives begin to take their toll on the relationship. L'Innocente Call Number: PQ4803.A3 I5 2009 After becoming bored with his timid wife, a wealthy aristocrat begins an exciting affair. Upon learning that his wife is having a torrid affair of her own, he is tormented by her infidelity and descends into madness, commiting a cruel and horrifying act. L'ora di punta Call Number: PN1997 .O722 2010 Filippo Costa rises through the ranks of the Financial Police via his own opportunity for corruption. But when he connects with an older widow, Filippo quickly becomes a part of Rome's social, financial, and political elite. In a nation that rewards ruthless ambition, what must one man ultimately sacrifice to build his own empire? L'ora di Religione Call Number: PN1997.O725 2006 A portrait of an artist who is forced to reconcile with his own atheism after receiving a shocking appeal from the Church requesting his participation in the canonization of his "saintly" mother. If she is to be ordained, the Church must prove that her violent death, at the hands of the most unlikely person, culminated with a vow of forgiveness for her murderer. Ernesto's relationship to the murderer provides the Church with its last chance of uncovering the truth, but he is reluctant to succumb to his family's pressure and schemes to make him take part in the beatification. Overwhelmed by the fact that he didn't sense the conspiracy beneath him, Ernesto is set adrift on a surreal odyssey. His memory of his mother (especially her smile) opens up a gaping chasm that forces him to reconsider the past and live the present differently. L'Ultimo Bacio Call Number: PN1997 .U48 2003 After Carlo's girlfriend, Giulia, announces to him that they're pregnant, Carlo realizes that he's just not ready to grow up and take on the responsibilities of a child, a wife, and a house. Carlo's life gets even more complicated when a younger woman, Francesca, begins to flirt with him. Through it all Carlo's three best friends, Adriano, Alberto, and Paolo, exhibit different stages of what it means to be an adult, helping Carlo along the way. L'ultimo pastore Call Number: DG655.6 .U48 2013 Renato Zucchelli is the last travelling shepherd left in Milan, and he has a dream: to lead his flock of sheep to the inaccessible city center to meet the children who have never seen him, showing them that dreams and freedom will always exist as long as there is still space to believe in a last shepherd. La Bestia nel Cuore Call Number: PQ4863.O423 B4 2006 When Sabina's father dies, she is left haunted by a terrible dream that becomes a living nightmare. She seeks out her only sibling, and discovers that their nightmares are shared and that life's intimacies are now met with fear and trepidation. When Sabina and Franco, her boyfriend, are surprised with news about their future, Sabina is forced to face her past. La bocca del lupo Call Number: HQ76.3.I8 B6 2010 Region 4 Charts the life and relationship of Enzo and Mary, a couple living in the slums of the Italian city of Genoa. The unlikely romance begins in prison, where Enzo, a macho hardman serving a long stretch for shooting a police officer, meets Mary Monaco, a transsexual inmate serving time for prostitution, who works in the laundry repairing clothes. Falling for each other very quickly, Mary promises to wait for Enzo once she gets out of prison. When she is released, Mary finds a home for them to share, but in the meantime, she becomes addicted to heroin. La carne Call Number: PN1997 .C3694 2017 Blu-ray & DVD Divorced piano player Paolo meets and falls in love with a most beauteously busty woman, Francesca, who uses her special powers to turn the man into her sex slave. While he is completely taken by his desire for her, she eventually gets bored and decides to leave him. Unfortunately for Francesca, Paolo loves her and has no intention of letting her go. La città delle donne Call Number: PN1997 .C5332 2016 n a railway coach, Snàporaz wakes from a nap and seduces a beautiful stranger. Then he follows her through a forest to a weird hotel where a feminist convention is being held. He is so unnerved by the vociferous hostility of the militants that he hides in the mansion of a female killer who has wooed and won a thousand hearts. Snàporaz will be forced to run the gauntlet before waking up and realizing that his adventure was only a crazy nightmare. La città senza notte Call Number: PN1997 .N543 2017 In English & Italian In the aftermath of the Fukushima nuclear incident, Mariko becomes unable to sleep. She therefore decides to move to Sicily to stay with Rocco. There she discovers that she is able to sleep again, but only when driven around at night, nurtured by the lights of the unknown city. The day thus becomes a new invigorating domain for her, an opportunity to rediscover and reinterpret the signs and meanings of her life through her skills of photography. La commare secca Call Number: PQ4862.E778 C6 2005 The brutalized corpse of a prostitute is found in a Roman park, along the banks of the Tiber River. The police round up and interrogate a handful of possible suspects who were in the park that night. Each has to explain why he is there. One by one, each account brings them closer to the killer. La Corsa dell'Innocente Call Number: PN1997 .C67 2003 A young Italian boy, the son of a brutal kidnapper, is the only survivor when his family is killed by a rival gang. The boy flees, pursued by the police and the killers, and searches for a new life with a loving family unlike his own and an end to his family's history of criminal behavior. La doppia ora Call Number: PQ4906.A12 D6 2012 Guido, a former cop, is a veteran of the speed-dating scene in Turin. But, much to his surprise, he meets Sonia, a chambermaid at a hotel. The two hit it off, and a passionate romance develops. After they leave the city for a romantic getaway in the country, things suddenly take a dark turn. Ladri di Biciclette Call Number: PQ4807.A74 L3 1998 Simple story of an unemployed man and his family living in war devastated Rome. The father finds a job pasting up posters and signs, work requiring a bicycle on which to get around. When his bicycle is stolen the father and his son are forced to steal one in desperation and are caught. This version includes the original U.S. theatrical trailer. La giusta distanza Call Number: PN1997 .G583 2008 Region 2 Giovanni, a late adolescent with a flair for journalistic correspondence, attaches himself to a big city paper and agrees to cover events that transpire in his Po River Valley hamlet. Meanwhile, the arrival in town of teacher Mara turns more than a few heads, including Giovanni's and that of Hassan, a local immigrant mechanic from Tunisia. Mara herself just happens to be single, but finds a dearth of acceptable suitors in the community, except for Guido, a bus driver; problem is, he's already romantically involved with another. Mara then finds Hassan spying through her window one night; she manages to overlook this, however, and then--on an ill-advised note--begins a romance with the mechanic, without recognizing the extent of what she's getting herself into. La Kryptonite Nella Borsa Call Number: PQ4863.O8873 K7 2012 Region 2 Set in 1970s Naples, bullied nine year-old Peppino is watching the world around him as his extended dysfunctional family change. Psychedelic flower power and hippie love is threatening the old traditional southern Italian family. Dad is having an affair and Mum has taken to her bed with depression. Super-mod brother and sister Titina and Salvatore take the boy under their wings, introducing him to demonstrations and love-ins, whilst caped superhero Gennaro visits Peppino even after being knocked down and killed by the number 12 bus. La Masseria della Allodole Call Number: PQ4861.R748 M3 2010 The Lark Farm tackles the Armenian genocide. The story concerns the Avakian clan. An Armenian family living an affluent lifestyle and periodically shuttling back and forth between their two comfortable homes, the Avakians feel convinced that the rising tide of Turkish hostility on the horizon means little to them and will scarcely affect their day to day. Indeed, the Avakians ignore the warning signs, and set about preparing for a family reunion with the impending visit of two well-to-do sons - landowner Aram, who resides in Turkey, and Assadour, a physician living in Venice. Lo and behold, these illusions come crashing down when a Turkish military regiment crops up at the house, annihilates every male member of the family and forces the ladies to trek off into the Syrian desert, where they will be left to rot. Meanwhile, a handsome Turkish officer falls for Aram's daughter and makes an aggressive attempt to deliver her and her family from certain death, even as the circumstances surrounding him attest to the astounding difficulty of this goal. La Meglio Gioventù Call Number: PN1997 .M44 2006 A family saga set in Rome from 1966 through 2003 that details the lives of two brothers, Nicola and Matteo Carati, who go their separate ways after attempting to rescue a young girl, Giorgia from an abusive sanitarium. Set against the backdrop of contemporary Italian history, the film follows the characters through such major historical incidents as the flooding of Florence in 1966, the terrorist activities of the Red Brigades, mental asylum reforms, the student protests of 1968, Italy's elimination from the 1966 World Cup at the hands of Korea and its subsequent victory in 1982, and Tangentopoli and the consequent death of anti-mob judge Giovanni Falcone. La pazza gioia Call Number: PQ4922.I79 P3 2017 Beatrice is a motor-mouthed fantasist, a self-styled billionaire countess who likes to believe she's on intimate terms with world leaders. Donatella is a tattooed introvert, a fragile young woman locked in her own mystery. They are both patients at [Tuscany's] Villa Biondi, a progressive but secure psychiatric clinic. [This film] tells the story of the unpredictable and moving friendship that develops between the two women as they flee the mental institution in search of love and happiness in the open-air nuthouse--the world of sane people La pelle Call Number: PQ4829.A515 P4 2015 This film looks at the aftermath of the German occupation of Italy during World War II and the equally difficult results of life during the Allied liberation La pivellina Call Number: PN1997 .P58 2012 A tale of people at the margins of society who open their hearts to a stranger. In a run-down park on the outskirts of Rome, a two-year-old girl is discovered and taken in by a family of circus performers. A note from a desperate mother reveals little about who she is or why she was left. As the bond grows between the girl and her surrogate family, this film becomes a revealing and soulful portrait of courage and discrimination, and of loss and togetherness. La prima cosa bella Call Number: PQ4876.I3143 P7 2012 Follows a strong and optimistic mother raising her two children against all odds. Throughout grief and pain she teaches her family to remain open and loving and to cherish the little joys in life. La ragazza del lago Call Number: PT8951.16.O735 R3 2010 When a beautiful young girl is found murdered in an idyllic northern Italy village, Inspector Giovanni Sanzio is called in from the capital to investigate. But in a small town where nobody is what they seem, anyone could be capable of homicide and everyone may be hiding a dark secret... including Inspector Sanzio. La sapienza Call Number: PN1997 .S27 2015 Alexandre decides to set off for Italy with the idea of completing his draft of a book on Borromini, and his wife Alienor comes along. Once there, they meet Goffredo, who is set to embark in architectural studies, and Lavinia, who is suffering from a nervous disorder. Alienor decides to stay to help Lavinia, and Alexandre continues on his travels with Goffredo. This separation for husband and wife will be the start of an inner journey for them both. La scomparsa di Patò Call Number: PQ4863.A3894 S3 2011 It's a story of the desperate search for one of Vigata's most upstanding citizens - a man who vanishes right after his appearance in the annual Passion Play. South collides with North as a local Sicilian carabiniere teams up with a Neapolitan police officer to unlock the mystery of his disappearance. La Sconosciuta Call Number: PN1997 .S368 2009 Irena is a mysterious Ukrainian woman with a secret who works her way into the lives of an Italian, affluent young family. She stops at nothing to become the couple's trusted maid and beloved nanny to their fragile young daughter. But deep cracks underneath Irena's dedication soon become apparent as her horrific past and chilling obsession are revealed. La tigre e la neve Call Number: PQ4862.E555 T5 2007 Soon after the start of hostilities in Iraq, Attilio heads to Baghdad when he learns from his friend that the woman he loves has been critically injured in a bomb explosion. Attilio does everything in his power to save her, risking his own life amidst the chaos of war. La visita Call Number: PN1997 .V574 2012 Pina takes out an ad in the personal column hoping to find a man to take her away from the tiny Italian village where she lives. For months now she has been trying to find the right one--a man with a solid career, a family in mind, and plenty of stamina. Adolfo, a successful businessman from Rome, replies to Pina's ad, and the couple arrange to meet in the village where Pina lives. Incorporating flashbacks from both of their lives, the complexity of their characters is slowly revealed and when the two finally meet, Pina quickly concludes that Adolfo is the one. La Vita e Bella Call Number: PN1997 .V58 1999 A charming but bumbling waiter who's gifted with a colorful imagination and an irresistible sense of humor has won the heart of the woman he loves and has created a beautiful life for his young family. Then that life is threatened by World War II. Le Chiavi di Casa Call Number: PN1997 .C448 2005 Gianni is reunited with Paolo, the 15-year-old son he has never seen, a son he abandoned at birth. The reunion is not Gianni's idea, but that of Paolo's doctor who hopes the connection will benefit the troubled boy. Gianni experiences a Pandora's box in Paolo, full of shocks and wonders, but the key to one's house are oftern found in the keys to one's heart. Le mani sulla città Call Number: PQ4872.A24 M3 2006 The structure of power and the facade of democracy are explored in this political exposé of corruption in Naples. Following the fatal collapse of a tenement building, an investigation reveals that profits from municipal developments are going to city council members and developers in backroom negotiations. Le notti bianche Call Number: PG3325.B5 N6 2007 Region 2 Set in Livorno in the 1950s, Mario, a shy young man, meets a mysterious girl, Natalie, sobbing on a canal bridge. She tells him she loves a sailor who left on a long journey and promised to return in one year. The year is up and he hasn't arrived. Mario falls in love with her and has just persuaded her that the sailor will never return ... when he does in fact appear. Le Quattro Volte Call Number: PN1997 .Q38 2011 With little dialogue, this film is a meditation on the mysterious cycles of life. Set in Italy's mountainous region of Calabria, it traces the path of one goat herder's soul as it passes from human to animal to vegetable to mineral. Working as both a spiritual investigation and a documentary of Calabrian life, the film's surface hides a complex understanding of humanity. Luce dei Miei Occhi Call Number: PN1997 .L83 2003 Antonio, a youngish chauffeur who is a model of professional promptness and courtesy. He also possesses a vivid inner world dominated by images of other worlds and other planets. A chance near-accident introduces him to Maria), a struggling single mother trying desperately to keep her frozen foods store afloat and to keep her daughter from being taken away from her by the child's grasping grandparents. Even though Maria is extremely suspicious of Antonio's intentions, the two form a slow tentative relationship. When he learns Maria's dire circumstances, he selflessly tries to intercede at the expense of his own career. Antonio makes quiet deals with the sleazy gangster whom Maria owes money, drives the crime boss around on his various errands, and eventually participates in some of his shady dealings. Là-bas Call Number: PN1997 .L25 2012 Region 2 Yussouf is an African artist who is promised a job by his uncle in Italy. Unable to find his uncle once he gets there, Yussouf ends up in Castel Volturno, a city of African immigrants. There, he discovers the day-to-day struggles these people face, their mistreatment, and exploitation. He is also unfortunate enough to witness the activities of the criminal Camorra, a deadly Naples-based Mafia. The Mafia Kills Only in Summer Call Number: PN1997 .M339 2017 The story of growing up and falling in love in the Mafia-ridden city of Palermo. Seen through the eyes of Arturo, a child brought up in a fascinating yet terrifying city, the story spans twenty years of life filled with passion and laughter. Mafioso Call Number: PQ6601.Z45 M3 2008 Nino is an auto-factory foreman who takes his wife and two daughters from industrial Milan to the antiquated, rural Sicily to visit his family and get back in touch with his roots. Nino gets more than he bargained for when he discovers some harsh truths about his ancestors and himself. Malèna Call Number: PN1997 M3553 2001 On the day that Italy enters World War II, Renato, a 13-year-old boy, gets his first look at Malèna, a young woman who has recently moved to Renato's small Sicilian village with her husband, Nico. However, once Nico is called off to war, Malè̀na becomes the center of the town's gossip. During the next few years, as Renato grows towards manhood, he witnesses Malèna's suffering, when Nico is reported dead, her poverty and search for work, and her final humiliations. Manuale d'amore 3 Call Number: PQ4863.H578 M3 2012 Region 4 Examines three different couples united in their quest for love: Roberto, an ambitious lawyer is going to marry Sara. His whole life is perfectly planned out. Things get complicated when he meets Micol, a woman from a small village in Tuscany. Fabio, a famous anchorman, has been the perfect husband for 25 years. A one-night stand with Eliana proves to be more than what he bargained when she refuses to leave. Adrian, an American art history professor, has been living the loner life in Rome since divorcing his wife years ago. His limited and tranquil existence is disturbed when he meets his doorman's daughter. Martin Eden Call Number: PS3523.O46 M3 2020 Adapted from a 1909 novel by Jack London yet set in a provocatively unspecified moment in Italy's history, [this film] is a passionate and enthralling narrative fresco in the tradition of the great Italian classics. Martin is a self-taught proletarian with artistic aspirations who hopes that his dreams of becoming a writer will help him rise above his station and marry a wealthy young university student. The dissatisfactions of working-class toil and bourgeois success lead to political awakening and destructive anxiety. Maternity blues Call Number: PQ4882.E645 M3 2012 Region 2 In a moment of madness Clara has killed her baby. Found not bearing liability for her acts by the court, she is sent to a carceral psychiatric hospital. There, she shares a room with women who, like her, committed an act from which there is no going back. Clara and her roommates try to go on living with the weight of their sins on their shoulders, but consolation escapes their minds. Matrimonio all'italiana Call Number: PQ4815.I48 M3 2011 Domenico first meets 17-year-old Filumena in a Neapolitan brothel in the second World War. After the war they become lovers on and off for 22 years. Domenico eventually rents an apartment for Filumena and even lets her run his shop but is always chasing other women. When Domenico chooses to marry a young cashier instead of her, Filumena is furious, and resorts to a series of wild ruses to win back his hand. Mediterraneo Call Number: PQ4873.O4938 M4 2010 In 1941, a small group of misfit Italian soldiers is sent to a tiny Greek island in the Agean for four months of lookout duty. Their relief ship is torpedoed and their radio destroyed. As they lose all touch with the world outside, they are absorbed into the life of the idyllic island. Mia madre Call Number: PN1997 .M52 2015 Margherita is a film director who quickly finds out that her lead Hollywood actor is rather difficult to work with. If his demands weren't enough, her mother's health has recently declined and Margherita struggles to find the balance and harmony between work and family life. Mine vaganti Call Number: PQ4863.O8873 M5 2010 Region 2 Tommaso is about to reveal to his large, frenetic Italian family that he's gay. But he's beaten to the punch by his older brother, who is promptly disinherited by their furious father. Mio Fratello è Figlio Unico Call Number: PQ4876.E485 M5 2008 Set during Italy's violent political period of the 1960s. Two brothers, Accio and Manrico, attempt to distance themselves from each other by joining opposing political parties, but our ultimately tied to each other by their working-class family. Miracolo a Milano Call Number: PQ4851.A9 M5 2006 Region 4 An Italian orphan, with the aid of a miraculous dove, combats power and wealth and succeeds in bringing happiness to the inhabitants of a Milanese hobo camp. Comedy, satire, and realism are combined in this fantasy about the social conceits of man. My Big Gay Italian Wedding Call Number: PS3623.I5525 P8 2018 Antonio and Paolo live happily together in Berlin and are finally getting married. They decide to celebrate in the small village in Italy where Antonio grew up. While his mother immediately supports his intentions, her husband Roberto, the town mayor, is much more reluctant. Paulo, who has not spoken to his conservative mother in a long time, must get her to the wedding as a condition of the marriage. My Brilliant Friend Call Number: PQ4866.E6345 M9 2019 The series begins with an elderly woman discovering that her 'brilliant friend' seems to have disappeared without a trace. Beginning an epic tale that spans over 60 years, she writes about their tempestuous relationship that started in 1950, and tries to describe the mystery of her friend, who is--in a way--her worst enemy. Set in a dangerous and fascinating post-WWII Naples, Italy Nebbie e delitti, Season 2 Call Number: PQ4922.A7 N43 2012 The River Po dominates the region of Ferrara with its seasons, its power and its mystery. It nourishes the close-knit fishing communities who live on its banks, and it also hides their secrets. Secrets that are sometimes uncovered by people like police inspector Franco Soneri. Non ti Muovere Call Number: PQ4873.A9532 N6 2006 Timoteo is a successful surgeon and permissive father whose teenage daughter, Angela, has just had a life-threatening motorbike accident. Sitting in the hospital, wondering if his daughter will survive, Timoteo remembers back to a day 15 years earlier when his car broke down on a remote country road in the rain and a young woman, Italia, invited him into her home only to have him force himself upon her. Timoteo then returned home to his wife, Elsa. But unable to get Italia out of his mind, Timoteo returned again and again to her. They began to develop genuine feelings for each other. Elsa is reluctant to have children, despite Timoteo's wishes, so when he learns that Italia is pregnant, he has to decide to between his family and Italia. Nostri ragazzi Call Number: PT5881.21.O25 N6 2015 A story about two brothers and their wives, and the relationships between them and their two high-school age children. When the kids get into serious trouble, tensions between the brothers and their families escalate. Will the parents protect their children, or will they force them to face the consequences of their crime? Notte Prima Degli Esami Call Number: PQ4902.R55 N6 2006 Region 2 Explore the classic problems teenagers face when passing from adolescence to adult age. Set in the summer of 1989, on the brink of his exams, Luca Molinari, a graduating student, insults his literature teacher, Antonio Martinelli, in a final act of rebellion. This act backfires when Martinelli states that he will be part of the judging panel in their grueling oral exam. At a party the same evening, Luca falls in love with Martinelli's daughter, Claudia. Notte prima degli esami oggi Call Number: PQ4902.R55 N6 2007 Region 2 A sequel to Notte prima degli esami, this movie is about the same high school teenagers from the original film, but transplants them from the 1980s to the Italy of 2006. Novecento Call Number: PQ4862.E778 N6 2012 A portrait of two friends, both born on January 1, 1900--the son of a socialist farmer and the son of a fascist landowner. The two men pass through the upheavals of the modern world, as their personal conflicts become an allegory of the political turmoil of 20th century Italy. Oedipus Rex Call Number: PA4413.O7 O4 2003 A dark and riveting retelling of the classic Greek tragedy, 'Oedipus Rex'. Unknown to himself, Oedipus kills his father and marries his mother. When the truth is discovered, he puts out his eyes and Oedipus wanders the streets until he is found by his daughter, Antigone, a common blind beggar. The Orange Thief Call Number: PN1997 .O73 2008 Living on the outskirts of society, an orange thief and some other country-wise ruffians steal fruit for sustenance and the sheer excitement of courting danger. After the thief ends up in jail, his life takes a turn when his bunkmate promises him a deal. Ossessione Call Number: PS3505.A3113 O8 2003 The story of the ill-fated love between Gino, a virile drifter, who arrives by chance at a roadside restaurant and filling station, and Giovanna, the wife of the man who owns the place. Gino leaves, only to return because he can't get her out of his blood. They kill her husband but his death haunts the guilt-ridden Gino. Padre Padrone Call Number: PQ4872.E39 P3 1998 The story of a son's development under an oppressive father. Gavino lives in solitude as an illiterate Sardinian shepherd. Finally he revolts against his father and his own illiteracy, studies and earns a degree and finds his identity through his newly-found ability to communicate. Pane e Tulipani Call Number: PN1997 .P343 2002 When a harried housewife is accidentally left behind while on vacation with her family, she decides to take a holiday of her own in Venice. She becomes charmed by the city and her newfound freedom. She decides to extend her stay, finding a job in a flower shop, renting a room from a wistful waiter, and rediscovers her love for playing the accordion. But her solo journey does not sit well with her tyrannical husband, who hires an amateur detective to bring her back home. Paolo VI Call Number: BX1378.3.P36 2010 "...blends drama and archival footage to paint an insightful portrait of Pope Paul VI (Fabrizio Gifuni), who confronted great challenges -- from student protests to terrorist attacks -- during his 15-year reign as pontiff. Ascending to the papacy in 1963, Paul VI initiated a dialogue among religions but also stirred up a continuing controversy with his strong positions on contraception and abortion." Pasqualino settebellezze Call Number: PN1997 .S4684 2017 The defense of honor, a strong value in Neapolitan society, and his effects on the life of everyman Pasquale Frafuso. Perfetti sconosciuti Call Number: PN1997 .P478 2017 During a dinner party, seven friends decide to play a dangerous game. The attendees place their cellphones on the table and agree to make all texts and calls public in an attempt to prove that they have nothing to hide. Rapid fire and wildly entertaining, this film poses the question: how well do we really know those close to us? Pinocchio Call Number: PQ4712.L4 P5 2003 The journey begins when the wooden puppet named Pinocchio comes to life! Then the curious Pinocchio opens the door to one adventure after another despite guidance from the Blue Fairy and his father, Gepetto. Pranzo di Ferragosto Call Number: PN1997.P73 2010 A middle-aged man living with his elderly mother finds the best way to pay for their debts is to take care of the building manager's mother during the biggest festival of the year. Soon he finds himself with not two but four mothers to keep fed and happy. Preferisco il paradiso Call Number: BX4700.F33 P7 2011 One of the most popular saints of all time, St. Philip Neri was widely known for his great charity, deep prayer life, and tremendous humor. Hoping to join St. Ignatius of Loyola's new order of Jeuits and be a missionary to India, Philip was instead guided by Providence to seek out the poor and abandoned youth of Rome to catechize them in the faith and help them find a better life. He bacame the founder of the religious congregation, the Oratory, that worked with the youth and also labored to re-evangelize a decadent Rome. Primo amore Call Number: PN1997 .P7495 2005 Vittorio is looking for a woman who matches his ideal. Through a classified ad he meets Sonia, a sweet, pleasant, intelligent girl. However, she weighs 125 pounds -- which according to Vittorio is way too much. A goldsmith by trade, Vittorio is obsessed with the desire to shape Sonia's body and mind as he does gold with fire. Almost imperceptibly Sonia becomes a passive participant and the relationship grows into a reciprocal masochistic game. When the two lovers isolate themselves in a country house in the Veneto hills, they dangerously lose touch with reality and the rest of the world. Quando sei nato non puoi più nasconderti Call Number: PQ4875.T697 Q3 2005 Region 2 One night during a sailing trip through the Mediterranean, the only son of a wealthy Italian entrepreneur falls overboard. Although given up for dead, Sandro has been rescued by a fishing boat carrying illegal immigrants to Italian shores. Reality Call Number: PQ4863.H578 R4 2013 Luciano is a charming and affable fishmonger whose unexpected and sudden obsession with being a contestant on the reality show "Big brother" leads him down a rabbit hole of skewed perceptions and paranoia. So overcome by his dream of being on reality TV, Luciano's own reality begins to spiral out of control. Respiro Call Number: PN1997 .R478 2002 Grazia is a carefree mother of three, who soon becomes the focus of her neighbors' gossip. While her fellow Lampedusians work and live hard - oblivious to their native paradise - Grazia alone is courageous enough to blissfully embrace life's treasures. Her wild, sensual and free-spirited behavior reflects the unrivaled beauty of her heavenly seaside village. She is not understood or accepted by the social conventions of the town, nor its strict tribal rules. Brings to light the network of true affection inside the family. Ricordati di Me Call Number: PN1997 .R528 2007 The Scarlet and the Black Call Number: PN1997 .S353 2003 In English The true story of Monsignor Hugh O'Flaherty, a courageous Irish priest working in the Vatican during the German iccupation. O'Flaherty devotes all his time and energy to hiding refugees and Allied POWs from the Nazis, building a network of hundreds of people to help him with his efforts. Colonel Kappler, the local gestapo chief, learns of O'Flaherty's activities. The priest has diplomatic immunity because of his Vatican post, but Kappler orders that he be captured or killed if seen outside the Vatican walls. Pope Pius XII remains aloof insisting on the church's neutrality. Working closely with a brave widow of an aristocrat, O'Flaherty uses disguises to slip in and out of the Vatican, continuing his dangerous mission until Rome is liberated, and saving thousands of innocent people from death.
5438	dbpedia	2	74	https://duomo.firenze.it/en/opera-magazine/post/6520/the-stained-glass-windows-of-the-drum-of-the-dome-of-santa-maria-del-fiore	en	The stained glass windows of the drum of the dome of Santa Maria del Fiore	https://duomo.firenze.it/getFile.php?id=2244	https://duomo.firenze.it/getFile.php?id=2244	[ "https://duomo.firenze.it/en/opera-magazine/post/6520/static/metacms/templates/opa/images/logo.svg", "https://duomo.firenze.it/en/opera-magazine/post/6520/getImage.php?id=79070&w=560&h=512&c=1&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/6520/getImage.php?id=2715&w=560&h=512&c=1&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/6520/getImage.php?id=2737&w=560&h=512&c=1&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/6520/getImage.php?id=79177&w=560&h=512&c=1&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/6520/getImage.php?id=2714&w=560&h=512&c=1&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/6520/getImage.php?id=1892&w=560&h=512&c=1&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/6520/getImage.php?id=2713&w=560&h=512&c=1&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/6520/application/mediaArchive/Image/380899a18b9437e532f647099ef20662_orazione.jpg", "https://duomo.firenze.it/en/opera-magazine/post/6520/getImage.php?id=2247&w=400&h=356&c=0&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/6520/getImage.php?id=2245&w=400&h=379&c=0&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/6520/getImage.php?id=2244&w=400&h=389&c=0&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/6520/getImage.php?id=2249&w=400&h=375&c=0&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/6520/getImage.php?id=2246&w=400&h=370&c=0&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/6520/getImage.php?id=2251&w=400&h=380&c=0&co=1&f=0&t=0&.jpg", "https://duomo.firenze.it/en/opera-magazine/post/6520/static/metacms/templates/opa/images/logo-footer.svg" ]	[]	[]	[ "" ]	null	[ "Antonella Chiari" ]	2022-01-20T00:00:00	The stained glass windows of the drum of the dome of Santa Maria del Fiore	en	https://duomo.firenze.it…png?v=3eBXPz8jdk		https://duomo.firenze.it/en/opera-magazine/post/6520/the-stained-glass-windows-of-the-drum-of-the-dome-of-santa-maria-del-fiore	Reading time: 15’ In the space below the Dome of the Cathedral, the sunrays fall tinged with colour and filtered by eight painted circular windows, which like eight eyes pierce the stone of the drum walls joining the light of the sky to the interior space. These eight stained glass windows were made between 1434 and 1445 by great glass masters based on designs by the major artists of the Florentine Renaissance (Donatello, Ghiberti, Andrea del Castagno and Paolo Uccello). Of almost 5 meters in diameter they depict stories of Mary and Christ and complete the cycle of 44 stained glass windows of the Cathedral (depicting saints and characters from the Old Testament), painted between the end of the fourteenth century and the first half of the fifteenth century by the most important Florentine painters. In 1434, the vault of the dome was almost completed and the need felt to decorate the oculi of the drum. The first stained glass window to be commissioned was the one facing east with the Coronation of Mary, which is the most visible from the aisles and celebrates the holders of the Cathedral. Ghiberti and Donatello were asked to make a 1:1 size test cartoon, which was placed in the oculus to observe its effect. Donatello won and for the first time introduced the use of linear perspective in a stained glass window: the throne of the Virgin marks the depth of the space and the figures seem to move back from the frame, which is no longer just a decorative element but gives the illusion of to be an shortened with seraphs and cherubs. After this competition, Ghiberti found himself, in 1443, having to overcome a contest for the commission of the stained glass window depicting the Ascension of Christ. This time the rival was the master painter of perspective par excellence: Paolo Uccello, fresh from the success of the fresco with the equestrian monument of Giovanni Acuto in the Cathedral. Ghiberti prevailed and was entrusted with this stained glass window and those of the Presentation of Jesus in the Temple and the Prayer in the garden. These three were the last stained glass windows designed by the master, who had signed 33 for the Cathedral. The great goldsmith and sculptor had worked on these works for almost 40 years, evolving as an artist while, at the same time, he modelled and cast the doors of the Baptistery. As a young man, around 1405-15, he had designed the three circular windows of the counter-façade - including the largest, that of the rose window, depicting the Assumption of the Madonna - and twenty years later those of the presbyterial chapels. In these last stained glass windows for the drum, Ghiberti combined in his style the meticulous elegance of the late Gothic of his youth with the innovations of Donatello and Brunelleschi learned in previous decades. In his Ascension, we see Christ rising between the apostles in a circle and his figure stands out in a blue background that becomes more intense towards the centre to give the effect of an enlarged space towards the bottom. In the Oration in the Garden Ghiberti gave shape to an irrational representation of the scene where the distances and proportional relationships between the figures and the landscape dissolve. Christ praying, the angel who descends and the sleeping apostles look like giants set in a tiny theatrical scenography painted with lot of detail: trees, houses, streams... Still different stylistically is the stained glass window with the Presentation of Jesus in the temple, which is much more harmonious and clear both in the arrangement of the elements and in the poses of the characters. We see the Holy Family, Simeon and the other protagonists of this Gospel episode, arranged in symmetrical pairs around the altar and the priest. The cartoon proposed by Paolo Uccello in 1443 must in any case have impressed those responsible for the Opera del Duomo because between 1443 and 1444 he was commissioned to design the stained glass windows of three other oculi: the one with the Resurrection of Christ, the one with the Nativity and the one with the Annunciation. His windows are distinguished by the presence of geometric solids put in perspective and by the dreamy atmosphere of the stories. In the Resurrection, everything takes place in an indefinite space, inside which Christ resurrects covered by a floral robe, rising above the foreshortened sepulchre, while on the sides, the soldiers placed on a picket, sleep in their armour made of spheres and cylinders. The Nativity has been greatly altered over the centuries by inaccurate restorations, but by Paolo Uccello we recognize the beautiful jutting out of the snouts of the ox and the donkey and the invention of the hut made of rough wooden beams, placed in perfect geometric perspective. The Annunciation was located in the oculus facing west and is the only window that has been entirely lost, destroyed by lightning in 1828. The Opera di Santa Maria del Fiore at the time announced a competition for the construction of a new stained glass window depicting the same subject in Renaissance style. Ulisse Forni, a famous restorer from Siena, won but for various reasons it was never carried out. The beautiful preparatory drawings are still preserved in the warehouses of the Opera di Santa Maria del Fiore. Finally, the eighth stained glass window, depicting the Lamentation over Christ taken down from the Cross, was made in 1444 based on a design by another artist: Andrea del Castagno, who ten years later would have frescoed the equestrian monument to Niccolò da Tolentino in the left aisle. A. del Castagno gave shape to a very clear representation of the scene in the orderly arrangement of the figures around the base of the cross but also dramatic in the glimpses of the desperate faces and in the twisted pose of the dead body of Christ. Although there were four hands who worked on it at different times, the cycle of stained glass windows is homogeneous. Almost certainly, one or more scholars of the time had drawn up an iconographic program for all the windows from the beginning before the individual commissions were entrusted. Have you noticed that the arrangement of the episodes does not respect the chronological order of the story? The choice of the episodes is also particular and aims to celebrate both the figure of Mary and that of Jesus. A logic based on the theological meanings of the stories was probably followed and particular correspondences were studied in the arrangement of the scenes. To the east, for example, there is the Coronation of Mary, so that the splendour of the sun at dawn sets the image of the Virgin alight when she is welcomed into the glory of Heaven. Furthermore, this representation is aligned with the large rose window in the counter-façade, where Ghiberti thirty years earlier had depicted an almost identical subject: the Assumption of the Madonna, which lights up at sunset. In this way, the two celebratory stained glass windows of the Mother of God ideally open and close the body of the Cathedral, which is dedicated to her. The Birth of Christ, that is, the beginning of Jesus' life as a man (north-west) is mirroring his Ascension (south-east), that is, his return to Heaven. Moreover, the episodes of the Oration of the Garden (in the southern wall) and of the Deposition from the Cross-(in the northern one) are one in front of the other. These are dominated by the theme of pain and death. Incredible that there was this attention to the meanings of the works! It should be borne in mind that just the priests who were in the choir enclosure saw the entire circle of stained glass and that they had the theological preparation to notice and understand these meanings. Today's scholars have the task of deepening the reading of the works, while we enjoy the beauty of these gigantic iridescent circles.
5438	dbpedia	1	21	https://www.skepto.net/en/content/skepto-international-film-festival-2018-jury	en	Skepto International Film Festival 2018: the jury	https://www.skepto.net/s…20logo_black.png		[ "https://www.skepto.net/sites/default/files/logo.png", "https://www.skepto.net/sites/default/files/CONSUELO%20BAUTISTA.jpg", "https://www.skepto.net/sites/default/files/Marielle.jpg", "https://www.skepto.net/sites/default/files/IMG-20180409-WA0000.jpg", "https://www.skepto.net/sites/default/files/Screen%20Shot%202018-04-03%20at%2017.07.36.png", "https://www.skepto.net/sites/default/files/MARIO02.jpg", "https://www.skepto.net/sites/default/files/Daniele-Lucca.jpg", "https://www.skepto.net/sites/default/files/foto-Chiara_0.jpg", "https://www.skepto.net/sites/default/files/Robi.jpg", "https://www.skepto.net/sites/default/files/pictures/NicolaUnedit.jpg", "https://www.skepto.net/sites/default/files/matt-portrait-BW.png", "https://www.skepto.net/sites/default/files/SH-logo120.jpg", "https://www.skepto.net/sites/default/files/bavari120_0.jpg", "https://www.skepto.net/sites/default/files/Antonello-Murgia.png", "https://www.skepto.net/sites/default/files/mschirru.jpg", "https://www.skepto.net/sites/default/files/CaterinaSpiga.png", "https://www.skepto.net/sites/default/files/regione.jpg", "https://www.skepto.net/sites/default/files/comune_home.jpg", "https://www.skepto.net/sites/default/files/ctm.png", "https://www.skepto.net/sites/default/files/Polomuseale.jpg", "https://www.skepto.net/sites/default/files/filmcommission.png", "https://www.skepto.net/sites/default/files/logo-hostel-marina.jpg", "https://www.skepto.net/sites/default/files/piemontemovie.jpg", "https://www.skepto.net/sites/default/files/lago%20logo_black.png", "https://www.skepto.net/sites/default/files/lettering_usn_2020.png", "https://www.skepto.net/sites/default/files/sardiniapost.jpg", "https://www.skepto.net/sites/default/files/sust_home.jpg", "https://www.skepto.net/sites/default/files/radiox_home.jpg", "https://www.skepto.net/sites/default/files/KARMA_marchio_mod.png", "https://www.skepto.net/sites/default/files/youtube.png", "https://www.skepto.net/sites/default/files/twitter.png", "https://www.skepto.net/sites/default/files/facebook.png" ]	[]	[]	[ "Skepto International Film Festival" ]	null	[]	null	Skepto International Film Festival 2018: the jury	en	https://www.skepto.net/sites/default/files/Skepto_0.ico		https://www.skepto.net/en/content/skepto-international-film-festival-2018-jury	Consuelo Bautista Degree in Advertising at the University of Bogotá, Colombia, Jorge Tadeo Lozano. She lives in Barcelona, Spain, where she works as an independent photographer. She has carried out projects in Cuba, Colombia, Israel, Montenegro, Galicia, Barcelona, Morocco, Senegal, Mexico, the United States and Canada, linked to documentary photography, having a vision of the author and published in different media, international journals and catalogs in the case of exhibitions. She has been awarded the City of Barcelona 2007 Visual Arts prize for the project "A Los Invisibles". She is a founding member of the association CENTRO DE FOTOGRAFIA DOCUMENTAL DE BARCELONA lafotobcn. She has published as a photojournalist in different media including the Món, Ajoblanco, La Vanguardia, El Periodico, and the newspaper El País. Marielle Gaudry News correspondent for regional press and then cinema journalist until 2003, now she works on the web on local political tasks in the field of communication and marketing. Since 2008, she is also Marketing and Communication manager at AlloCiné, second mondial platform for cinema and TV series promotion, where she works mainly on partnerships, festivals and event organisation. She also runs a club of cinema bloggers and influencers (Club 300), for whom she selects and programmes films, screened in preview every month. This club is a quality trademark for AlloCiné. Marielle also writes about music, culinary arts, interior design, lifestyle and photography. Nicola Guaglianone Educated at Leo Benvenuti's school, in 1999 he moves to Los Angeles, where he attended seminars on screenplay and narrative structure. Back in Italy, he begins to collaborate with the most important TV production companies: Endemol, Magnolia, Palomar, Publispei. In 2004 he wrote script and screenplay of the short film "Il produttore", this is the beginning of the partnership with the director Gabriele Mainetti. Together they made the short films "Basette" (finalist at David di Donatello 2009) and Tiger Boy (winner of Nastro d'Argento 2013, finalist at David di Donatello 2012, it was included in the shortlist at Oscar 2014 but did not obtain the nomination). In 2015 he writes (together with Menotti) the screenplay of his first feature film ("They Call Me Jeeg"), that obtains good audience and critical success and wins seven David di Donatello: Guaglianone obtains a nomination for the best screenplay, his third one after the one obtained the previous year for the short film "Due piedi sinistri", that later won the Globo d'Oro award. In 2017 he is among the screenwriters of the comedy "L'ora legale" with the Italian comedians Ficarra and Picone. In the same year he wins the David di Donatello for the script and screenplay of the feature film "Indivisibili", directed by Edoardo De Angelis and presented in preview at Venice Film Festival (Giornate degli Autori). In the same year he writes, together with Menotti and Carlo Verdone, script and screenplay of "Benedetta Follia", directed by Carlo Verdone. With Luca Miniero, he writes script and screenplay of "Sono Tornato", produced by Indiana Production. He also works on script and screenplay of two episodes of the series "Suburra". Michael Nouri Michael Nouri graduated at the Film Academy Baden-Wuerttemberg as Creative Producer. Since then he has worked as an Executive Producer with over 20 years experience in the commercials and film industry. After running one of the top ten German production companies in the nineties, he joined Stillking Films in 2005 as the International EP, producing commercials on all continents. In 2013 Michael Nouri moved to Spain as the Exec. Producer at Palma Pictures on Mallorca and opened his production company NOURI Films in Barcelona beginning 2018. As the Executive Producer he provided production services for many international production companies such as Iconoclast - Stink Films - The Sweet Shop - Rattling Stick - Bacon … and worked with Directors including: Joel Schumacher - Wim Wenders - Martin Werner - Adam Berg - Mark Albiston - James Gray - Louis Leterrier and many more partners and friends. Mario Piredda Sardinian director, he has lived in Bologna since 1999. He graduated at DAMS, specialising in Cinema. In 2005 he shot his first short film "Il Suono Della Miniera", produced by the Regional Ethnographic Institute of Sardinia. His second work, "Io sono qui", produced by Elenfant Film, received a nomination at David di Donatello in 2011, won over 70 awards and were in the official selection in many international film festivals. In 2011 he shoots in Havana (Cuba) “Los aviones que se caen”, which has won many international awards. In 2015 he shoots "Homeward", documentary on the situation of migrants from Cambodia to Thailand. His last short film "A casa mia", produced by Articolture, won the David di Donatello in 2017. He is now working on his first feature film. Daniele Lucca Born in Turin in 1963, radio speaker since 1978, he started his career of theatre actor and author in 1986. Cultural worker, art consultant, radio and TV anchorman, music producer and… Slowfood gourmand. Cosmopolitan by definition, he has lived and worked in theatres, cinema, Tv and radio around U.S.A., Spain, France and Italy. He is creative consultant, artistic director, anchorman of big events for brands and public institutions. He is historic associate of Club Tenco (Sanremo). "Extremist" cinephile, he has always collaborated with SKEPTO. Since 2015 he has been creator and artistic director of the first European web-radio dedicated to the wine: La Voce del Vino/The Wine Voice. Chiara Pellegrini After the degree in Political Science, she decides to follow one of her greatest passions and enrols in a Fim Production Master in Turin. Since then, she starts to work for several festivals and, since 2016, she has directed the Fish&Chips Film Festival, international festival of erotic and sexual cinema. Roberta Pozza Born in Biella (Italy) in 1985, she graduates at Dams of Turin in 2011, and the following year she obtains the Master for Analysts in Cinema and TV Production and Cross Media Communication. She worked as an intern at the National Cinema Museum of Turin. She collaborates with the Piemonte Movie Association, organising contests and curating the section “Spazio Piemonte” of Piemonte Movie gLocal Film Festival. Since 2017 she has curated the short film section at Fish&Chips Film Festival.
5438	dbpedia	3	38	https://boardgamegeek.com/thread/3180521/what-would-you-like-to-see-in-a-possible-expansion	en	What would you like to see in a possible expansion?	https://cf.geekdo-images…)/pic5164812.jpg	https://cf.geekdo-images…)/pic5164812.jpg	[]	[]	[]	[ "board game", "boardgames", "boardgame", "board", "games", "game", "hobby", "boardgamegeek", "geek", "geekdo" ]	null	[]	null	I'm dying for a new expansion for oath, and there are many possible ways to expand upon this game. For me they should make an invader, this could a bot or a new role, that is in competition with the chanchellor and its citizens, and that is neutral with	en	https://cf.geekdo-static…ouch-icon180.png	BoardGameGeek	https://boardgamegeek.com/thread/3180521/what-would-you-like-to-see-in-a-possible-expansion
5438	dbpedia	2	23	http://www.englishgratis.com/elingue/elingue/en/wikimag/serie10/14.htm	en	Sophia Loren			[ "http://www.kivio.net/elingue/elingue-logo100.png", "http://www.kivio.net/elingue/home.png", "http://www.kivio.net/elingue/serie1.png", "http://www.kivio.net/elingue/serie2.png", "http://www.kivio.net/elingue/serie3.png", "http://www.kivio.net/elingue/serie4.png", "http://www.kivio.net/elingue/serie5.png", "http://www.kivio.net/elingue/serie6.png", "http://www.kivio.net/elingue/serie7.png", "http://www.kivio.net/elingue/serie8.png", "http://www.kivio.net/elingue/serie9.png", "http://www.kivio.net/elingue/serie10.png", "http://www.kivio.net/elingue/serie11.png", "http://www.kivio.net/elingue/ascolto.png", "http://www.kivio.net/elingue/1pixel.png", "http://www.kivio.net/elingue/start.png", "http://upload.wikimedia.org/wikipedia/commons/thumb/a/ae/Sophia_Loren_-_1955.JPG/220px-Sophia_Loren_-_1955.JPG", "http://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/'La_baia_di_Napoli%22.jpg/230px-'La_baia_di_Napoli%22.jpg", "http://bits.wikimedia.org/static-1.22wmf13/skins/common/images/magnify-clip.png", "http://upload.wikimedia.org/wikipedia/commons/thumb/e/eb/Five_Miles_to_Midnight_1962.JPG/230px-Five_Miles_to_Midnight_1962.JPG", "http://bits.wikimedia.org/static-1.22wmf13/skins/common/images/magnify-clip.png", "http://upload.wikimedia.org/wikipedia/commons/thumb/c/c2/Cary_Grant-Sophia_Loren_in_Houseboat_trailer.jpg/220px-Cary_Grant-Sophia_Loren_in_Houseboat_trailer.jpg", "http://bits.wikimedia.org/static-1.22wmf13/skins/common/images/magnify-clip.png", "http://upload.wikimedia.org/wikipedia/commons/thumb/a/a0/Sophia_Loren_impronte.jpg/220px-Sophia_Loren_impronte.jpg", "http://bits.wikimedia.org/static-1.22wmf13/skins/common/images/magnify-clip.png", "http://upload.wikimedia.org/wikipedia/commons/thumb/f/f0/Sophia_Loren_in_London.jpg/220px-Sophia_Loren_in_London.jpg", "http://bits.wikimedia.org/static-1.22wmf13/skins/common/images/magnify-clip.png", "http://upload.wikimedia.org/wikipedia/commons/thumb/a/af/Sophia_Loren_-_1959.jpg/220px-Sophia_Loren_-_1959.jpg", "http://bits.wikimedia.org/static-1.22wmf13/skins/common/images/magnify-clip.png", "http://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png", "http://upload.wikimedia.org/wikipedia/commons/thumb/d/d6/Wikiquote-logo-en.svg/40px-Wikiquote-logo-en.svg.png", "http://www.kivio.net/elingue/stop.png", "http://www.kivio.net/elingue/elingue-logo100.png" ]	[]	[]	[ "" ]	null	[]	null					null	Sophia Loren (Italian pronunciation: [soˈfiːa ˈlɔːren]; born Sofia Villani Scicolone [soˈfiːa vilˈlaːni ʃʃikoˈloːne]; 20 September 1934) is an Italian actress. Loren is widely recognized as Italy's most renowned and honored actress. She was the first actress of the talkie era to win an Academy Award for a non-English-speaking performance, for her portrayal of Cesira in Vittorio De Sica's Two Women. Her other awards include a Grammy Award, five special Golden Globes, a BAFTA Award and a Laurel Award. In 1995 she received the Cecil B. DeMille Award for lifetime achievements, one of many such awards. Her films include: Houseboat (1958), El Cid (1961), Yesterday, Today and Tomorrow (1963), Marriage Italian-Style (1964), and A Special Day (1977). In later years she has appeared in American blockbusters such as Grumpier Old Men (1995), and Nine (2009). In 1994 she starred in Robert Altman's Prêt-à-Porter, which earned her a Golden Globe nomination the same year. She has also achieved critical and commercial success in TV movies such as Courage (1986). Early life Loren was born in the Clinica Regina Margherita in Rome, Italy,[1][2] daughter of Romilda Villani (19141991) and Riccardo Scicolone, a construction engineer. Scicolone refused to marry Villani, leaving Romilda, a piano teacher and aspiring actress, without support.[3] Loren's parents had another child together, her sister Anna Maria Villani Scicolone, in 1938. Loren has two younger paternal half-brothers, Giuliano and Giuseppe.[4] Romilda, Sofia and Maria lived with Loren's grandmother in Pozzuoli, near Naples.[5] During World War II, the harbour and munitions plant in Pozzuoli was a frequent bombing target of the Allies. During one raid, as Loren ran to the shelter, she was struck by shrapnel and wounded in the chin. After that, the family moved to Naples, where they were taken in by distant relatives.[citation needed] After the war, Loren and her family returned to Pozzuoli. Grandmother Luisa opened a pub in their living room, selling homemade cherry liquor. Villani played the piano, Maria sang and Loren waited on tables and washed dishes. The place was very popular with the American GIs stationed nearby. When she was 14 years old, Loren entered a beauty contest in Naples and, while not winning, was selected as one of the finalists. Later she enrolled in acting class and was selected as an extra in Mervyn LeRoy's 1951 film Quo Vadis, launching her career as a motion picture actress. Career 195057 (beginnings and Hollywood stardom) After being credited professionally as Sofia Lazzaro, she began using her current stage name in 1952's La Favorita. Her first starring role was in Aida (1953), for which she received critical acclaim.[6] After playing the lead role in Two Nights with Cleopatra (1953), her breakthrough role was in The Gold of Naples (1954), directed by Vittorio De Sica.[6] Too Bad She's Bad, also released in 1954, became the first of many films in which Loren co-starred with Marcello Mastroianni. Over the next three years she acted in many films such as Scandal in Sorrento (1955) and Lucky to Be a Woman (1956). In 1957, Loren's star had begun to rise in Hollywood, with the films Boy on a Dolphin (her U.S. film debut), Legend of the Lost with John Wayne, and The Pride and the Passion in which she starred opposite Cary Grant and Frank Sinatra. International fame Loren became an international film star following her five-picture contract with Paramount Pictures in 1958. Among her films at this time were Desire Under the Elms with Anthony Perkins, based upon the Eugene O'Neill play; Houseboat, a romantic comedy co-starring Cary Grant; and George Cukor's Heller in Pink Tights, in which she appeared as a blonde for the first time. In 1961, she starred in Vittorio De Sica's Two Women, a stark, gritty story of a mother who is raped while trying to protect her daughter in war-torn Italy. Originally cast as the daughter, Loren fought against type and was re-cast as the mother (actress Eleonora Brown would portray the daughter). Loren's performance earned her many awards, including the Cannes Film Festival's best performance prize, and an Academy Award for Best Actress, the first major Academy Award for a non-English-language performance and to an Italian actress. She won 22 international awards for Two Women. The film proved to be extremely well accepted by the critics and it was a huge commercial success. Loren is known for her sharp wit and insight. One of her most frequently quoted sayings is a quip about her famously voluptuous figure: "Everything you see, I owe to spaghetti". However, on the 20 December 2009, episode of CBS News Sunday Morning, Loren denied ever delivering the line. During the 1960s, Loren was one of the most popular actresses in the world, and she continued to make films in the United States and Europe, starring with prominent leading men. In 1964 her career reached its pinnacle when she received $1 million to appear in The Fall of the Roman Empire. In 1965, she received a second Academy Award nomination for her performance in Marriage Italian-Style. Among Loren's best-known films of this period are Samuel Bronston's epic production of El Cid (1961) with Charlton Heston, The Millionairess (1960) with Peter Sellers, It Started in Naples (1960) with Clark Gable, Vittorio De Sica's triptych Yesterday, Today, and Tomorrow (1963) with Marcello Mastroianni, Peter Ustinov's Lady L (1965) with Paul Newman, the 1966 classic Arabesque with Gregory Peck, and Charlie Chaplin's final film, A Countess from Hong Kong (1967) with Marlon Brando. Loren received four Golden Globe Awards between 1964 and 1977 as "World Film Favorite Female".[7] 197088 Loren worked less after becoming a mother. During the next decade, most of her roles were in Italian features. During the 1970s, she was paired with Richard Burton in the last De Sica-directed film, The Voyage (1974), and a remake of the film Brief Encounter (1974). The film had its premiere on U.S. television on 12 November 1974 as part of the Hallmark Hall of Fame series on NBC. In 1976 she starred in The Cassandra Crossing, a classic disaster film featuring such veteran stars as Richard Harris, Martin Sheen, and Ava Gardner. It fared extremely well internationally, and was a respectable box office success in U.S. market. She also co-starred with Marcello Mastroianni in Ettore Scola's A Special Day (1977). This movie was nominated for eleven international awards such as two Oscars (best actor in leading role, best foreign picture). It won a Golden Globe award and a César award for best foreign movie. Loren's performance was awarded with a David di Donatello award, the seventh in her career. In addition the movie was extremely well received by American reviewers and was a box office hit and kick Following this success, Loren starred in an American thriller Brass Target. This movie received mixed reviews, although it was moderately successful in the United States and internationally. In 1978 she won her fourth Golden Globe for "world film favourite". Other movies of this decade were Academy award nominee Sunflower (1970) which was a critical success and Arthur Hiller's Man of La Mancha (1972) which was a critical and commercial failure despite being nominated for several awards including two Golden Globes awards. O'Toole and James Coco were nominated for two NBR awards, in addition the NBR listed Man of La Mancha in its best 10 pictures of 1972 list. In 1980, after the international success of the biography Sophia Loren: Living and Loving, Her Own Story by A. Hotchner, Loren portrayed herself and her mother in a made-for-television biopic adaptation of her autobiography, Sophia Loren: Her Own Story. Ritza Brown and Chiara Ferrari each portrayed the younger Loren. In 1981, she became the first female celebrity to launch her own perfume, Sophia, and a brand of eyewear soon followed.[6] In 1982, while in Italy, she made headlines after serving an 18-day prison sentence on tax evasion chargesa fact that failed to hamper her popularity or career. In fact, Bill Moore, then employed at Pickle Packers International advertising department, sent her a pink pickle-shaped trophy for being "the prettiest lady in the prettiest pickle". She acted infrequently during the 1980s and turned down the role of Alexis Carrington in 1981 for the TV series Dynasty. Although she was set to star in thirteen episodes of CBS's Falcon Crest in 1984 as Angela Channing's half-sister Francesca Gioberti, negotiations fell through at the last moment and the role went to Gina Lollobrigida instead. Sophia preferred devoting more time to raising her sons.[8][9] In 1988 she starred in the miniseries The Fortunate Pilgrim. Loren has also recorded well over two dozen songs throughout her career, including a best-selling album of comedic songs with Peter Sellers; reportedly, she had to fend off his romantic advances. It was partly owing to Sellers' infatuation with Loren that he split with his first wife, Anne Howe. Loren has made it clear to numerous biographers that Sellers' affections were reciprocated only platonically. This collaboration was covered in The Life and Death of Peter Sellers where actress Sonia Aquino portrayed Loren. It is said that the song "Where Do You Go To (My Lovely)?" by Peter Sarstedt was inspired by Loren.[citation needed] Later career In 1991 Loren received the Academy Honorary Award for her contributions to world cinema and was declared "one of the world cinema's treasures". In 1995 she received the Golden Globe Cecil B. DeMille Award.[10] She presented Federico Fellini with his Honorary Oscar. In 2009 Loren stated on Larry King Live that Fellini had planned to direct her in a film shortly before his death in 1993.[11] Throughout the 1990s and 2000s, Loren was selective about choosing her films and ventured into various areas of business, including cookbooks, eyewear, jewelry, and perfume. She received a Golden Globe nomination for her performance in Robert Altman's film Ready to Wear (1994), co-starring Julia Roberts. In 1994, a Golden Palm Star on the Palm Springs, California, Walk of Stars was dedicated to her.[12] In the comedy Grumpier Old Men (1995), Loren played a femme fatale opposite Walter Matthau, Jack Lemmon, and Ann-Margret. The film was a box-office success and became Loren's biggest U.S. hit in years.[6] At the 20th Moscow International Film Festival in 1997, she was awarded an Honorable Prize for contribution to cinema.[13] In 2001, Loren received a Special Grand Prix of the Americas Award at the Montreal World Film Festival for her body of work.[14] She filmed two projects in Canada during this time: the independent film Between Strangers (2002), directed by her son Edoardo and co-starring Mira Sorvino, and the television miniseries Lives of the Saints (2004). In 2009, after five years off the set and fourteen years since she starred in a prominent US theatrical film, Loren starred in Rob Marshall's film version of Nine, based on the Broadway musical that tells the story of a director whose midlife crisis causes him to struggle to complete his latest film; he is forced to balance the influences of numerous formative women in his life, including his deceased mother. Loren was Marshall's first and only choice for the role. The film also stars Daniel Day-Lewis, Penélope Cruz, Kate Hudson, Marion Cotillard, and Nicole Kidman. As a part of the cast she received her first nomination for a Screen Actors Guild Award. In 2010, Loren played her own mother in a two-part Italian television miniseries about her early life, directed by Vittorio Sindoni, entitled La Mia Casa È Piena di Specchi (translated My House Is Full of Mirrors), based on the memoir written by her sister Maria.[15] In July 2013, it was reported that Loren was to make her film comeback in an Italian adaptation of Jean Cocteau's 1930 play The Human Voice (La Voce Umana) which charts the breakdown of a woman who is left by her lover with her youngest son, Edoardo Ponti, as director. Filming is to take under a month during July in various locations in Italy including Rome and Naples. It will be Loren's first significant feature film since the 2009 film Nine in which critics received it to mixed reviews.[16] Personal life Loren's primary residence has been in Geneva, Switzerland since late 2006.[17] She also owns homes in Naples and Rome. In September 1999 Loren filed a lawsuit against 76 adult websites for posting altered nude photos of her on the internet.[18][19] Loren is a huge fan of the football club S.S.C. Napoli. In May 2007, when the team was third in Serie B, she told the Gazzetta dello Sport that she would do a striptease if the team won.[20] Loren posed scantily clad at 72 for the 2007 Pirelli Calendar, along with such actresses as Penélope Cruz and Hilary Swank.[21] Loren is a Roman Catholic,[22] though on various issues, such as modesty in dress and her marriage, she has been at odds with the Church.[23] Marriage and family Loren first met Carlo Ponti in 1950 when she was 15 and he was 37. They married on 17 September 1957. However, Ponti was still officially married to his first wife Giuliana under Italian law because Italy did not recognize divorce at that time. The couple had their marriage annulled in 1962 to escape bigamy charges.[24] In 1965, Ponti obtained a divorce from Giuliana in France, allowing him to marry Loren on 9 April 1966.[25] They became French citizens after their application was approved by then French President Georges Pompidou.[26] They had two children: Carlo Ponti, Jr. born on 29 December 1968 (age 44) Edoardo Ponti born on 6 January 1973 (age 40) Loren remained married to Carlo Ponti until his death on 10 January 2007 of pulmonary complications.[27] When asked in a November 2009 interview if she were ever likely to marry again, Loren replied "No, never again. It would be impossible to love anyone else."[28] In 1962 her sister, Anna Maria Villani Scicolone, married the youngest son of Benito Mussolini, Romano, with whom she had a daughter, the neofascist Italian politician Alessandra Mussolini. Her daughters-in-law are Sasha Alexander and Andrea Meszaros.[4][29] Loren has four grandchildren: Lucia Sofia Ponti (born 12 May 2006),[30] Vittorio Leone Ponti (born 3 April 2007).[4] Leonardo Fortunato Ponti (born 20 December 2010) and Beatrice Lara Ponti (born 15 March 2012). Filmography Year Title Role Notes 1950 I Am the Capataz Secretary of the Dictator 1950 Barbablu's Six Wives Girl kidnapped 1950 Tototarzan A tarzanide 1950 I Devote, Thee A popular to the party of piedigrotta 1950 Hearts at Sea Extra Uncredited 1951 White Leprosy A girl in the boardinghouse 1951 Owner of the Vapor Ballerinetta 1951 Milan Billionaire Extra Uncredited 1951 Magician for Force The bride 1951 Quo Vadis Lygia's slave Uncredited 1951 It's Him!... Yes! Yes! Odalisca 1951 Anna Night club assistant Uncredited 1952 And Arrived the Accordatore Amica di Giulietta 1952 I Dream of Zorro Conchita As Sofia Scicolone 1952 Leonora 1953 Bonbon 1953 Pilgrim of Love 1953 We Find Ourselves in Arcade Marisa 1953 Two Nights with Cleopatra Cleopatra/Nisca 1953 Girls Marked Danger Elvira 1953 Good Folk's Sunday Ines 1953 Aida Aida 1953 Africa Under the Seas Barbara Lama 1954 Neapolitan Carousel Sisina 1954 Anna 1954 1954 Poverty and Nobility Gemma 1954 Sofia Segment "Pizze a Credito" 1954 Attila Honoria 1954 Too Bad She's Bad Lina Stroppiani 1955 Agnese Tirabassi 1955 Carmela 1955 Nives Mongolini 1955 Scandal in Sorrento Donna Sofia 1956 Lucky to Be a Woman Antonietta Fallari 1957 Boy on a Dolphin Phaedra 1957 Juana 1957 Legend of the Lost Dita 1958 Desire Under the Elms Anna Cabot 1958 Stella 1958 Rose Bianco Volpi Cup-Venice Film Festival 1958 Houseboat Cinzia Zaccardi 1959 That Kind of Woman Kay 1960 Heller in Pink Tights Angela Rossini 1960 It Started in Naples Lucia Curio Nominated Golden Globe Award for Best Actress Motion Picture Musical or Comedy 1960 Epifania Parerga 1960 Princess Olympia 1960 Two Women Cesira 1961 Chimena 1961 Madame Sans-Gêne, a.k.a., "Madame" Catherine Hubscher, known as "Madame Sans-Gêne" 1962 Boccaccio '70 Zoe Segment "La Riffa" 1962 Five Miles to Midnight Lisa Macklin 1963 Yesterday, Today and Tomorrow Adelina Sbaratti/Anna Molteni/Mara David di Donatello for Best Actress 1964 Lucilla 1964 Marriage Italian-Style Filumena Marturano 1965 Operation Crossbow Nora 1965 Lady L Lady Louise Lendale/Lady L 1966 Judith Judith 1966 Arabesque Yasmin Azir 1967 Natasha 1967 More Than a Miracle Isabella Candeloro 1968 Ghosts - Italian Style Maria Lojacono 1970 Sunflower Giovanna David di Donatello for Best Actress Nominated Fotogramas de Plata Best Foreign Performer 1971 Lady Liberty Maddalena Ciarrapico 1971 Valeria Billi 1972 Man of La Mancha Aldonza/Dulcinea 1973 The Sin Hermana Germana 1974 The Voyage Adriana de Mauro 1974 Verdict Teresa Leoni 1974 Brief Encounter Anna Jesson TV movie(Hallmark hall of fame) 1975 Sex Pot Pupa 1976 Jennifer Rispoli Chamberlain 1977 Antoinette David di Donatello for Best Actress Globo d'Oro Award for Best Actress Nastro d'Argento for Best Actress 1978 Blood Feud Titina Paterno 1978 Brass Target Mara/cameo role 1978 Angela Angela Kincaid 1979 Firepower Adele Tasca 1980 Sophia Loren: Her Own Story herself/Romilda Villani (her mother) 1984 Aurora Aurora Television film 1986 Courage Marianna Miraldo Television film 1988 Lucia Television miniseries 1989 Running Away Cesira TV miniseries(remake of "two women") 1990 Saturday, Sunday and Monday Rosa Priore premiered during the Chicago film festival 1994 Prêt-à-Porter Isabella de la Fontaine 1995 Grumpier Old Men Maria Sophia Coletta Ragetti 1997 Soleil Maman Levy 2001 Francesca e Nunziata Francesca Montorsi TV miniseries 2002 Between Strangers Olivia 2004 Too Much Romance... It's Time for Stuffed Peppers Maria 2004 Lives of the Saints Teresa Innocente TV miniseries 2009 Nine Mamma 2010 My House Is Full of Mirrors Romilda Villani TV miniseries 2011 Cars 2 Mama Topolino voice (in non-English speaking countries) 2013/14 La Voce Umana One-woman film role Short film; currently filming References
5438	dbpedia	1	76	https://www.yumpu.com/en/document/view/46595188/italian-film-festival-2011-big-words	en	ITALIAN FILM FESTIVAL 2011 - Big Words	https://www.yumpu.com/en…ook/46595188.jpg	https://www.yumpu.com/en…ook/46595188.jpg	[ "https://assets.yumpu.com/release/9AmF671O0aR9zQ4/v5/img/logo/Yumpu_Logo_RGB.png", "https://assets.yumpu.com/release/9AmF671O0aR9zQ4/v5/img/account/document_privacy_modal/step1.png", "https://assets.yumpu.com/release/9AmF671O0aR9zQ4/v5/img/account/document_privacy_modal/step2.png", "https://img.yumpu.com/46595188/1/500x640/italian-film-festival-2011-big-words.jpg", "https://assets.yumpu.com/v4/img/avatar/female-200x200.jpg", "https://assets.yumpu.com/release/9AmF671O0aR9zQ4/v5/img/logo/yumpu-footer2x.png", "https://assets.yumpu.com/v5/img/footer/worldmap-retina.png" ]	[]	[]	[ "" ]	null	[ "Yumpu.com" ]	null	ITALIAN FILM FESTIVAL 2011 - Big Words	en	https://assets.yumpu.com…icon-favicon.png	yumpu.com	https://www.yumpu.com/en/document/view/46595188/italian-film-festival-2011-big-words	Attention! Your ePaper is waiting for publication! By publishing your document, the content will be optimally indexed by Google via AI and sorted into the right category for over 500 million ePaper readers on YUMPU. This will ensure high visibility and many readers! Inappropriate You have already flagged this document. Thank you, for helping us keep this platform clean. The editors will have a look at it as soon as possible.
5438	dbpedia	2	35	https://thecinemafix.com/tag/once-upon-a-time-in-america/	en	Once Upon A Time In America	https://thecinemafix.com…mb-v11.jpg?w=200	https://thecinemafix.com…mb-v11.jpg?w=200	[ "https://thecinemafix.com/wp-content/uploads/2018/11/cropped-fix_banner-v1.jpg", "https://thecinemafix.com/wp-content/uploads/2020/07/ennio_morricone.jpg?w=672&h=372&crop=1", "https://thecinemafix.com/wp-content/uploads/2020/07/filmcomponist-ennio-morricone-91-overleden-na-val.jpg?w=1024", "https://thecinemafix.com/wp-content/uploads/2020/06/once-upon-a-time-in-america.jpg?w=672&h=372&crop=1", "https://thecinemafix.com/wp-content/uploads/2020/06/onceuponatimeinamerica_poster.jpg?w=474", "https://thecinemafix.com/wp-content/uploads/2020/06/onceuponatimeinamerica06.jpg?w=683", "https://thecinemafix.com/wp-content/uploads/2020/06/onceuponatimeinamerica_2.jpg?w=800", "https://thecinemafix.com/wp-content/uploads/2020/06/once-upon-a-time-in-america-2-1600x900-c-default.jpg?w=1024", "https://thecinemafix.com/wp-content/uploads/2017/12/cake2.jpg?w=672&h=372&crop=1", "https://thecinemafix.com/wp-content/uploads/2017/12/onegroep1.jpg", "https://thecinemafix.com/wp-content/uploads/2017/12/cake.jpg", "https://thecinemafix.com/wp-content/uploads/2018/11/cropped-fix_thumb-v11.jpg?w=50", "https://thecinemafix.com/wp-content/uploads/2018/11/cropped-fix_thumb-v11.jpg?w=50", "https://pixel.wp.com/b.gif?v=noscript" ]	[ "https://www.youtube.com/embed/LcpCRyNo8T8?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent" ]	[]	[ "" ]	null	[ "Paul" ]	2020-07-08T15:29:47+00:00	Posts about Once Upon A Time In America written by Paul. Writer and Filmmaker	en	https://thecinemafix.com…umb-v11.jpg?w=32	The Cinema Fix presents	https://thecinemafix.com/tag/once-upon-a-time-in-america/	SIX OF THE BEST #26 – ENNIO MORRICONE – (R.I.P – 1928-2020) “If you scroll through all the movies I’ve worked on, you can understand how I was a specialist in westerns, love stories, political movies, action thrillers, horror movies, and so on. So, in other words, I’m no specialist, because I’ve done everything. I’m a specialist in music.” Ennio Morricone As if 2020 couldn’t get any more dramatic, one of the greatest musical composers and dramatists ever known has passed away. Ennio Morricone, rather incredibly, wrote the scores for over four hundred films and television works. He also managed to write well over one hundred classical pieces. To say Ennio Morricone was a prolific genius is somewhat of an understatement. Morricone won six BAFTAs, eleven Nastro d’Argento, three Grammy Awards, three Golden Globes, six BAFTAs, ten David di Donatello, two European Film Awards, the Golden Lion Honorary Award and the Polar Music Prize. In 2007, he received the Academy Honorary Award for his outstanding commitment to cinema. Moreover, he was also nominated for a further six Oscars. Lastly, Morricone had to wait until 2016 to receive his only competitive Academy Award for the haunting score to Quentin Tarantino’s The Hateful Eight (2016). For Morricone to receive only one Oscar for musical composition is astounding and proves once again there is no justice in the world. A meagre blog piece from a London-based hack will never be enough of a tribute to a composer who worked in every cinematic genre and with an incredible array of famous and infamous filmmakers. Notables include: Sergio Leone, Oliver Stone, Warren Beatty, John Carpenter, Quentin Tarantino, Sergio Corbucci, Dario Argento, Duccio Tessari, Sergio Sollima, Henri Verneuil, Bernardo Bertolucci, Mauro Bolognini, Giuliano Montaldo, Roland Joffé, Don Siegel, Mike Nichols, Brian De Palma, Barry Levinson and many more companies including advertisers, singers, recording artists and fashion designers. Morricone even found time to compose the 1978 World Cup theme song. Thus, as a tribute to one of the greatest cinematic artists I have selected six of Morricone’s best film orchestrations. Although given his brilliance and spectacular output, one could certainly pick many more; even sixty of the best!! Riposa in pace, Ennio, il maestro! THE GOOD, THE BAD AND THE UGLY (1966) THE GREAT SILENCE (1968) ONCE UPON A TIME IN THE WEST (1968) ONCE UPON A TIME IN AMERICA (1984) THE MISSION (1986) THE HATEFUL EIGHT (2016) CLASSIC FILM REVIEW: ONCE UPON A TIME IN AMERICA (1984) Directed by: Sergio Leone Produced by: Arnon Milchan Screenplay by: Sergio Leone, Leonardo Benvenuti, Piero De Bernardi, Enrico Medioli, Franco Arcalli, Franco Ferrini Based on: The Hoods by Harry Grey Cast: Robert De Niro, James Woods, William Forsythe, Jennifer Connelly, Elizabeth McGovern, Joe Pesci, Burt Young, Tuesday Weld, Treat Williams, William Forsythe, Richard Bright, James Hayden, Brian Bloom, William Forsythe, Adrian Curran, Darlanne Fluegel. Larry Rapp, Mike Monetti, Richard Foronji, Robert Harper, Dutch Miller, Gerard Murphy, Amy Ryder, Julie Cohen etc. Music: Ennio Morricone Cinematography: Tonino Delli Colli *CONTAINS PLOT SPOILERS* If you were, like me, thoroughly absorbed by Martin Scorsese’s recent directorial gangster epic, The Irishman (2019), you should definitely check out another incredible gangster drama, Once Upon A Time in America (1984). It is directed by acclaimed Italian filmmaker, Sergio Leone, he of “Spaghetti Western” fame. Indeed, Once Upon A Time in America (1984), was the first feature film he’d made since A Fistful of Dynamite (1971). Sadly, it was to be his final film. With a director’s cut running at a behemoth 250 minutes and original theatrical release lasting 229 minutes, Once Upon A Time in America (1984), is certainly a marathon viewing experience and fitting epitaph to Leone’s cinematic craft. Yet, the film rarely feels over-long or slow because there are so many memorable scenes, fascinatingly complex characterisations, incredible intrigue and enough narrative density present to satisfy any audience member with the patience to let it absorb you. Structurally, the film is epic in nature too as it cross-cuts between three, arguably four, separate timelines in: 1918, the 1920’s, the 1930’s and 1968. Interestingly, I watched it via Amazon Prime in two sittings and is so long even the original ‘Intermission’ card remains. Leone and his amazing production cast and crew took almost a year to film Once Upon A Time in America (1984). It’s reported to have had somewhere between eight to ten hours of footage on completion. He originally wanted to release it as a two-part epic, but the studio insisted it was distributed as one film. The almost-four hour theatrical release was received to great critical acclaim in Europe, however, a severely chopped down 139-minute version was put out in America. It was a critical and box office bomb. American critics however, lauded the European version, lamenting the non-release of Leone’s full cinematic vision. For a filmmaker who was drawn to stories set in the America, Leone would generally film in European studios and locations. While some exteriors for Once Upon A Time in America (1984) were shot on location in Florida and New York, many of the interiors were recreated in Rome’s Cinecitta. Furthermore, a Manhattan restaurant was built in Venice, and incredibly, Grand Central Station was rendered at part of the Gare du Nord in Paris. Having said that, Once Upon A Time in America (1984), is so carefully and exquisitely designed and filmed, you would not notice. While possessing more than an air of European arthouse sensibilities, the film, based on a novel called The Hoods, represents Leone’s and his co-screenwriter’s tarnished vision of the American dream. Most significantly is the theme of a loss of innocence. 1920’s New York is presented through the eyes of these Jewish working-class children, many of them sons and daughter of migrants from Europe. These are tough times and the story explores the collision between young innocence and adult corruption by society and humanity. Once Upon A Time in America (1984) is also a story about friendship, loyalty, passion and crime. The narrative revolves around the lives of young gang of Jewish friends growing up in Brooklyn called: Noodles, Max, Patsy, Cockeye and little Dominic. It’s majestic storytelling of the highest quality as we flit between past, present, now and future. Robert DeNiro’s older Noodles reminisces both from 1930 and 1968. There is a sense that he may be projecting from the hazy and drug-addled glow of an opium den. That is open to interpretation though. Thematically, the framework hangs a history of childhood friendships, juxtaposing it with the same people as adults and their victories, losses and betrayals. Further themes include: love, lust, greed, crime, broken relationships, Prohibition, union corruption; as well as focusing on the rise of mobsters in American society. Noodles as portrayed by an imperious Robert DeNiro is calm on the outside, however, his often-rash actions show him as impetuous, emotional and wild on the inside. James Woods’ Max is much more careful, calculating and ice-cold in his business. But the two forge a friendship as teenagers which continues in adulthood. Their childhood gang subsequently becomes a renowned bootlegging and criminal outfit. Leone does not ask us to like or find sympathy for the characters, but rather respect that they are a product of a ruthless era. Sure, they could have got day jobs, but they decide to become criminals and very successful they are too. Even after Noodles gets out of jail for killing a rival, Max has saved a place for him in their illegal liquor trades. Only later does the true deception occur. Ultimately, while their stories are incredibly compelling, these men are violent lawbreakers who spill blood, bribe, threaten, kill and rape, all in an attempt to rise up the ladder of the American capitalist system. I don’t want to spoil any more of the story, but safe to say the cast in this classic film are amazing. Along with DeNiro and Woods’ brutally convincing performances a whole host of young and older actors are directed beautifully by Leone’s careful hand. The standouts for me are Jennifer Connelly in a very early role. She portrays the younger Deborah, while Elizabeth McGovern is the older version of the same character. Connelly is a picture of angelic innocence and Noodles is smitten with her from the beginning. It’s sad therefore that when the adult Noodles’ is rejected by Deborah, his reaction is both toxic and unforgiveable. Undeniably, sex and violence are powerful features in Once Upon A Time in America (1984). Sex especially is rarely, if at all, romantic or part of loving relationship. There are two brutal rape scenes in the adult years. Even when they are kids the character of younger Peggy is shown to use her promiscuity as a weapon to blackmail a police officer. There are some tender moments though, notably during the scene where young Patsy seeks to lose his virginity with Peggy. Her payment would be a cream cake, but Brian eats the cake and saves his innocence. Yet such scenes are fleeting as mob rule, violent robberies, fiery death and murder ultimately dominate the character’s bloody existences. As I say, the actors all give memorable performances and the supporting cast including the likes of Treat Williams, Danny Aiello, Tuesday Weld and Joe Pesci are extremely strong too. A special mention to James Hayden who portrays the older Patsy. He doesn’t have the most dialogue compared to the characters of Max and Noodles; however, he has a quiet power which steals many scenes via strength of personality. The fact that Hayden died of a heroin overdose, in 1983, after completing filming only adds to the cult of tragedy. Dead at 30 years of age, James Hayden never got to see any completed version of Once Upon A Time in America (1984). Given this review is getting near epic proportions itself I will begin to wrap up by heaping praise on the incredible production design. The costumes, locations, vehicles, props and era are slavishly and beautifully recreated. So much so you can almost smell the smoke as it drifts up from the Brooklyn streets. Moreover, the film is superbly photographed by Tonino Delli Colli. The music! I haven’t even mentioned the sumptuous score by the legendary Ennio Morricone. His score is a masterful symphony of haunting laments for loss of love, friendship, loyalty and life. Much indeed like Once Upon A Time in America (1984) itself, as a whole. In conclusion, if you haven’t seen it, I urge you to do so in the knowledge that Sergio Leone has transplanted that same brutally elegant vision of the Wild West to the American gangster genre with unforgettable emotional resonance and power.
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"https://www.thesun.co.uk/wp-content/uploads/2024/08/rachel-leskovac-lindon-king-vincent-863435612_fb590e.jpg?strip=all&w=960", "https://www.thesun.ie/wp-content/uploads/sites/3/2024/08/newspress-collage-817yivkxg-1723152040389.jpg?1723155661&&strip=all&&w=620&&h=413&&crop=1", "https://www.the-sun.com/wp-content/uploads/sites/6/2024/08/JF-US-TOP-10-NFL-FRANCHISE-VALUES-GRAPHIC.jpg?strip=all&w=960", "https://twemoji.maxcdn.com/2/svg/1f44d-1f3fd.svg" ]	[]	[]	[ "" ]	null	[ "Vittoria Scarpa for Cineuropa" ]	null		en	//www.rssing.com/favicon.ico		null	Maria Grazia Cucinotta Kicks Off 2015 Shanghai International Film Festival Sicilian movie star, Maria Grazia Cucinotta (Our interview with Cucinotta)was in Shanghai over the weekend to kick off the 2015 Shanghai International Film Festival. Ratified by the State Council of the People's Republic of China, the Shanghai International Film Festival will run for nine days. The festival offers cinema-goers the chance to see a number of Italian films that were never imported into theaters in China, which restricts the number of foreign films that can enter the market each year. This year, eight Italian films will be featured at the festival: Ermanno Olmi's "Greenery will bloom again" "Black Souls" by Francesco Munzi: Focus Italy "Greenery will bloom again" by Ermanno Olmi: Focus Italy "Happily mixed up" by Massimiliano Bruno: Focus Italy "Invisible Boy" by Gabriele Salvatores: Focus Italy "Italo" by Alessia Scarso: Focus Italy "Italy in a Day" - Un giorno da italiani by Gabriele Salvatores: Focus Italy "Land of Saints" by Fernando Muraca: Focus Italy "We are Francesco" by Guendalina Zampagni: Focus Italy For more information- check out the English version of their website.. www.siff.com ↧ ↧ Canada's Italian Contemporary Film Festival to Feature the Award Winning "Noi e La Giulia" “We’re born with our hands full. That’s why as newborn babies, we clench our fists.. because we have the best gifts we could ever wish for.. innocence, curiosity, a will to live. But then they bring us up to be God-fearing. So, we can’t blame ourselves for fearing everything else as well.” Edoardo Leo’s “Noi e La Giulia” is a thought-provoking, hilarious trip on waking up one day over the age of 40 and realizing that you don’t have a whole lot in life to account for. “You turn 40 and you realize your best friends are a negro, a cammorista and a pair of losers” proclaims a tearful Fausto, Leo’s politically incorrect, right wing character. The film begins with a day in the lives of three Roman 40-somethings from completely different backgrounds. There is Fausto (Edoardo Leo), a macho, self-confident on-air personality that sells mock watches and is wanted by creditors, Diego (Luca Argentero), a disenchanted car salesman unable to show emotion and Claudio (Stefano Fresi), who is being left by his wife as he shuts the doors to his family business that began in 1910. The unlikely trio are brought together by a country property they are each looking to buy and turn into an agriturismo. Since none of them can afford the property on their own, they decide to become partners. Enter Sergio, a slightly bitter left-wing comrade who is looking to collect unpaid wages from Fausto, and Elisa (Anna Foglietta), a good-hearted, pregnant woman jilted at the alter.. and what ensues is a laugh-until-you-cry adventure of a bunch of self-proclaimed failures, that for the first time in their lives, feel like they are succeeding at doing something good. However, it comes with a price as the local countryside thugs threaten to destroy them if they don’t pay “protection money”. Vito (Carlo Buccirosso) leads the way for a whole host of bandits and shady characters relentless on collecting their fees. There are so many elements that make this film a modern-day masterpiece. Leo and his cast perfectly convey the magic we feel when a dream is realized. There is the right amount of conflict and tension just when it seems that everything is going well. The comic timing between the characters is impeccable. The professionalism and skill of the actors bring an element of classic Italian cinema. “I soliti ignoti” (The Big Deal on Madonna Street) came to mind many times, particularly when hostage, Vito, complained about the onion in his carbonara. I couldn’t help but think of these petty criminals in the middle of robbing a house, helping themselves to some pasta and cece that was on the stove. This only validates what I have been saying for more than a decade in my articles about contemporary Italian cinema. We have indeed reached a new “Golden Age” in which writers, directors, actors and all filmmakers for that matter, have reinvented cinema for their own generation while keeping in mind the roots of the past. Yesterday, we had Mario Monicelli, Vittorio Gassman, Claudio Cardinale, Marcello Mastroianni and Antonio De Curtis. Today, we have Edoardo Leo, Alessandro Gassman, Anna Foglietta, Luca Argentaro and Stefano Fresi- each actor with his or her own signature style and characterisics but with an echo and nod of respect for those who set the original bar. I believe those maestros of the past would be pleased to see the actors to whom they have passed the torch. “Noi e La Giulia” has won a whole slew of awards, including two recent David di Donatello’s for Carlo Buccirosso’s performance and Edorado Leo’s direction. The film will be shown this week at the Italian Contemporary Film Festival in Canada. For information on showtimes, visit the festival online at- http://icff.ca/blog/2015/05/07/noi-e-la-giulia/ ↧ Ischia Film Festival Celebrates Location of Francesco Munzi's "Black Souls" The Ionic Sea along the town of Africo (Photo by Actor, Stefano Priolo of Black Souls) Out of the 109 films selected for the festival, 54 will be enjoying their national premieres, 2 their international premieres and 2 their European premieres. 42 are Italian productions or co-productions, and the competition will feature 40 films, including feature films, documentaries and short films, which will battle it out for the festival’s awards. From 27 June to 4 July 2015, the 13th edition of the Ischia Film Festival will be held at the Aragonese Castle in Ischia. It is the only international competition dedicated to cinematographic locations that gives artistic recognition to audiovisual works, directors, directors of cinematography and set designers that endorse Italian and international locations, putting the emphasis on the landscape and cultural identity. Out of the 109 films selected for the festival, 54 will be enjoying their national premieres, 2 their international premieres and 2 their European premieres. 42 are Italian productions or co-productions, and the competition will feature 40 films, including feature films, documentaries and short films, which will battle it out for the festival’s awards. The festival awarded the multi-award-winning writer of Black Souls, Francesco Munzi (who won 9 David di Donatello awards including for Best Film and Best Director) the Ischia Film Award 2015, naming him Best Director of the year. The award, which has previously been given to illustrious people from the world of film such as the French director Benoit Jacquot and the Oscar-winning Bille August, will be awarded on 29 June. As a way of promoting the land through audiovisuals in collaboration with independent festivals, the Ischia Film Festival will once again be showcasing films set on the Baltic Coast this year. In collaboration with the biggest promoter of films from Northern Europe, the Nordische Filmtage Lübeck, for the fourth year running some of the biggest cinematographic works of 2014 (none of which were released in Italy) that place greatest emphasis on the cultural identity of the countries of Northern Europe will be screened. Opening the focus will be Norwegian director Jan Vardøen with the Italian premiere of Heart of Lightness, which is based on the piece of theatre by Henrik Ibsen. The focus will feature other important films such as the Swedish film Och Piccadilly Circus ligger inte i Kumla by director Bengt Danneborn, the Finnish documentary Joka muistaa vähän enempi by Minna Valjane, the Latvian documentary Pelican in the desert by Viesturs Kairišs and a film set in the Faroe Islands, Ludo, by Katrin Ottarsdóttir, who will be attending the festival with his producer Hugin Eide. On 2 July the Ischia Film Festival will be hosting the Bari branch of Creative Europe Desk Media for an info day on the MEDIA sub-programme of Europa Creativa. -Written by Camillo De Marco for Cineuropa ↧ Basilicata: Terra di Cinema - Edoardo Leo's "Noi e La Giulia" "Lucania" Photo by Jeannine Guilyard Updated 13 July- Evening dedicated to Filmmaking in Basilicata at L'Isola del Cinema in Rome.. 20.30 - Serata speciale - Basilicata Edoardo Leo in un reading musicale accompagnato da Jonis Baschir. Ingresso gratuito 21.30 - proiezione del film Noi e la Giulia di Edoardo Leo Presente il regista e parte del cast It’s a vast, spacious land untouched and unpolluted by industry. Its rolling hills, majestic mountains and ancient buildings have stood the test of time. Throughout the years, it has served as a backdrop for iconic filmmakers like Pier Paolo Pasolini and Francesco Rosi. Now, a whole new generation of filmmakers is discovering the magic of Basilicata as a natural set, bringing the region to the world’s stage once again. Edoardo Leo’s award-winning film, “Noi e La Giulia,” is the latest high-profile film to be shot in Basilicata. Adapted from Fabio Bartolomei’s book, “Giulia 1300 e altri miracoli,” the story follows three unlikely partners as they join hands on the risky business venture of turning a dilapidated farmhouse into a modern agriturismo. The opening scenes were shot in Rome, with the remainder of the film shot in the countryside of Pomarico, situated in the hills of Matera. The farmhouse in which most of the scenes took place is called Masseria San Felice. Built in the late 18th century, the property belonged to the Castellano family, which owned much of the land in the surrounding area. Leo’s film was the first major production since the Lucana Film Commission was established, so its director, Paride Leporace, is absolutely thrilled. Leporace works tirelessly to promote the culture and filmmaking of his beloved Basilicata. He travels from south to north and everywhere in between with the region’s filmmakers to spread the word about their southern gem. Photo by Alberto Diamante I recently caught up with Edoardo Leo at the Italian Contemporary Film Festival in Toronto where “Noi e La Giulia” was shown to a packed theater. When Basilicata was mentioned as its backdrop, there was applause and cheers as proud Lucani-Canadians celebrated their beautiful cinematic land. Leo and I talked about his experience working in Basilicata and why he plans on going back. There has been a huge surge in film production in Basilicata during the last year, with movies like “Ben Hur,” “007” and your film, “Noi e La Giulia.” Tell me about your experience there. It was a great experience. In “Noi e La Giulia,” I never mention Basilicata. I wanted to shoot a sort of symbol of the south of Italy, never mentioning Campania or Cammora or the Sicilian mafia. I just wanted to be in the heart of the south. Now in Basilicata, they have a great film commission so I was able to shoot with fantastic people in a fantastic place, so I am very happy. How did you find the farmhouse? We saw the farmhouse when we started to scout locations. Sometimes you can spend more than 20 days to find the perfect location. In this movie, we just used the one location and it was the first one I saw. It was a real miracle, but after seeing that farmhouse, we were all convinced that it was perfect. We said, let’s continue to look for something else but we were all convinced that that place was perfect for the movie. Basilicata is a great place and I would like to come back to shoot another film. What makes Basilicata such a great place to shoot a film? It’s quiet with great color and great light. Did you enjoy the culture and the food, in particular? We can’t talk about Basilicata without mentioning the amazing food and of course, Matera’s famous bread. (Laughs) Yes, the food in Basilicata is great, really great. Every night, we went to Matera to eat the fish and traditional food of the region.. and the bread, too. It all was great. What do you think of all the support for your film and the pride of the people of Basilicata? They are very active and they’re very proud of their region. When you talk about Italy, you always talk about the south of Italy, and you mention Sicily, Calabria or Puglia. But in the last three or four years, they really have made Basilicata shine, and they’re right. I think in the next 10 years, more tourists will come to Italy to visit Basilicata. That is what I dream for them. Paride Leporace and his team are extremely prolific in their promotion of the region. They are very active on social media, always promoting the events in which they will attend to talk about the latest production and news of the region. Visit the Lucana Film Commission online at http://www.lucanafilmcommission.it. There, you will find links to follow them on social media. Stay tuned for more posts about Basilicata: Terra di Cinema. ↧ Al GEOpenDay la presentazione della Libreria Multimediale Geocart Il #GEOpenDay della Geocart, in programma il 26 giugno a Potenza, sarà l'occasione per lanciare alcuni nuovi prodotti altamente innovativi e digitali. Tra le attività in programma verrà presentata la nuova Libreria Multimediale Geocart. Il 26 giugno, durante il #GEOpenDay, nel Centro Entertainment & Media di Geocart, il laboratorio Digital Lighthouse, verranno mostrate alcune delle accurate ricostruzioni virtuali che sono state sviluppate durante i mesi di ricerca e si potranno osservare gli output del percorso elaborativo che i dati percorrono dal momento della loro acquisizione, fino al desktop. La scommessa di Geocart parte proprio da qui, con una nuova tecnica sviluppata dalla società che permette di sfruttare i dati provenienti dai nostri sensori e dalle tecnologie utilizzate nelle fasi di telerilevamento, per ricostruire con soluzioni inedite: accurati modelli digitali 3D e simulazioni virtuali di interi paesaggi, siti d’interesse, set, architetture o di oggetti. Le stesse Realtà Virtuali, potranno essere esplorate con tecnologia immersiva ed in particolare attraverso l'utilizzo degli occhiali Oculus Rift, sui quali la Geocart sta continuando i test e la preparazione di Demo. Un'esperienza multi sensoriale che permette di immergersi completamente in realtà parallele, che siano fedeli ricostruzioni o scenari di completa fantasia, ma sempre frutto di innovative elaborazioni al computer. Con la Realtà Virtuale viene avvertito lo spazio anche se il proprio corpo non è lì! E' una frattura sensoriale, un'asincronia, la base per infinite sperimentazioni narrative. Propri a partire da 26 Giugno, attraverso il portale geocartspa.it, l'utente verrà accompagnato in viaggi virtuali interattivi e potrà ammirare alcuni siti lucani di rilevanza storico/culturale, potrà esaminare i modelli 3D, girarci intorno e ritornare a volare nella realtà virtuale per trasferirsi in un'altro luogo. Importanti architetture storiche della città di Potenza come il Ponte Musmeci, la Cattedrale di San Gerardo, Torre Guevara o quelle presenti a Matera, Capitale europea della cultura 2019, come la Cripta del Peccato Originale e il Castello Tramontano, saranno alcuni dei luoghi visitabili interattivamente sulla nostra libreria. Elementi distintivi della soluzione firmata Geocart, riguarda la compresenza di tre livelli di visualizzazione, pensati per migliorare l'esperienza di navigazione: il primo, l'interfaccia di ingresso, sarà una cartografia digitale intuitiva che metterà in evidenza le città o i luoghi in cui saranno presenti le ricostruzioni virtuali; selezionata la città o il luogo da "visitare", si accederà al secondo livello, navigando attraverso un modello 3D "Point Cloud" su cui saranno presenti le architetture elaborate. I modelli Point Cloud - nuvole di punti - sono delle suggestive rappresentazioni 3D, frutto dell'elaborazione dei dati provenienti dai sensori Laser Scanner e da fotocamere digitali ad alta risoluzione, utilizzati nelle fasi di telerilevamento aereo e terrestre. Il laser scanner rappresenta uno dei sensori innovativi che la Geocart utilizza per le attività di telerilevamento, per "radiografare il territorio", ed è il principale sensore alla base delle nuove tecniche di computer grafica implementate dalla società. I dati point cloud infatti, sono un'output intermedio della catena di processamento che permette di ottenere modelli 3D accurati e realistici. Ultimo livello di interazione con la libreria multimediale, è rappresentato infine, dalla visualizzazione delle accurate realtà virtuali dei siti e delle architetture di interesse. Inoltre, con un apposito comando, potrà essere lanciato il rendering della struttura che si sta visitando e visualizzare il modello nella sua ricostruzione più completa e realistica, con un livello di dettaglio elevatissimo. E' proprio qui che la distanza tra mondo reale e virtuale diventa nullo e le due dimensioni si confonderanno inevitabilmente. Ogni tour virtuale, inoltre, sarà arricchito da informazioni storiche e scientifiche dei modelli visitati e da foto e testimonianze bibliografiche riportate in chiave moderna e critica. L'utente diventerà il "Caronte" di se stesso in un viaggio alla scoperta di luoghi, segreti e informazioni pensati, raccontati e visualizzati per rendere unico e piacevole il soggiorno nel mondo digitale. ↧ ↧ Actor Domenico Centamore: Pride and Passion for his Sicilian Culture He’s had roles in some of the biggest Italian blockbusters of the new millennium and the one thing they all have in common is a fearless protagonist willing to fight until the end against organized crime. Sicilian born actor, Domenico Centamore is proud of his heritage and has worked on films that make strong statements against the corruption his culture has had to endure. He’s had roles in widely popular Mafia-themed films such as “I cento passi” (One Hundred Steps), “La mafia uccide solo d’estate (The Mafia Only Kills in Summer) and most recently, “Anime nere” (Black Souls). Centamore has an impressive list of credits to his name. He's worked in both film and television, portraying complex characters, some of which seem to border on the line of insanity. When he acts, it's obvious that he wholeheartedly believes in his character. His gaze is penetrating, as you can see in the clip below from "I cento passi" with Luigi Lo Cascio, and he sincerely gives a performance that comes straight from the soul. When we began our informal interview a few weeks ago, Centamore at first seemed a man of few words but then his pride and passion for his Sicilian culture took over and he shared some very special cinematic moments with me. He's especially proud of the work he and his colleagues have done through filmmaking to take a stand against organized crime in their regions and communities. My intention was to talk about the numerous David di Donatello nominations and then sweep for “Anime nere” but he had so many other things he wanted to talk about. During our interview, I also learned that he is somewhat of a composer and was nominated for a David di Donatello for his work on Pierfrancesco Diliberto's (Pif) “La mafia uccide solo d’estate”. Jeannine: Tell me about your experience working on “Anime nere”. Domenico Centamore: Working on “Anime nere” was an extraordinary journey in Calabria. Munzi managed to create a good mix of professional and non-professional actors. He made us recite our lines in Calabrian dialect, and for me it was my first acting experience that was not my dialect. My character, Rosario was a member of the Carbone family. The film shows the stark reality, and unfortunately is the true story of how people in these situations live. The story of “Anime nere” is really a Greek tragedy that takes place within the ‘Ndragheta of Africo, Calabria. Since you were previously involved in the mafia stories,“I cento passi” and “La mafia uccide solo d’estate”, was it meaningful for you to be involved with another film that speaks of the life-changing effects of the mafia? I am from Scordia, which is located in the Sicilian province of Catania. However, Sicily and Calabria are similar lands where the gangs have done a lot of damage, as you can see in these films, “Anime nere”, “I cento passi” and “La mafia uccide solo d’estate”. So, it’s really been a privilege to take part in all these projects. How do you feel about the success of "Anime nere" at the David di Donatello’s? I didn’t attend the David di Donatello awards show this year. However, I was there last year and had a very beautiful experience as I was a nominee for “Best Original Song” on another great movie, Pif’s film, “La mafia uccide solo d’estate”. I was at the premiere for "Anime nere"at the 2014 Venice Film Festival where we received 15 minutes of applause. Tell me about the song you wrote for Pif’s film. The name of the song is “Tosami Lady”. It’s a parody of the song by Ivana Spagna, an Italian singer that in the film, was deeply admired by the mafia boss, Bagarella. (Check out the song below in the closing credits of the film) You gave a beautiful, heartfelt performance in “I cento passi” alongside Luigi Lo Cascio. It seemed a very special role for you. It was my first film, and remains in my heart for many reasons. The story of Peppino Impastato is heartwarming for Sicilians and he set an example for everyone. We traced his footsteps by shooting in the actual places in Cinisi (the town in which the film was made) where he spent time, and we got to know his mother. So, this character, Peppino, really existed and as we were shooting around town, many people came up to us and told anecdotes about Peppino and the character that I play. It created an extraordinary atmosphere among the actors and we really felt that we were doing something important. It was a unique experience because all the actors, including Luigi Lo Cascio were just starting out. It was also the producer, Fabrizio’s first film and Pif was working as an intern. Every time I see it, I still get emotional. What are the similarities between Pif's "La mafia uccide solo d'estate" and Marco Tullio Giordana's "I cento passi"? Themessageis the same. Never forget these people who sacrificed so much for what they believed in.. and we must keep their memory alive. Centamore is currently working on two television projects. His latest, a role in Rai Uno's "Il giovane Montalbano" can be seen in upcoming episodes of the popular Italian series. Then in July and August, check him out in the role of Inspector Cariddi on Rai Uno's "Lampedusa", a show about the illegal immigrants that arrive on the Italian island. Lampedusa has become the main entry point for immigrants from Africa. Many never make it because of the dangerous conditions on the boats. The issue has emerged as one of Europe's most serious and controversial topics, so this would be a great show to catch if you're in Italy. ↧ Anna Magnani- Unconventional Cinema Royalty She is one of the most revered actresses in the history of cinema and her memory lives on in some of the most influential films of all time. Born in Rome in 1908, Anna Magnani became a highly respected Academy Award winning actress, but her beginnings were anything but glamorous. Magnani grew up in poverty. She was raised by her grandmother after her mother left at a young age, and she never knew her father. It was clear before long that Magnani was a natural born performer. She worked her way through Rome's Academy of Dramatic Art by singing in local clubs around Rome and its countryside. Her first role was in a 1920's silent film, but Vittorio De Sica's 1941 film, "Teresa Venerdì" was the first to earn her critical acclaim. Four years later came her breakout role in Roberto Rossellini's 1945 classic, "Rome, Open City". The movie broke new ground, being the first work of the neorealistic era of filmmaking and put Anna Magnani on international radar and paved the way for a prolific career in film that would last right up until the end of her life in 1973. Magnani won an Academy Award in 1955 for her role as Serafina Delle Rose played opposite Burt Lancaster in Tennessee Williams' screen version of "The Rose Tattoo". Magnani was known for her realistic portraits of salt of the earth characters who faced hard economic and social times in a post-war world. She gave strong, passionate personalities to each character that she portrayed and made each one come alive and light up with screen through her vast talent and empathy. Although she is considered cinema royalty, she was never one to embrace they lifestyle of a movie star. She is quoted as saying, "I hate respectability. Give me the life of the streets, of common people." There is no doubt, however, that she was indeed respected not only by her fans and critics, but by her peers as well. Magnani worked with some of the most talented filmmakers of her time including Marlon Brando, Pier Paolo Pasolini, Alberto Lattuada, Federico Fellini, Roberto Rossellini, Eduardo De Filippo, Luchino Visconti and Vittorio De Sica, all of whom are now considered legends in cinema. She gave so many incredible performances but if I had to pick my favorite, it would be her role in "Mamma Roma". This 1962 masterpiece by Pier Paolo Pasolini is by far my favorite Anna Magnani film, and is filled with exquisite beauty and tragic sadness. It's the story of a mother trapped in a world of prostitution as she tries to support her son and give him the things she never had. Magnani owns every scene, all of which are set against the social economic landscape of the early 60's. You cannot help but pull for her as she tries so desperately to escape the world that she just can't leave behind. Her beloved son gets mixed up with the wrong crowd and reaches out to her only to find that it's too late. The outstanding performances by Anna Magnani and Ettore Garofolo, who plays her son, will make you laugh one minute and cry the next. Because of her international success and the success of the filmmakers with whom she collaborated, many of her films are easily attainable today giving new generations the opportunity to enjoy her timeless and enormous talent. ↧ Model/Actress Anna Falchi Anna Falchi was born Anna Kristiina Palomaki, on April 22, 1972, inTampere, Finland. Her mother, Kaarina Palomaki Sisko, is Finnish, while her father, Benito "Tito" Falchi, is from Romagna, Italy. Growing up in Italy, Anna was a tomboy, and had a fervent imagination. She is known mostly for her prolific career in modelling. However, she tried her hand at acting and landed a role in one of my favorite Italian comedies, "Nessun messaggio in segreteria". I consider it my one of my favorites because it brought together so many amazing, talented filmmakers during a time when they were all just starting out. Those filmmakers, Pierfrancesco Favino, Valerio Mastandrea, Luca Miniero and Paolo Genovese are now huge names in contemporary Italian cinema, so it's great to look back and see their work in a low-profile film completely different from the bigger-budget stardom they now know.Watch the trailer. Anna Falchi started her career as a model. She first appeared on TV in a commercial for an Italian bank in 1992. The ad starred Paolo Villaggio, and was actually directed by Federico Fellini. This helped her launch a film career, starting with "Nel continente nero" (On the Dark Continent) in 1993. She appeared in a number of films since, including the 1994 fantasy movie "Desideria e l'Anello del Drago" and then more recently in the comedy "Nessun messaggio in segreteria". She has also been a popular television personality, hosting various specials on Italian TV.She is less known in the English speaking world. Some fans of the horror comic Dylan Dog, know her as the lead female in a film adaptation called "Dellamorte Dellamore", which was released in the U.S.as "Cemetery Man". I caught up with Anna while she was in New York. We talked about her diverse background and what it was like working with two cinema greats, Federico Fellini and Pierfrancesco Favino. What was it like growing up in two cultures, with your mother from Finland and your father from Italy? It was beautiful. I grew up in northern Italy, in Rimini. My parents were teachers, so it was never expected that I would become an actress. But they've always been very supportive. My brother is a producer and we have our own production company. So, it's great to work with him. I like producing because I enjoy helping young actors and actresses, and giving them the opportunity to work. Also, I don't always want to be on camera. When did you start working as a model? I started modeling when I was 14 years old. I would just do it on weekends. It was good for me because when I was a child, my family used to move a lot, so I was always changing schools and houses. Modeling gave me the opportunity to work and meet people, so there was no chance to be lonely. Tell me about your first on-camera job, and working with Federico Fellini. I spent 10 days working with Fellni on a commercial for a bank. It was shot in Rimini, so it was great to be home. He was very sweet. When he directed me, he told me to just be myself. He said that he wanted to work with me again, but sadly he died shortly after. What it was like to work with Pierfrancesco Favino on "Nessun messaggio in segreteria"? It was great to work with Pierfrancesco. He usually plays hard roles, but in this film, he was a little shy and funny. I really enjoyed working with him. I liked my character because she was not only a dancer, she had a big heart and also struggled with loneliness. What do you think of Italian cinema today and roles that are being offered to women? Well, we are not very international because we produce inexpensive movies. We have a few big directors who are successful outside of Italy, like Gabrielle Salvatores and Gabrielle Muccino. The starring roles usually go to men with supporting roles going to women. I think it's because younger people go to see movies and they prefer younger stories, not a woman's story. Those tides are changing with a whole new crop of strong female directors and actresses like Laura Bispuri, Anna Foglietta and Paola Cortellesi, just to name a few. These days, Anna Falchi is laying low and embracing her newest adventure in motherhood. Now 43-years-old, she’s an outspoken advocate of health and fitness, and recently made a Red Carpet appearance in support of Rome’s new sports arena,Mondo Fitness. ↧ Catching Up with Neapolitan Artist, Musician and Filmmaker- RiccardoZinna Born in Naples in 1958, Riccardo Zinna truly is a jack of all trades. He's a natural born artist who does it all. He's an actor, musician and visual artist with no formal training. Yet, he has risen to the top of his game in each of his artistic fields. He credits his mother's passion for life and her support and confidence in him to live his life freely and do what makes him happy. Zinna is best known in Italy as a television and film star. He has done many supporting roles in high profile films such as Gabriele Salvatores' thriller, "Io non ho paura" and Nanni Morretti's, "Caro diario." However, he’s proven that he can carry the lead role as well. He did so with great success in Toni D'Angelo's 2008 breakout hit, "Una Notte." The film follows a group of old friends who were brought together by the sudden death of one of their comrades. Zinna takes on the role of a musician who gave up on his dream for a more realistic career in finance. He rediscovers his passion for music after spending a night traveling the streets of Naples with his beloved old friends and an eccentric taxi driver played by the director’s iconic father and Neapolitan crooner, Nino D'Angelo. Read my interview with Toni D'Angelo In addition to film, he has been a key player in an elite group of Neapolitan artists who go between cinema, television and theatre. That group includes what I like to call, maestros in the making; Silvio Orlando, Toni Servillo, Paolo Sorrentino and of course, Riccardo Zinna. These filmmakers, full of Neapolitan pride, have taken the stories and landscapes from their historic homeland and transmitted them throughout the world through their passion and their art. Riccardo and moi at his art exhibit in Rome I spoke with Riccardo Zinna about his career and the famous Neapolitans with whom he collaborates. It seems that you have been acting nearly all of your life. Have you always felt that your destiny was to be an actor? Absolutely not! When I was 16 years old, I was in a band where I sang and played guitar. Silvio Orlando, who went on to become a famous actor in Italy, was also in the group. He played the flute. From there, we took part in a theatre production under the direction of maestro, Roberto De Simone, writer and director of the now legendary production, "La gatta cenerentola”. After that experience, I became busy with theatre and founded a company in the 70's that collaborated on productions with other companies in the community. So everything just fell into place. Read my interview with Silvio Orlando. Have your Neapolitan origins influenced your work as an artist? Yes, Naples has definitely influenced my work as an artist. It's a magical city, rich with inspiration. Life is sometimes difficult in Naples, but it has a unique vitality that really cannot be found anywhere else in the world. Video Clip from "Nessun messaggio in segreteria" - Scene with Pierfrancsco Favino Tell me about your experience working on "Una Notte". What was it like working with someone as experienced as Nino D’Angelo while also working with his son Toni, who is a new filmmaker? It was such a joy to work on this film. It took about a month to shoot, and to go through Naples at night for four weeks, is already an experience in itself! (Even if most travel agencies would not advise it!) Then if you have a taxi driver named Nino D'Angelo driving you around, it becomes an exceptional experience! Nino D'Angelo adores Naples and to spend time driving around with him at night really heightened the experienced and showed Naples for the amazing place that it is. Perhaps because it's an independent film, there was a perfect harmony between cast and crew, something rarely found on the set of bigger productions. The crew faced many challenges in making this smaller production reach the standards requiring it to be viewed in a competitive arena with other big budget movies. It ended up being a huge success and has been recognized all over the world. The film's success can be attributed to the director's passion, enthusiasm and determination to tell this story and turn his dream into a reality. With a low budget film like this, it was interesting to see the creative process take over where the expensive technical equipment couldn't otherwise provide. It's a combination of the atmosphere on the set, the beautiful city of Naples, the intensity of the subject matter and the great company of the cast and crew that makes me feel privileged to have worked on this film. Tell me about your experience working with another one of your Neapolitan counterparts, Toni Servillo. In one half of its 90 years, I have participated in the show "Zingari" by Raffaele Viviani under the direction of Toni Servillo. We took part in a major tour, which brought us all over Italy and Europe. It was an interesting experience to work with such a talented director and cast. Toni is a highly respected actor and director with a deep respect for his profession. He has a clear vision of what he wants to achieve through cinema, and he obtains those goals through hard work. He is always studying his craft. You've also built a name for yourself in the music industry. How long have you been playing? Do you usually play professionally, or is it a hobby for you? I have always been involved in music. I started playing guitar when I was 12 years old. Then I started to play the trumpet. I never intended to make a profession out of it, but through the years, I have composed music for theatre productions and radio broadcasts. Recently, I did the soundtrack for Toni D'Angelo's latest film, which was in competition at last year's Venice Film Festival. The film is a documentary about poets living and working in Rome. You're also a visual artist... When did you begin to paint When I was a teenager in high school, I took some art classes but it's only been within the last 10 years that I picked up a paint brush and started to paint again. It's something that I really enjoy. Are there any artists (visual, film or music) that have influenced your work? Well, I imagine that everything that I've gone through in life, all of the experiences that I've had are reflected in my work. However, I recently saw something on You Tube that really moved me. It was an old film choreographed by Pina Bausch for "The Man I Love" by Gershwin. It's just fantastic! Are there any filmmakers that you'd still like to work with? Yes, there are many, such as Martin Scorsese, Quentin Tarantino, Aki Kaurismaky, Emir Kusturica, Kim Ki Duk, Milos Forman and Pedro Almodóvar.. just to name a few! Riccardo Zinna has already achieved so much in his life and career as an artist, but he's just getting started. He continues to paint, compose music and explore his Neapolitan roots in film and theatre. Many of Zinna’s films are available for purchase through Amazon, including "Benvenuti al Sud", "Io non ho paura" and "Caro diario". ↧ ↧ Dormiveglia Mediterraneo- Workshop in Sicilia con Antonello Faretta A fine luglio Antonello Faretta terrà un workshop nella Pinacoteca di Capo d’Orlando in Sicilia nell’ambito dell’Atelier delle Arti e del Cinema di Ricerca di Nomadica. Il titolo sarà Dormiveglia Mediterraneo, Immagini per mettersi a Riparo. Sarà un workshop sul tema del dormiveglia, quel crinale incerto tra Sonno e Veglia dove camminano precarie le immagini di confine tra Sogno, Realtà e Finzione. Dormiveglia come incubatore della Visione. Mediterraneo non luogo della luce bensì dell’ombra. Dormiveglia Mediterraneo come stato di grazia che produce immagini senza luce e senza macchine da presa. Immagini che fanno ombra, che mettono al riparo. Il bando e la scheda di iscrizione sono scaricabili qui. End of July Antonello Faretta will held a workshop at Pinacoteca di Capo d’Orlando in Sicily as part of the Atelier delle Arti e del Cinema di Ricerca di Nomadica. The title is Dormiveglia Mediterraneo, Immagini per mettersi a Riparo. Regulations and entry form here. ↧ Andrea Segre's "Shun Li and the Poet" Voted Best Film by School Children Andrea Segre’s Shun Li and the Poet has won Best Film at the first Fred at School initiative, voted for by students. This was announced at the first ever Fred at School “Building New Audiences for European Cinema” conference, held in London on 2 July. The other nominees, shortlisted from the European Parliament’s LUX Prize competition, were Olivier Masset-Depasse’s Illegal, Filippos Tsitos’ Akadimia Platonos Gabriela Pichler’s Eat Sleep Die. Shun Li co-writer Marco Pettenello was present to acknowledge the honor, and in his remarks he lauded the short-listing of a Greek film and said that Greece belongs in the European Union. Shun Li works in a textile factory in the outskirts of Rome, in order to get her papers and enable her eight-year-old son to come to Italy. She is suddenly transferred to Chioggia, a small city-island in the Veneto lagoon, to work as a bartender in a pub. Bepi, a Slavic fisherman, nicknamed “the Poet” by his friends, has been a regular at that little pub for years. The friendship between Shun Li and Bepi upsets both the Chinese and local communities, who interfere with this new voyage, which they are perhaps simply too afraid of. Fred at School is an educational audience development project supported by the European Union’s Creative Europe programme and presented by Fred Film Radio to raise awareness of European films and culture among young people. This year, students with a mean age of 15, from schools in the UK, Germany, Italy, France, Spain, Croatia, Romania and Iceland, participated. It is an inclusive project with films made accessible to visually and hearing-impaired audiences, and the films selected were age-appropriate and with subject matter relating to issues of European citizenship. ↧ Cinema Greats- Giuseppe Rotunno and Franco Zeffirelli honored this week The beauty about Italian cinema is that its past continues to flourish while new filmmakers emerge creating their own masterpieces and future classics. When I talk to the contemporary filmmakers, they always give credit to their predecessors, acknowledging and respecting the foundation those maestros painstakingly built. This weekend, two beautiful stories have come out of Italy, paying tribute to two icons of the past.. and the really special part of this is that both filmmakers are still living and very involved with the new generation of Italian filmmakers. The 2015 Masters of Light at TDC is celebrating legendary cinematographer Giuseppe Rotunnowith screenings of five of his films "illustrating his artistry and genius" .. and the announcement of a museum dedicated to the work of Franco Zeffirelli was just made in his hometown of Florence. Giuseppe Rotunno Rotunno is oneof the most prominent cinematographers of all time. Throughout the decades, he has collaborated on great masterpieces of cinema alongside directors such as Federico Fellini, Mario Monicelli, Luchino Visconti and Terry Gilliam. His debut in film dates back to 1943, as a camera assistant on L’uomo dalla Croce by Roberto Rossellini. In 1956, his debut as a cinematographer working alongside director CarmineGallone on Tosca (1956), Le notti bianche (1956) by Luchino Visconti and Montecarlo (1956) by Sam Taylor. At the end of the 50s, Rotunno shootsLa grande guerra (1959) by Mario Monicelli and Policarpo, official writing (1959) by Mario Soldati, for which he’s awarded, respectively, with Best B&W Cinematography and BestColor Cinematography at the 1960 Silver Ribbon Awards. In the 60s, signature large films like Rocco e i suoi fratelli (1960) byLuchino Visconti, for which he won the Silver Ribbon for BestB&W Cinematography. Again with Luchino Visconti, he shot an episode of Boccaccio‘70 (1962), Il Gattopardo (1963), winner of the Silver Ribbon for BestColor Cinematography, and Lo straniero (1967). In those years, he also worked with Vittorio de Sica on Ieri, oggi, domani (1963), John Huston on TheBible (1966), that earned him a Gold Plaque for BestCinematography at the David di Donatello, and started his collaboration with Federico Fellini on Toby Dammit (1968), followed by Satyricon (1969), for which Rotunno won another Silver Ribbon Award for BestColor Cinematography. The collaboration with Fellini continued on Roma (1972), Amarcord (1973), Casanova (1976), Prova d’orchestra (1978), La città delle donne (1980) and E la nave va (1983), the being the latter awared both at the Silver Ribbon and David di Donatello for BestCinematography. Rotunno also served as cinematographer for Julia & Julia (directed by Peter Del Monte, 1987), the first feature shot using high definition television taping techniques, then transferred to 35mm film for theatrical release. With All That Jazz (1979) by Bob Fosse, Giuseppe Rotunno earned an Oscar nomination for BestCinematography and won a BAFTA Award. In 1999, Rotunno’s extraordinary achievements in the art and craft of cinematography were underlined by three prestigious awards: a Golden Globe Career Award, a Golden Frog Award for Lifetime Achievement at Camerimage (1999), and the International Achievement Award from the ASC – American Society of Cinematographers (1999). For 20 years, Giuseppe Rotunno has been the Head of Cinematography at theCentro Sperimentale di Cinematografia– Italy’s national film school, influencing new generations of Italian cinematographers through his unique and charismatic method. In 1966, Giuseppe Rotunno was the first non-American cinematographer admitted to the ASC – American Society of Cinematographers. He has also served as President of AIC – the Italian Society of Cinematographers, of which he has been nominated Honorary Member in 2014. Franco Zeffirelli Franco Zeffirelli was bornGianfranco Corsi on February 12, 1923 in Florence. He is a prolific filmmaker, who has worked as director, designer and producer of opera, theater, film and television. He is revered for his "authentic details and grand scale" of his opera productions and film adaptations of Shakespeare. Zeffirelli attended the University of Florence to study architecture, but while there he became involved with the university’s theatre company. His studies were interrupted by Germany’s occupation of Italy, and he became a Partisan, serving as an interpreter for the Scots Guard. When the war was over, he went to Rome to pursue a career in theatre. n 1946, he joined Luchino Visconti’s Morelli-Stoppa Company as an actor and stage director. After working with Visconti on La terra trema (1948; The Earth Trembles) and other films, Zeffirelli began to concentrate on stage design. His first major design for opera was a production (1952–53) of Gioachino Rossini’s L’Italiana in Algeri for La Scala, Milan. He worked on a number of other opera and theatre productions—including the operas La traviata, Lucia di Lammermoor, La Bohème, Tosca, Falstaff, and Carmen—from the 1950s through the beginning of the 21st century. He also began to direct films. Among his major films are three Shakespeare adaptations: a richly produced The Taming of the Shrew (1967), with Richard Burton and Elizabeth Taylor; Romeo and Juliet (1968), in which he for the first time featured teenage actors in the title roles; and Hamlet (1990), with Mel Gibson. His later films include Jane Eyre (1996), Tea with Mussolini (1999), and Callas Forever (2002). He continued to film operas such as I Pagliacci (1981), Cavalleria rusticana (1982), Otello (1986), and La Bohème (2008), working in several roles, including director, producer and costume designer. We will keep you updated on the progress of the museum dedicated to Zefferelli. Sources-www.terradicinema.comandwww.britannica.com ↧ Vittorio De Sica- Father of the Oscar for Best Foreign Language Film From 1917 right up until his untimely death in 1974, Vittorio De Sica worked non-stop to become one of the most prolific filmmakers of our time. With nearly 200 films to his credit, including beloved classics like, “The Bicycle Thieves” and “Two Women”, Vittorio De Sica created timeless portraits of characters struggling to survive in the darkest of days. Like the common theme in many of his films, De Sica grew up with the bare minimum. Born into poverty in 1901 in the town of Sora, a picturesque village situated along the banks of the Liri river near the Simbruini Mountains in Lazio, De Sica lived in a town stricken with hardship. Perhaps that is why he was a leading force in the Neorealism movement; a film movement which was born out of the necessity to make films with very little resources in the wake of World War II. My blog on how Neorealism influences today's Italian filmmakers Liri River waterfall In his films, De Sica’s characters search for hope and beauty among desolation. Perhaps he drew from his own experience growing up in such a beautiful place, which includes Sora’s neighboring commune, Isola del Liri, a charming island, which houses two famous waterfalls; visual muses for artists throughout time. De Sica grew up with nothing among this beautiful landscape in which he prospered as an artist, and adapted that experience and message for his neorealist films. De Sica began his film career in 1917 with a part in Alfredo De Antoni’s silent adventure film, “Il processo Clémenceau” (The Clemenceau Affair). Shortly thereafter, he began a successful stint in theater, in which his dashing looks made him a local stage idol. De Sica enjoyed both stage and screen, appearing in both art forms throughout the 1920’s. The next decade would go on to really launch his career. In 1932, he made his “talkie” film debut in “La Vecchia Signora” and at the same time, he and his first wife, Giuditta Rissone founded their own theater company along with fellow actor and playwright, Sergio Tofano. The company prospered, specializing in comedies, but also featured the work of big-name directors like Luchino Visconti. Meanwhile, his film career was flourishing and he was making a name for himself as a respected comedy actor. De Sica is responsible for making Italian Cinema a front runner at the Academy Awards. During his golden years, six of De Sica’s films were praised by the Academy of Motion Picture Arts and Sciences. The first of those was his 1946 neorealist film, “Sciuscià” (Shoeshine) in which he stepped behind the camera to direct. The film played a pivotal role in the international acclaim that Italian cinema would go to achieve. “Sciuscià” (see video clip) is the story of two friends, Giuseppe and Pasquale who test-ride horses and dream of owning one themselves. They work on the streets of Rome as shoeshine boys in the depressed economy of Post-War Italy. The boys become the scapegoats of a complex theft and their lives are destroyed. The story is a heartbreaking testament to the financial distress Italians faced in the wake of World War II. The film received an Honorary Award at the Oscars and was the inspiration behind the category of the award for Best Foreign Film as it was the first foreign film to be acknowledged by the Academy of Motion Picture Arts and Sciences. Two years later, De Sica made “Ladri di biciclette” (The Bicycle Theif). The film is truly one of the masterpieces of Italian cinema, and of cinema as a whole. “Ladri di biciclette” is the story of a Roman family struggling to survive on the streets of Rome, again in the wake of World War II. Antonio Ricci, played by Lamberto Maggiorani is desperately searching to support his family of four. When he is offered a position posting advertisements around the city, he tells his wife that he has to decline because he needs a bike and obviously cannot afford to buy one. She is so happy that he has finally been offered a job, she pawns all her bed sheets and humble valuables to raise the money for the bike. The two are so ecstatic; they enjoy a beautiful victory ride home, her on the handlebars rejoicing their new life. Then on the first day of work, Antonio’s bike is stolen. What follows is a portrait of desperation and the lengths a father and young son will go to find justice. The film also won an Honorary Award at the Oscar’s and to this day, is considered one of the classic films of all-time. "Umberto D", De Sica's 1952 neorealist film and heart wrenching story of an elderly man and his dog struggling to survive on his pension, earned an Oscar nomination for its screenplay by Cesare Zavattini. "Sciuscià" and "Ladri di biciclette” were awarded honorary Oscars, while De Sica's 1963, "Ieri, oggi, domani" and his 1971, "Il giardino dei Finzi Contini" won the official awards for Best Foreign Language Film. And speaking of "Ieri, oggi, domani", which starred Sophia Loren, the two proved to be a match made in Oscar heaven, and made that adorable "striptease" scene infamous (See video clip). Three of their films received nominations or the prized trophy. The other two films were De Sica's 1960 "La Ciociara" (Two Women) which earned Loren an Oscar for Best Actress, making her the first actor to be awarded the honor for a performance in a foreign film; and De Sica's 1964, "Matrimonio all'italiana" (Marriage Italian-Style), which earned two nominations for Best Foreign Film and Best Actress. De Sica's personal life didn't go quite as well as his professional life. He was known to be a gambler, many times losing big and in turn taking on less-interesting projects just to ease the financial pressure. He did, however, leave a cinematic heir. In 1951, De Sica’s second wife, Spanish actress Maria Mercader, gave birth to their son, Christian, who would go on to follow in his father’s footsteps. Christian De Sica planted his performing roots in music but fate took over and he has since become a celebrated comic actor and director known for his hilarious sketches of Roman characters and infamous Cinepanettone Christmas comedies. He is absolutely adored by audiences in Italy. He is married to the sister of fellow actor/director, Carlo Verdone. Vittorio De Sica’s legacy lives on the masterpieces he created, and the unique way in which he documented a difficult time in Italy's history through his neorealist films. Fortunately, many of his films are readily available. ↧ ↧ Basilicata: Terra di Cinema- Interview with Patchanka Soledada Frontman As part of my series, "Basilicata: Terra di Cinema, I am revisiting an article that I wrote for Chicago's Fra Noi Magazine back in 2007. It was inspired by a music video by the music group, Patchanka Soledada. I've written often about the new generation of Italian filmmakers who take their cameras to the streets and offer a real perspective on everyday Italian life. Well, I discovered a wonderful film in which a group of artists have done just that. Musicians turned filmmakers. It’s indie filmmaking at its finest and now it has brought to light one Basilicata town via the internet. Matera-based music group, Patchanka Soledada has created a short film to showcase their song, La più bella del mondo. The clip, which features a local couple walking around the ancient Italian town, has been watched by thousands and has brought international attention to the group and the beautiful scenic town in which they live. The uniqueness of the film can be found in the musical instruments that play a direct role in everything the couple does from driving in the car to eating at the local pizzeria to strolling along the promenade. The band used local Matera eateries, Ristorante Stano and Pizzeria Il Rugantino to give the video an authentic feel that transports you right to southern Italy. I spoke with the lead singer of the group, Nicola Petrillo, whose stage name is Pedro Wadada. He told me about the making of the film, the symbolism of the instruments and how his southern Italian town inspires the band’s work. First, tell me about Patchanka Soledada. Patchanka Soledada's music is upbeat, thoughtful and intense. But at the same time, it’s amusing and funny. It’s a mixture of sounds and colors that give our band an indefinable sound. From reggae to ska to rocksteady, we use several sounds to express every mood. What is the concept behind your short film and the reason you chose to use instruments in the scenes with the actors? With the help of some friends, we took on the huge challenge of making a music video. With the director, Giancarlo Fontana, and our executive producers at Bluvideo, we recruited local actors. The idea, born from one of my suggestions, was to launch the message that life is music, music is love and love is life in a continuous circle without limits. The instruments are in the hands of common people because in a way, each one of us plays something. In everything people do, they are playing music. So, this big world we live in is just made of notes. There are still multifaceted unsolved meanings to the film and I’m very happy that many people are trying to give their own meaning to it. I believe that this is the magic of art: each person can read into it and relate to it in their own way. Does the beauty and charm of Matera play a role in your work? Of course! Starting from our town Matera and including our entire region, our landscapes resonate a huge potential in ourselves. Our work shows the territory, its beauty, its hidden treasures, its possibilities…as well as its contradictions and problems. It couldn’t be different. In this area, you can live a life still linked to the land, where years of history are visible wherever you look. The peace, the slow pace of life and the tranquility inspire us. But words don’t do these places justice. You can just live them. You can sip a glass of Aglianico, but in words, it has no flavor. What is your dream? My dream is to live the music without ever getting bored of it, without big ambitions or unattainable dreams, without insincerity or false modesty. I would like simply to wake up in the morning and be sure that my role in this world is to be a musician! And whether he knows it, this musician is also a talented filmmaker. Eight years later, the band is still together. Check them out on Facebook or go to the band’s website at www.patchankasoledada.com. ↧ Italian Independent Film Channel Launched The best works from the most important international festivals, which until now, have not been granted a place on the mainstream circuits, can be seen on Indiefilmchannel.tv. The first online Italian video-on-demand platform of its kind is dedicated solely to independent films. Cineuropa.com is reporting that the new indie channel boasts a catalogue of over 1,000 titles, split into ten categories from animation to horror, and encompassing short films, documentaries and features All of the portal’s features can also be accessed via a smartphone or tablet, which means that independent cinema is available in pocket-sized format on all iOS and Android device. This innovative platform’s offering is now being enriched by the addition of 20 new titles from the library of Istituto Luce Cinecittà, one of the key players in the film sector, which, like Indiefilmchannel, is committed to fostering Italian cinema, both within Italy and abroad. Among the new titles that are available to view are Good Morning Aman by Claudio Noce, his feature debut; L'estate sta finendo, the second feature by Stefano Tummolini; Angosto, the first film by Jorge Sánchez-Cabezudo; and Small Homeland by Alessandro Rossetto, one of the most highly regarded names in Italian documentary – this, his debut feature, was presented at the Venice Film Festival in the Horizons section, as well as at the Rotterdam and Copenhagen International Film Festivals. Of note in the documentary section are Fuoristrada by Elisa Amoruso, an examination of transsexuality through the trials and tribulations of a family that appears to be unconventional only on the surface, presented at the most recent Rome Film Festival, and The Last Shepherd by Marco Bonfanti, which was presented at 70 festivals the world over. These are joined by Musica cubana by German Kral, a pupil of Wim Wenders’, who acted as a producer on this title; Beat Paradeby Luigi and Corrado Rizza, which is a depiction of Italy in the 1960s, along with its music and the lifestyle of that era; and Terramatta by Costanza Quatriglio, one of the most highly awarded documentary films of the last few years. ↧ The Infinite bellezza of Gina Lollobrigida She has been called the most beautiful woman in the world and at 88 years old, she is still a sight to behold as all that outer beauty mirrors the talent and inner beauty of this true, complete artist. Gina Lollobrigida, the iconic actress, the photojournalist and the sculptress, was born Luigina Lollobrigida on the 4th of July, 1932 in Subiaco, Italy, a town located in the Province of Rome, near the picturesque tourist destination of Tivoli. Adored by audiences on both sides of the Atlantic, Lollobrigida has worked with some of the biggest names in Hollywood including Humphrey Bogart, Rock Hudson, Frank Sinatra, Anthony Quinn and Shelly Winters. She acted opposite Bob Hope in his 1968 comedy, "The Private Navy of Sgt. O'Farrell" and even joined him on one of his many visits to the military troops overseas. Like many of her Italian screen siren counterparts, Lollobrigida got her start in local beauty contests and from there went into modeling before trying her hand at acting. In 1946, she made her onscreen debut with a small role in Riccardo Freda's "Aquila Nera" (Return of the Black Eagle) which starred Italy's beloved Gino Cervi. After that, it was one film after another for Lollobrigida. Then in 1953, she made her Hollywood debut in John Huston's, "Beat the Devil" with Humphrey Bogart and Jennifer Jones. Her role as Maria Dannreuther caught the attention of American audiences and she became an instant Hollywood star. Just two years later, she was nicknamed, "The Most Beautiful Woman in the World", with the release of her trademark movie, "La donna più bella del mondo" (Beautiful But Dangerous), in which she played the infamous role of Lina Cavalieri, the Italian peasant who becomes a world-renowned opera singer. She costarred with the equally iconic Vittorio Gassman and Robert Alda. Lollogrigida actually did her own singing in this film while maestro, Mario Bava, created a rich feast for our eyes with his decadent cinematography. Gina Lollobrigida went on to appear in a whirlwind of hit films including Carol Reed's circus drama, "Trapeze" with Burt Lancaster and Tony Curtis in 1956 and also that year, starred in Jean Delannoy's "The Hunchback of Notre Dame" with Anthony Quinn. In 1959 she co-starred with A-listers Frank Sinatra, Steve McQueen, Peter Lawford and Charles Bronson in the warfare drama, "Never So Few". She worked non-stop throughout the 60's but started to slow down a bit in the 70's and thereafter. She's entertained a number of different projects in the years following her cinematic heyday including politics in which she actually ran for one of Italy's European Parliament seats from her hometown of Subiaco. She pursued her interest photojournalism and shot a number of high profile, interesting subjects including Paul Newman, Salvador Dalí and Fidel Castro. One of my favorite films is "Strange Bedfellows". In classic slapstick 60's humor, this romantic comedy is hilarious and clever with punchy dialogue and an a-list cast of characters that are just as easy on the eyes as they are delivering their impeccably timed lines. Gina Lollobrigida and Rock Hudson star as a couple who keep trying to get it right despite their differences. Hudson plays the role of Carter Harrison, a smooth talking executive who marries the beautiful, outspoken artist and activist Antonia, played by Lollobrigida. Although the two are crazy about each other, they are forever bickering and the marriage ends up falling apart. Then after a number of years, they find each other again and pick up where they left off. The script is witty, the performances are memorable, the styles are trendy of the era and the story is a timeless tale of love and humor. It is available through Amazon. In her latest creative adventure, she has become a talented sculptress, creating larger than life figures in her Roman studio. Many of her works possess a quality that seems to be in motion, like they are dancing as their thin fabrics flow in the wind. Perhaps that quality represents the free spirit that Lollobrigida has always had as she took the world by storm. In an interview with "Parade" magazine, she elaborated on her skills as an artist. "I studied painting and sculpting at school and became an actress by mistake." However, many would argue that her acting was a mistake. Sculpture, “Living Together” for the 1992 Seville World's Fair Gina Lollobrigida is forever emblazoned in the hearts of admirers all over the world and we are still enjoying the eternal talents of this classic symbol of grace and style as her zest for life continues to this day. Thanks to Lollobrigida's vast international success, many of her films are still available today. Amazon is a great source that has currently carries a wide range of her films. You can also visit her online at www.ginalollobrigida.com. ↧ "Braccialetti Rossi" at L'Isola del Cinema in Rome On Monday, July 13th, L'Isola del Cinema will celebrate one of Italy's biggest pop culture sensations- "Braccialetti rossi" (Red Bracelets). The television series began in January of 2014 and has become a favorite among Italian teenagers. When I interviewed actress, Anna Ferruzzo back in March, she gave me her thoughts on why the show has become so popular, explaining that the show is "the Italian version of the Spanish television series "Poiseres Vermelles" inspired by the true story of the Spanish writer Albert Espinosa. The series tells the stories of a group of young patients in a cancer hospital. Their friendship and love will help them to face and overcome the tragedy of disease and death. In this series, I play the hospital psychologist. The success of "Red Bracelets" was surprising especially among the young. Before this series, no one on Italian television dared to talk about these important and uncomfortable issues of illness and death of young people and children. "Red Bracelets" has instead shown that you can tell any story, even the most difficult, as long as you face it with grace, respect and truth." Traduzione in Italiano.. Raccontami "Braccialetti Rossi". La serie non è conosciuto in America, ma sembra essere molto popolare in Italia. Qual è il tuo ruolo in questa serie? "Braccialetti Rossi"è la versione italiana della serie televisiva spagnola"Poiseres Vermelles"ispirata alla storia vera dello scrittore spagnolo Albert Espinosa. La serie racconta le storie di un gruppo di giovanissimi pazienti in un ospedale oncologico. L'amicizia e l'amore li aiuterà ad affrontare e a superare il dramma della malattia e della morte. In questa serie io interpreto la psicologa dell'ospedale. Il successo di "Braccialetti Rossi"è stato sorprendente soprattutto tra i giovanissimi. Prima di questa serie nessuno,nella televisione italiana,aveva osato raccontare temi così importanti e scomodi come la malattia e la morte di giovani e bambini."Braccialetti Rossi"ha invece dimostrato che è possibile raccontare qualunque storia,anche la più difficile, purchè lo si faccia con garbo,rispetto e verità. The event will begin at 7:00 pm with a photo op for attendees and cast members. A screening of the first episode will begin at 9:00 pm. During the evening, 600 red bracelets will be given away. For more information, visit L'Isola del Cinema online. ↧ ↧ New Funding Initiative Raises International Appeal for Film Production in Rome Announced by President Zingaretti at the presentation of MIA, the new International Audiovisual Market, which will be held from 16 to 20 October during the Rome Film Festival. A new call for tenders worth €10 million, made possible by EU funds, to attract international film productions and encourage European co-productions, will be launched by the Lazio Region at the MIA, the International Audiovisual Market, which will be held from 16 to 20 October during the Rome Film Festival. It was announced by the President of the Region, Nicola Zingaretti, during the presentation, last Friday, of the revamped Roman Market: “With MIA we will see a significant improvement in quality. Too often in the past the system has been overly disjointed”, stated Zingaretti, announcing that a second call for tenders, worth €2 million, “will be aimed at investment in new technologies in production, to structurally reinforce companies”. And it is exactly at a new system of synergies and collaboration between institutions and operators that MIA is aimed. The one-of-a-kind platform, that will bring together films, TV series, video games and documentaries (see news article), was spearheaded by Fondazione Cinema per Roma, Anica, the Associazione Produttori televisivi (Apt) and Doc/it, backed by the Ministry for Economic Development, and promoted by the Italian Ministry of Cultural Heritage and Activities and Tourism, with the cooperation of the Roma Lazio Film Commission. Guiding the Market, which will be held in the original Roman location of the Baths of Diocletian and the nearby Hotel Boscolo Exedra, will be thirty-nine-year-old Lucia Milazzotto, who used to be Manager of the New Cinema Network, the co-production market of the Rome Film Festival: “MIA is an extraordinary collective operation that channels exceptional expertise for reaching ambitious objectives, above all the internationalisation of the Italian audiovisual industry as a whole so that it once again holds sway on the global stage”. “The film sector is an industrial sector to all intents and purposes, so we are investing with conviction in making it international”, confirmed Carlo Calenda, the Italian Vice Minister for Economic Development who is funding the market with one and a half million euros (another €440 thousand is being put up by the associates of the Fondazione, including the Lazio Region, the Istituto Luce - Cinecittà and Rome the Capital). “This is why the Ministry for Economic Development, as part of a three-year initiative, has already put up funding for next year, and in October the funding for the third year will be set”. Andrea Occhipinti, the President of distributor association ANICA, also supported the extraordinary cooperative spirit of the MIA: “It will be a space in which to plan, develop and co-produce but also to raise awareness of and sell what we have already produced. We decided to hold the market in Rome because Venice, due to when it is held, is in direct competition with Toronto. But events linked to the MIA will also be held at Venice, as at other film festivals”. In italiano... Regione Lazio: in arrivo bando da 10 M€ per le coproduzioni europee Lo ha annunciato il presidente Zingaretti alla presentazione di MIA, il nuovo Mercato Internazionale dell'Audiovisivo che si terrà dal 16 al 20 ottobre durante la Festa del Cinema di Roma. Un nuovo bando da 10 milioni di euro, finanziato con fondi Ue, per attrarre produzioni cinematografiche internazionali e favorire le coproduzioni europee, sarà lanciato dalla Regione Lazio al MIA, il Mercato Internazionale dell'Audiovisivo che si terrà dal 16 al 20 ottobre nel corso della Festa del Cinema di Roma. Ad annunciarlo è stato il presidente della Regione Nicola Zingaretti nel corso della presentazione, venerdì scorso, del rinnovato Mercato romano: “Con MIA faremo un importante salto di qualità, troppo spesso in passato il sistema ha peccato di disarticolazione”, ha affermato Zingaretti, anticipando anche che un secondo bando, da 2 milioni di euro, “sarà finalizzato all’investimento sulle nuove tecnologie nei sistemi di produzione, mirato al rafforzamento strutturale delle imprese”. Ed è proprio ad un nuovo sistema di sinergie e di collaborazione tra istituzioni e operatori che punta il MIA, una piattaforma unica in cui confluiranno film, serie tv, videogiochi e documentari (leggi la news), voluta da Fondazione Cinema per Roma, Anica, l'Associazione Produttori televisivi (Apt) e Doc/it, sostenuta dal Ministero dello Sviluppo Economico, promossa dal MIBACT, e con la collaborazione della Roma Lazio Film Commission. A guidare il Mercato, le cui attività si terranno tra l’inedita location romana del complesso delle Terme di Diocleziano e il vicino Hotel Boscolo Exedra, sarà la trentanovenne Lucia Milazzotto, già responsabile in passato di New Cinema Network, il mercato di coproduzione del Festival di Roma: “MIA è una straordinaria operazione collettiva che convoglia eccezionali competenze per il raggiungimento di obiettivi ambiziosi, primo fra tutti l’internazionalizzazione dell’intera industria italiana dell’audiovisivo affinché possa tornare ad affermarsi a livello globale”. “Il cinema è un settore industriale a tutti gli effetti, per questo investiamo con convinzione a favore della sua internazionalizzazione”, ha confermato Carlo Calenda, vice ministro dello Sviluppo Economico che finanzia il Mercato con un milione e mezzo di euro (altri 440 mila euro provengono dai soci della Fondazione, tra cui Regione Lazio, Istituto Luce - Cinecittà e Roma Capitale). “Per questo il MISE, nell'ambito di un intervento triennale, ha già finanziato il contributo per il prossimo anno e a ottobre sarà fissato anche quello per il terzo”. A sostenere lo straordinario spirito cooperativo del MIA, anche Andrea Occhipinti, presidente dei distributori dell'Anica: “Sarà uno spazio per pianificare, sviluppare e coprodurre ma anche far conoscere e vendere ciò che abbiamo già prodotto. Per il mercato si è deciso di puntare su Roma perché Venezia, per una questione di date, è in competizione diretta con Toronto. Ma anche a Venezia, così come in altri festival, ci saranno eventi legati al MIA”. -Reported by Vittoria Scarpa for Cineuropa ↧ Italian Distributors Bridging Culture Between Europe and North America Raoul Bova and Sarah Jessica Parker on the set of "All Roads Lead to Rome" Andrea Iervolino and Monika Bacardi are taking the distribution world by storm and bringing a whole new angle of Italian cinema to North America. Iervolino who has been a producer since the age of 16, has produced, financed and distributed over 40 films. A partner and founder of a number different production companies, he is currently, the youngest and most highly regarded Italian entrepreneurs in the world of film-making. With his Italian-Canadian origins (his mother is Canadian, his father Italian), after also having worked on different productions and co-productions with some of the country’s major film-makers and having shot no fewer than 8 films in 2011, in October of that same year he founded his own distribution company, Iervolino Entertainment S.p.A, which is now a part of the AMBI PICTURES Group, whose partners are Andrea Iervolino and Monika Bacardi. Andrea Iervolino has never left out his innate passion for films on powerful social issues and in this regard he is also president of the FCAI, an association that is committed to taking exposé and social commentary films into schools, something made possible thanks to the Cineschoolday initiative, for which Italian Life Senator Giulio Andreotti was a spokesperson in 2011-2012. Iervolino’s latest ventures include “Italian Style Thriller”, which comprises three feature-length films in 3D and a series consisting of eight episodes that will have as their common denominator a genre that in the seventies led to Italy becoming a worldwide point of reference, namely Horror. It is through this project that some young Italian directors have had the opportunity to once again bring this genre of movie, which had all but disappeared, back to life in Italy, creating them using present-day directing techniques with a view to venturing once again on the international scene. AMBI Pictures and Distribution Andrea Iervolino and Monika Bacardi are partners in AMBI PICTURES, an investment company whose task is to provide financial backing for medium to high-budget international films featuring Hollywood names. Iervolino and Bacardi also founded AMBI Distribution. Based in Beverly Hills, it's a worldwide sales agency that integrates finance, production and distribution for AMBI Pictures. Andrea Iervolino and Monika Bacardi I had a conference call with the two distributors during Toronto's Italian Contemportary Film Festival. They talked about their recently produced films, which include eight just last year- the action-thriller “2047 Sights of Death” starring Danny Glover, Daryl Hannah, Rutger Hauer, Stephen Baldwin and Michael Madsen; (My interview with “2047: Sights of Death” Screenwriter, Tommaso Agnese) the Barry Levinson directed drama, “The Humbling”, starring Al Pacino, Greta Gerwig, Kyra Sedgwick, Charles Grodin and Dianne Wiest; and the crime-thriller “Hope Lost” starring Danny Trejo, Mischa Barton and Michael Madsen. Recently AMBI produced “Andron – The Black Labyrinth”, by Francesco Cinquemani starring Alec Baldwin, Danny Glover, Gale Morgan Harold III and the singer Skin. Andrea Iervolino and the director Marco Risi, in collaboration with Monika Bacardi produced “Tre Tocchi”, by Marco Risi. In collaboration with Paradox Studios, AMBI Pictures is also in production with the romantic comedy “All Roads Lead To Rome” starring Sarah Jessica Parker. Monika told me that the story brings together the Italian and American cultures.. and that she's really looking forward to releasing this film at the end of this year or in 2016, depending how production goes. We'll keep you posted. AMBI Pictures is financing and producing with Franco’s Rabbit Bandini Productions and That’s Hollywood Pictures, a film directed by James Franco and based on Steinbeck’s gritty, realist style novel: “In Dubious Battle”. The film stars James Franco, Selena Gomez, Vincent D’Onofrio, Robert Duvall, Ed Harris, Bryan Cranston and Danny McBride. The company has also recently ventured into the world of animation, with two animated features: “Arctic Justice – Thunder Squad” and “East End”.Iervolino and Bacardi, together with ‘American Sniper’ Producer, Andrew lazar,are tackling Sci-Fi Thriller, ‘Rupture’, starring Noomi Rapace and directed by Steven Shainberg. The team is also in talks with the family of Federico Fellini to remake the iconic filmmaker's equally iconic film, "La dolce vita". ↧ Giuseppe Tornatore Starts Production on the Story of his Colleague- Ennio Morricone Following the announcement at the Cannes Film Festival, Oscar-winning director Giuseppe Tornatore has started production on "The Sight of Music", a feature-length documentary the life and work of his Oscar -winning counterpart, Ennio Morricone. The personal and professional journey of this Italian maestro will be portrayed through archive film clips, interviews and fictional reconstructions. The two have had a beautiful, creative partnership for decades. It all began in 1988 when Morricone composed the soundtrack to "Cinema Paradiso", and the two continue to work together today, with the latest film being Tornatore's 2013 film, "TheBest Offer". Check back here for updates on the film's progress. In the meantime, watch my single favorite movieclip in the history of cinema, thanks to the magic of Giuseppe Tornatore and Ennio Morricone... ↧
5438	dbpedia	0	7	https://www.alphavillejournal.com/Issue22/HTML/ArticlePagello.html	en	DETECting the âNoirificationâ of European Popular Narratives Across Film, Fiction and Television			[ "https://www.alphavillejournal.com/images/Alphaville%20Journal%20of%20Film%20and%20Screen%20Media.jpg", "https://www.alphavillejournal.com/images/Menu/About.jpg", "https://www.alphavillejournal.com/images/Menu/Submit.jpg", "https://www.alphavillejournal.com/images/Menu/Index.jpg", "https://www.alphavillejournal.com/images/Menu/Contact.jpg", "https://www.alphavillejournal.com/Issue22Images/Article Images/Pagello Fig 1.png", "https://www.alphavillejournal.com/images/UCC%20Logo.jpg", "https://www.alphavillejournal.com/images/FSM%20LOGO-Medium-Light%20Background%202.png", "https://www.alphavillejournal.com/images/CC%20license.jpg", "https://www.alphavillejournal.com/images/DOAJ%20Seal.png", "https://www.alphavillejournal.com/images/CLOCKSS.png", "https://www.alphavillejournal.com/images/FIAF%20logo.jpg", "https://www.alphavillejournal.com/images/MLA%20logo.gif" ]	[]	[]	[ "" ]	null	[]	null	The article explores the transcultural dimension of European crime narratives by looking at the specific role of cinema in this context. Building on the research conducted by DETECt scholars in different areas of contemporary popular cultureâespecially literature and televisionâit first discusses the link between the more and more widespread use of the ânoirâ label and the increasing cultural legitimation of the crime genre. The article then argues that this phenomenon echoes the emergence of a new âEuropean quality crime filmâ in recent years. While stressing the potential contribution of the genre to the circulation of European cinema, the evident limits of its impact in this field are also examined. Finally, it looks more closely at the transnational circulation of contemporary Italian crime films to assess to what extent they have been able to find a transnational audience on a continental level. In this context, the importance to look beyond theatrical distribution and the centrality of intermedial exchanges are highlighted, indicating new directions for research.		../../images/favicon.ico		https://www.alphavillejournal.com/Issue22/HTML/ArticlePagello.html	DETECting the “Noirification” of European Popular Narratives Across Film, Fiction and Television Federico Pagello [PDF] Abstract The article explores the transcultural dimension of European crime narratives by looking at the specific role of cinema in this context. Building on the research conducted by DETECt scholars in different areas of contemporary popular cultureâespecially literature and televisionâit first discusses the link between the more and more widespread use of the “noir” label and the increasing cultural legitimation of the crime genre. The article then argues that this phenomenon echoes the emergence of a new “European quality crime film” in recent years. While stressing the potential contribution of the genre to the circulation of European cinema, the evident limits of its impact in this field are also examined. Finally, it looks more closely at the transnational circulation of contemporary Italian crime films to assess to what extent they have been able to find a transnational audience on a continental level. In this context, the importance to look beyond theatrical distribution and the centrality of intermedial exchanges are highlighted, indicating new directions for research. Article Is the increasing transnational dimension in the production, distribution and consumption of popular narratives helping to shape new European transcultural identities, or does it reveal the persistent cultural fragmentation and sociopolitical conflicts characterising Europe’s past and present? The research conducted in the frame of the DETECt project, from which this article originates, addresses this question by looking at the case of crime narratives, arguably the most successful, adaptable and enduring narrative genre in modern popular culture.[1] Drawing on previous research projects on the role of popular media in the process of European integration (Agger; Bondebjerg and Redvall; Bondebjerg et al.), as well as on a growing body of scholarship on the transcultural and transnational dimension of contemporary crime narratives (Damrosch, d’Haen and Nilsson), DETECt examined whether and how this genre has contributed to making “mediated cultural encounters” possible among different communities and individuals across the continent that facilitate the “banal Europeanisation” of the everyday experiences of millions of people (Bondebjerg et al. 4). This article builds on DETECt’s specific interest in the relationships among different mediaâliterature, cinema and televisionâwith the goal of assessing the particular role of crime films in this broader, intermedia context. In particular, the article argues that to study the transnational circulation of European crime cinema it is necessary to think of the genre as an inherently intermedial phenomenon, in which the success of discrete texts is less significant than the complex network of relationships in which they are included. The first section examines the role of the crime genreâand especially noirâin facilitating the emergence of new transcultural phenomena in European popular culture, especially in the fields of literature and television, discussing how the link between the genre and discourses about “quality” has become increasingly crucial for the transnational circulation of European popular narratives. The second section focuses on the field of cinema, engaging with scholarly analyses of the production and distribution of European crime films, which highlight the emergence of a new category: the “quality crime film” (Baschiera). In the third and final section I examine how the transnational circulation of Italian crime films perfectly illustrates this phenomenon, emphasising the centrality of intermediality in this trend. “Euro Noir”? On the Noirification of European Popular Narratives The DETECt project examined how the vast and in-depth circulation of popular crime narratives in Europe as well as elsewhere has facilitated the emergence of various glocal and transcultural phenomena, asking whether they can provide the opportunity for European creatives and audiences to identify as members of the same “imagined community”, which would make its European dimension apparent and could be embraced by individuals as well as groups across the continent. One way in which DETECt scholars have addressed this issue has been to examine the increasingly widespread use of labels such as “Nordic Noir”, “Mediterranean Noir” or “Euro Noir” to highlight the transnational and, often, properly transcultural dimension of these phenomena (Baetens, Schultze and Truyen; Baetens and Truyen; Dall’Asta, Levet and Pagello; Biscarrat and Jacquelin). As scholars have widely discussed, Nordic Noir has become a paradigmatic example not only of the ability of the (multi-nation) Scandinavian region to acquire a recognisable identity and to export its products across Europe and beyond, but also of the ability of this specific kind of crime narratives to influence the approach to the genre in many other parts of the continent, thus eliciting the emergence of new, hybrid cultural production (Creeber; Hansen, Peacock and Turnbull; Hansen). DETECt scholars SÃ¡ndor Kalai and Anna Keszeg have shown this process very clearly in their study of what has been called, quite paradoxically, “Hungarian Nordic Noir”. In a rather different way, the case of Mediterranean Noir has already provided ample evidence for the properly transcultural dimension of the crime narratives produced in the Southern part of the continent (Turnaturi). Focusing our attention on the cultural and ethnic diversity of this particular context, DETECt scholars highlighted that these crime narratives do not only cross national borders, but also Europe’s geographical boundaries, thus questioning any simplistic assumptions about how we think about European cultural identity (Pepper; Pezzotti). Also for this reason, DETECt scholars started to use the label “Euro Noir” to signal, rather than the existence of a homogenous phenomenon, that of a set of texts, trends, and questions indicating the increasingly interconnected relationships among popular narratives produced in different countries as well as different media across Europe. Interestingly, the term was first proposed by the British journalist and cultural critic Barry Forshaw in his Euro Noir: The Pocket Essential Guide to European Crime Fiction, Film & TV, a book that in spite of its title adopts a national perspective on its subject matter to explicitly emphasise the diversity and richness of the approaches found in each European country. DETECt literary scholars, however, started to adopt this label in studies focusing on the transnational circulation of European crime novels (Migozzi; Biscarrat and Jacquelin) and their common generic and cultural identity (Baetens; Baetens and Truyen). Looking at how the work of writers such as Fred Vargas, Andrea Camilleri, Jo Nesbo, Petroks Markaris and many others has been widely translated across the continent, Migozzi indeed argued that it is possible to identify a specific momentâbetween the late 1990s and the early 2000sâwhen literary markets across Europe opened up their doors to a much richer exchange of authors and stories from different European countries, reducing the traditional (Anglo-)American domination and promoting mutual exchange among the various national schools in the Old Continent.[2] “Euro Noir”, in this sense, becomes a label for this transnational and increasingly transcultural genre that results from the mutual influences among writers working in different parts of the continent. A similar process has recently also become apparent in the field of television, in which European crime dramas have quickly transformed in order to address the competition of the new, American “quality” series (Pagello, “Images”). As Kim Toft Hansen (a member of DETECt project), Steven Peacock and Sue Turnbull have argued, the success of Nordic Noir in this medium was just the first and clearest sign of how European crime TV dramas started to receive larger visibility on continental as well as global distribution platforms (2). This process has led to the development of a range of new strategies for the production and circulation of TV series and enriched the traditionally national dimension of European television and, particularly, PSBs. During the last decade, transnationally successful crime series were produced in countries such as France, Italy, Germany, Spain, the Netherlands, Belgium, Hungary, Romania and Poland, while the activities of (American) multinational corporations such as Sky, Netflix and HBO Europe have greatly increased the opportunities for audiences to access a variety of non-domestic European series that were previously inaccessible. The success of shows such as Peaky Blinders (BBC2/BBC1, 2013â), The Returned (Les Revenants, Canal+, 2013â2015), Gomorra (Sky, 2014â), Money Heist (La casa de papel, Antena 3/Netflix, 2017), Babylon Berlin (Sky, 2017â), and Dark (Netflix, 2017â2020) has not only proven the enhanced opportunities for European series to reach a truly continental audience, but have also offered stimulating representations of European society, history and current socio-political climate, using the crime genre and/or some of its stylistic features in varied ways (Dall’Asta, Levet and Pagello). This phenomenon has thus led DETECt scholars to suggest the label “Euro Noir” could cautiously be adopted to highlight not only the continental scale of these phenomena, but also their common features and ability to represent, and speak to, the shared experience of viewers across the continent (Hansen; Kalai and Keszeg; Dobrescu). To fully apprehend the nature of this trend, however, we should turn our attention not only to its European dimension, but also to the specific role of the crime genre, and particularly of noir. The literary and TV crime narratives mentioned above have been indeed regularly associated, even if sometimes perhaps arbitrarily, with one (or more) variants of this subgenre. In addition to the “Nordic”, “Mediterranean” and “Euro” variants, labels such as “regional noir”, “country noir” or “rural noir” have been used more and more often to describe the use of the genre to explore special space and socio-cultural context (Jacquelin), while local and national “schools” such as “Tartan Noir”, “Italian noir”, “Belgian Noir”, “Novela negra” and so on have acquired a continental and sometimes global resonance. But what is the contribution that such labels give to the circulation of crime novels and TV series on a transnational level? As literary and TV scholars have already suggested (Gorrara; Pieri 4; Steenberg), this article argues that the reference to noir genre is aimed at providing crime narratives with a “quality” status able to support the translation, adaptation and promotion of non-national cultural products in other European countries. The phenomenon first became visible in the field of literature. While long regarded as a popular pastime with scarce literary credentials, and with little or zero cultural capital, crime novels have become since the 1980s the object of a deep critical re-evaluation.[3] After moving rapidly from the fringes of literature to the very centre of the contemporary publishing industry, the genre then acquired through the process of adaptation an increasingly important role in a growingly interconnected media system that currently finds its most powerful distribution channel in contemporary digital television. It is precisely in this context that European publishers, critics and audiences first started to identifyâand to promote for an international audienceâthe novels written by authors as diverse as Jean-Pierre Manchette, Ian Rankin, Carlo Lucarelli, Jean-Claude Izzo, Andrea Camilleri, Fred Vargas, Hennik Mankell with the label of “noir”âperhaps not despite but because the term has always been disputed and, in some of these cases, might not even be entirely pertinent. As shown by literary and media scholars (Mondello; Jansen, Lanslots and Vermandere), during the 1990s authors and publishers more consciously embraced the brand “noir” both as a literary and a marketing strategy in order to differentiate their output from the mass of crime narratives. In particular, noir’s tendency to abandon some of the features of classical detective fiction to focus on social criticism, a darker representation of reality and a greater emphasis on the characters and the settings of the storiesârather than simply on the plotâhave been regularly stressed to provide these narratives with a patent of cultural legitimacy (Jansen, Lanslots and Vermandere 9). As is well known, the very same process has been at the centre of contemporary TV crime series, for instance in the crucial case of the promotion and reception of Nordic Noir (Hill and Turnbull). Here, the noir label helped to articulate a discourse about contemporary “quality” TV dramas as something different from “simple” crime series, emphasising the subgenre’s association with social critique, existentialist mood, elaborate stylistic strategies, multi-layered storylines and sombre antiheroes. In recent years, neo-noirâor “noirised”âseries have been now regularly used by all kinds of television producers and commissioners (public and private broadcasters, pay-TVs, OTTs) to compete in the increasingly crowded, but also appealing, market of transnational digital television. In the last decade this change has perhaps been even more evident in Europe than elsewhere, since the arrival of new players such as Sky, Netflix, Amazon or HBO has deeply transformed the production and distribution of scripted programmes, in particular by opening up a new international market for European TV series. Following the most influential American quality television seriesâfrom The Sopranos (HBO, 1999â2007)to True Detective (HBO, 2013â), from Dexter (Showtime, 2006â2013) to Ozark (Netflix, 2017â), from Breaking Bad (AMC, 2008â2013)to Fargo (FX, 2014)âan impressive percentage of the most successful European TV series have explicitly drawn on noir or neo-noir elements for their characters, stories, setting and/or style. Shows as diverse as the aforementioned The Killing, Peaky Blinders, Babylon Berlin, Money Heist and even the more classical Sherlock (BBC, 2010â)have been associated with the genre one way or another, as they effectively used the neo-noir elements to connect with these larger trends in international television. As clearly argued by Lindsay Steenberg, these series are received by the audiences, journalists and critics as “complex, realist, and significant” precisely because the noir filter is a very successful legitimation strategy. It is a mobilization of the tropes, aesthetics, and cultural myths circulating around film noir to call upon a history of critical acclaim and debate. The act of labelling something noir, particularly a visual fiction, is a way of insisting on its status as art. (62) The recent phase in the history of European crime narratives and, particularly, in their transnational circulation is thus deeply linked to the “re-branding” of the genre as something other than classic crime fiction, which seemed to have exhausted at least some of its potential and could survive only through a renewal that took the form of its “noirification”. This term has been proposed by the Italian scholar Massimo Locatelli in his monograph on contemporary crime narratives, Psicologia di un’emozione. Thriller e noir nell’etÃ dell’ansia, to indicate the widespread adoption by popular narratives across media of the themes, atmospheres, and stylistic features of noir, often in combination with other genres. Locatelli provides a variety of examples, referring to literature, film, comics and television series, embracing dramatic and comedic texts, art cinema and Hollywood franchises, children’s stories and adult-only imagery. Of course, this spread and contamination also necessarily involved a weakening of the genre’s, already notoriously precarious, borders and further increased the proliferation of hybrid texts, in which noir is only one of the elements and, often, not the most important. Precisely for this reason, however, I believe that “noirification” is a useful concept to illustrate how, while the “quality” of these “noirised” texts has been constantly questioned, this label has been widely adopted by producers, distributors and consumers to discuss these narratives and their transnational success. European Crime Film Between Auteur and Quality Cinema If the process of legitimisation and increasing transnational circulation has been so clear in the field of fiction and television, what happened in the field of European cinema, whose cultural capital and industrial system is certainly significantly different? To answer this question is not so straightforward: while DETECt scholars could benefit from the large scholarship that has been produced during the last decades on European crime novels and TV series, the situation in the field of film studies is largely different. In fact, studies on crime cinema that adopt a European perspective are extremely rare (Spicer), as scholars have tended to focus instead on specific historical periods, authors or national schools. In fact, it is possible to argue that research on European crime cinema is an underdeveloped field of study, and that neither its transnational or popular dimensions have received sufficient attention. Confirming well-established notions about the absence of a truly European popular cinema (Dyer and Vincenceau; Eleftheriotis), as well as the impression that European crime film has mostly developed on a national level (Spicer), DETECt scholars did find it difficult to identify comparable trends to those observed in other media. In fact, DETECt’s contribution to this field has been so far comparatively scarce and its most significant outputâStefano Baschiera’s article “European Crime Cinema and the Auteur”âemphasised the limited effort by European industries to invest in the production and promotion of popular crime films on a continental level. In particular, the issue does not seem to concern the lack of European crime films but rather their specific characteristics and the difficulties regarding their transnational circulation: the landscape is still dominated by comedies, grossing well at the local level, and heritage films, including nostalgia and historical films [â¦] the role of crime films is still marginal and of difficult categorisation, underlying more the permeability between art-house and mainstream (in a way not dissimilar from middlebrow productions like heritage or historical films) than presenting a clear generic identity. This is even more relevant considering the move away from the national context to consider a European approach. While there are examples of genrefication at the national level (from German’s krimis to French polar and Italian mafia films) it is also true that those phenomena are increasingly rare in contemporary European cinema. (Baschiera 5) In fact, despite the existence of numerous individual cases of critically acclaimed and commercially successful European crime films on a transnational level in the last few yearsâ from In Bruges (Martin MacDonagh, 2008)to The Girl With a Dragon Tatoo (MÃ¤n som hatar kvinnor, Niels Arden Oplevl, 2009), from A Prophet (Un prophÃ¨te, Jacques Audiard, 2013) to Victoria (Sebastian Schipper, 2015)âthe auteurist brand as a necessary tool to obtain visibility beyond the domestic borders continues to play a crucial role. Moreover, the traditional association of European crime cinema to national schools or subgenres primarily addressed to a domestic audience and/or to a limited niche of cinephiles makes it difficult for this type of film to address a truly continental audience on a regular basis. In this sense, Baschiera’s article seems to confirm previous studies that have emphasised not only the limited circulation of European crime films but also strong links to specific cultural contexts. This was indeed a main argument of the important collection of essays European Film Noir edited by Andrew Spicer in 2007, which emphasised how the identification of European cinema with art cinema and the specificities of the different national contexts have left their visible marks on this genre. As with the case of Forshaw’s Euro Noir, Spicer’s collection is indeed organised in sections that strictly refer to national areas (France, Great Britain, Germany, Spain and Italy), each emphasising their specificity and relative autonomy: The aspect of European film noir that emerges most strongly from this survey is its national specificity. In each country, noir and neo-noir have individual trajectories that reflect that nation’s history, its political organisation, its cultural traditions, the state of its film industry and the strengths of its cinematic culture. In each case, film noir and neo-noir frequently engage with social, political and cultural issues that are particular to that nation. This leads to marked variations in characterisation and in the construction of gender. There are also significant differences in visual style and aesthetics between the various countries, and also a wide variety within each separate national noir/neo-noir. (13â14) European Film Noir furthermore shows how the role of auteurs is also evident by presenting stylistic and thematic readings that highlight the aesthetic and cultural approaches adopted by European crime films, without taking into consideration their international circulation and their possible mutual influences. In fact, in his introduction to the book, Spicer explains how all these different European cinemas negotiate their identity primarily through their relationship to the model of American noir, effectively giving shape to a proper transnational and, his in words, “transcultural” phenomenon which, however, is generated through their common references to this external party rather than a direct connection to each other (17). While the mediation of Hollywood cinema is also stressed by Baschiera (5), his study takes us a little further, helping us identify both a new emerging trend and a different analytical perspective that can shed light on aspects that would be otherwise underestimated. Perfectly in line with the larger context discussed by DETECt scholars, Baschiera highlights how an exclusive focus on the relationship to American cinema implies “a missed opportunity to create the kind of links, connections and transnational influences which would allow an understanding and a conceptualisation of crime film as part of a European popular cinema” (9). On the contrary, Baschiera suggests giving more attention on the idea of the recent emergence of a European “quality” crime film, which he defines as “commercial productions with auteurist ambitions” and whose existence he links to the increasingly central role played by national broadcasters in the European film production (5).[4] As we will see in relation to the case of Italian cinema, discussed in the next section, this development has helped recent European crime films to find an international distribution, even if it often reaches only a small audience. While this phenomenon remains marginal, it suggests that we are witnessing a convergence of film industrial and aesthetic practices with the larger trends discussed above. Moreover, the centrality of intermedial relationships is directly linked to the opportunity for contemporary cinema to take advantage of a potentially global online distribution, which not only transcends national borders much more easily, but also emphasises the necessity of thinking about film as a specific area of an interconnected media system. On the Theatrical Distribution of Italian Crime Films In what follows, I will examine in particular information acquired from the International Movie Database (IMDb) and the European Audiovisual Observatory’s LUMIERE database to offer both a quantitative and qualitative assessment of this phenomenon. On the one hand, although IMDb’s categorisation must not be regarded as an objective classification about Italian film production, I suggest that an analysis of its labelling of Italian films can help us identify some significant clues about their international reception, as concerns both their visibility outside of the country and the way in which distributors and audiences think about “Italian crimecinema”. On the other hand, by looking at the LUMIERE data about the number of admissions for Italian crime films across Europe, I will examine how the films that have obtained at least some theatrical distribution on a continental level show the clear impact of the transnational and intermedial trends that I have discussed in the first part of this article, supporting the idea that we are witnessing the gradual emergence of a new, European approach to the genre also in the field of cinema. As regards the specific period taken into consideration by the DETECt projectâfrom 1989 to the presentâIMDb provides the titles of around 290 Italian feature films tagged with the label “crime”.[5] What this corpus makes immediately clear is that a large percentage of these titles do not actually refer to genre films or, in many cases, that their main generic features do not fall within the crime genre. In most cases these films are examples of auteur cinema or social, political or historical dramas or comedies that include â and, sometimes, focus on â a variety of criminal activities and events, often anchored in Italy’s reality: as a matter of fact, these films incorporate or touch upon elements of the crime genre but do not resolutely adopt the well-established conventions of crime narratives. In this sense, the IMDb corpus confirms the idea that many Italian “crime” films engage with crime more as a thematic elementthan as a genre informing the films’ narrative structures or stylistic features, thus echoing the scholarly analyses about the superimposition of art cinema and the crime genre discussed in the previous section. By looking at the IMDb list, in fact, it is possible to argue that such an approach is not limited to the films that aim to obtain an international audience, but it is common to the majority of Italian “crime” films. If we then look at the data collected by the European Audiovisual Observatory’s LUMIERE database about the admissions to Italian films in theatres across the continent, we verify how the number of films from the IMDb list that actually received at least some international attention is surprisingly limited, and that their box office results are rather disappointing. In fact, less than ten per cent of the films labelled by IMDb as “crime” seem to have reached more than a few thousand viewers through their theatrical distribution outside of the country. According to the LUMIERE database, which has collected such data since 1996, only nine of these films have sold more than 100,000 tickets in the European region (including Russia), and only twenty-four sold more than 10,000 tickets throughout the last twenty five years (see Table 1). While bearing in mind the biases in IMDb’s categorisation system and its extremely broad definition of the notion of “crime film”, these figures prove that the transnational circulation of Italian “crime” films, at least as concerns their theatrical distribution, is extremely limited, if not non-existent. The following considerations aim therefore to show that, in spite of such small absolute numbers, these films participate in a much wider network of exchanges in the fields of fiction and television and that they both benefit to a certain extent from the emergence of a transnational popular culture on a continental level. Of course, it is also necessary to consider that Italian crime films could be now potentially distributed through a variety of digital platforms, which would provide the opportunity for a much more extensive and extended exposure to transnational audiences.[6] It is precisely through these different channels of distribution that the intermedial dimension of European crime cinema might fully emerge in the future, emphasising how crime films are actually part of much broader narrative worlds that European viewers and readers might encounter in a variety of media contexts. If we look more closely at the shortlist in Table 1, the analysis of European crime cinema described in the previous section seems indeed to be confirmed. Almost all of these films combine the themes or some of the stylistics features typical of the crime genre with clear markers of an authorial brand, literary credentials and/or an explicit engagement with the national history or contemporary social reality. Films such as One Hundred Steps (I cento passi, Marco Tullio Giordana, 2002), The Consequences of Love (Le conseguenze dell’amore, Paolo Sorrentino, 2004), My Brother Is an Only Child (Mio fratello Ã¨ figlio unico, Daniele Lucchetti, 2007), Gomorrah (Gomorra, Matteo Garrone, 2008), Human Capital (Il capitale umano, Paolo VirzÃ¬, 2013),Black Souls (Anime nere, Francesco Munzi, 2014), Dogman (Matteo Garrone, 2018) or The Traitor (Il traditore, Marco Bellocchio, 2019) are indeed primarily auteur films and/or socio-political dramas, sometimes adapted from literary sources and, specifically, from the work of writers dealing with criminal factsâoften based on real eventsâas opposed to novels written by crime-fiction specialists. While their real or supposed links to the crime genre should not be underplayed, especially when thinking about their box-office results in the domestic market, these films certainly did not obtain an international distribution because of their potential generic identity, but rather as a result of the cultural capital as well as the commercial value attached to these other features. It is indeed no coincidence that eight of the first ten films in this list premiered at international film festivals such as Cannes or Berlin, more than half received major national and international prizes (including the European Film Awards) and, above all, most of them were signed by some (if not almost all) of the main contemporary Italian directors.[7] Besides this superimposition of the authors’ brand and the crime genre, however, other characteristics of these films become immediately visible by adopting the intermedial perspective discussed above. Half of the titles in this list, and seven in the first ten, are adaptations from literary sources (I include in this category Saviano’s Gomorrah, despite its non-fictional topic). In the cases of Romanzo criminale (Michele Placido, 2005), Gomorrah, Suburra (Stefano Sollima, 2015) and Piranhas (La paranza dei bambini, Claudio Giovannesi, 2019), then, we are dealing with adaptations of books, by authors such as Saviano and De Cataldo (the latter one of the most successful contemporary Italian crime writers), that had already obtained international fame and that were soon to be turned into even more popular TV series. Part of truly cross-media crime narratives, these films build on pre-sold properties in order to aim for an international audience (Boni; Benvenuti; Guerra, Martin and Rimini). This is especially obvious in the case of Suburra, which was conceived simultaneously with the TV series (a coproduction between the American multinational Netflix and national Italian broadcaster RAI) to be released a couple of years later: the film therefore served as a sort of cinematic pilot for the show, which is in fact a prequel of both the original book and its adaptation for the screen. This example has often been indicated as the clearest sign of an industrial and aesthetic convergence between Italian film and television, which in recent years has led to the creation of a variety of films and TV series that were conceived from the beginning as part of a “dual” strategy, involving the production and distribution of different versions of the same projects via the two media (Barra and Scaglioni). Other filmsâI’m Not Scared (Io non ho paura,Gabriele Salvatores, 2004), My Brother is an Only Child, The Goodbye Kiss (Arrivederci amore ciao,Michele Soavi, 2006), Human Capital, La ragazza nella nebbia (Donato Carrisi, 2017)âare adaptations of non-serial bestsellers in Italy, all written by well-known writers and sometimes the recipients of important literary as well as film awards. Some of these books are real examples of crime fiction, while others are primarily linked to the genre because of the themes they explore (i.e., political violence, mafia, media representation of crime). The notion “quality crime cinema” as described by Baschiera seems in fact perfectly suited to describe the majority of these films.[8] As with their literary and television counterparts, they combine the thematic or generic elements of the crime genre with the marks of a certain kind of social realism, political commitment, and aesthetic ambition to acquire the cultural legitimacy that appears to be the necessary element to gain international visibility. By adopting the intermedial perspective proposed above, Locatelli’s concept of “noirification” seems helpful in this context: while European film distributors, critics and scholars do not necessarily use the “noir” or “neo-noir” labels with the same nonchalance that we have noticed in the field of literature and television, that particularly broad use of the term could be easily applied to virtually all of the Italian crime films that have circulated abroad. In fact, eleven of these titles are based on noir novels to highlight how, for this very reason, the national and international promotion of these films have certainly benefitted, even if indirectly, from the cultural legitimationâand the related commercial potentialâof this label in the field contemporary popular fiction. In addition to the novels previously discussed, the case of I’m Not Scared is significant in this respect as it is an adaptation of a work by one of the most popular contemporary Italian noir writers, NiccolÃ² Ammaniti, who has deeply influenced the development of the genre in fiction, film and television. The Goodbye Kiss is the adaptation of a novel written by the most important Italian proponent of the idea of “Mediterranean Noir”, Massimo Carlotto, whose activitiy has been extremely important for the development of this label, in Italy and elsewhere (Jansen, Lanslots and Vermandere 89â154). Equally telling is the case of Paolo VirzÃ¬’s adaptation of Stephen Amidon’s novel Human Capital, originally set in Connecticut and turned into a noir film exploring the social and economic reality of Northern Italy. Donato Carrisi’s La ragazza nella nebbia and Into the Labyrinth (2019) are also indicative of the same trend. The two novels from which they were adapted (by their own author) did not obtain the same critical legitimisation as other writers discussed here; however, Carrisi’s move into the field of cinema immediately provided at least the first of them with the status of “quality”, as La ragazza nella nebbia received four prizes at the most important national film awardsâthe David di Donatelloâincluding the prize as the “Best Debuting Director”.[9] The idea of “noirification”, moreover, can help us identify other traits of these films that are specific to the fields of cinema and television. Almost all of the titles in this list that are not adaptations of noir novels can and indeed have been seen as instances of the approach to noir cinema typical of contemporary European art cinema or quality TV series. Sorrentino’s The Consequences of Love, Placido’s Angel of Evil (Vallanzasca: gli angeli del male, 2010), Sollima’s A.C.A.B. (A.C.A.B. All Cops Are Bastards, 2012), Garrone’s Dogman (2018), Carpignano’s The Ciambra (A Ciambra, 2018), and the D’Innocenzo brothers’ Boys Cry (La terra dell’abbastanza, 2018) clearly borrow at least some of the stylistic features of neo-noir, gangster films and/or TV series to insert themselves in these larger trends typical of contemporary film and television. Combining their more or less explicit authorial approach with these elements, they prove how it is possible to stress that a “noirification” specific to contemporary European cinema is also at work, and also in this sector it serves as an efficient tool to acquire the marks of “quality” that help the films obtain an international recognition. As a matter of fact, if we compare the data about the transnational circulation of Italian crime films with that of Italian (anf European) films in generalâwhich are still dominated by the figure of the director, international coproductions and a few unexpectedly successful comedies (Scaglioni 24â5)âwe might argue that crime is perhaps the only popular genre that to some extent has contributed to the export of Italian films, even when this effort was not entirely satisfying. Confirming the same trend identified in the fields of fiction and television âand, of course, building directly and indirectly on their exampleâItalian cinema proves that the combination of some artistic ambition with the intermedial, commercial logic promoted by the crime genre has given shape to “quality” films that might potentially compete on the continental market. Rather than evaluating the absolute number of the circulation of these films outside of the country in purely quantitative terms, it seems more useful to look at the crime genre from an intermedial perspective and to insert the performance at the box office in the larger process of transmedia and transnational circulation of crime narratives. Conclusion In this article I have engaged with the research conducted in the frame of the DETECt project on the production and circulation of crime narratives in different media to assess whether and how European crime cinema contributes to the shaping of new, transnational and transcultural popular culture. Looking at data about the circulation of Italian crime films, it is possible to understand the specificity of cinema’s role in this context, identifying both the limited reach of theatrical distribution on a transnational level and the impact of the authorial approach on the films’ ability to fully participate in mainstream popular culture. In spite of these issues, the article has emphasised how an intermedial approach shows that contemporary European crime narratives have become more and more central in many creative industries precisely as a result of a process of cultural legitimisation, and how it is exactly as a result of this phenomenon that they have found increasingly wider opportunities to cross national borders. The notion of “noirification” has been used in this sense to highlight how it is precisely through the adoption of a notion of “quality” that European crime narratives are gradually getting more attention by mainstream creatives, producers as well as critics, and are currently reaching larger transnational audiences than in previous decades. As a complex and contradictory phenomenon, the adoption of the themes and the stylistic features of noir to promote these works from both a cultural and a commercial point of view cannot but lead to a variety of approaches and results, largely depending on the specific media with which they engage and national contexts from which and to which they travel. On the one hand, the process of legitimation inevitably implies that the genre could reduce its ability to speak to a mass audience, often targeting primarily the educated urban middle classes or, in the case of cinema, the niche audience of hardcore cinephiles. On the other hand, a significant number of European crime novels, films and TV series have proven able to combine their ambitious thematic and stylistic features with the relatively successful attempt to capture an international public. Whether this trend will further consolidate and strengthen the European nature of these phenomena is arguably a question for the future. Whatever the case, it might be helpful to remark that these phenomena somehow parallel the current state of European cultural integration: if popular culture has contributed to increase the opportunities for cultural encounters among citizens across the continent, it is clear that this process has been largely uneven and is marked by many dramatic ambiguities as well as serious resistances. Table 1: Films tagged as “crime” on IMDb, with data about non-domestic theatrical admission from the LUMIERE database. Acknowedgement The research presented here has been financed by the research project DETECt â Detecting Transcultural Identity in European Popular Crime Narratives (Horizon 2020, 2018â2021) [Grant agreement number 770151].
5438	dbpedia	2	62	https://dokumen.pub/historical-dictionary-of-italian-cinema-2-ed-9781538119471-9781538119488.html	en	Historical Dictionary of Italian Cinema [2 ed.] 9781538119471, 9781538119488	https://dokumen.pub/img/…781538119488.jpg	https://dokumen.pub/img/…781538119488.jpg	[ "https://dokumen.pub/dokumenpub/assets/img/dokumenpub_logo.png", "https://dokumen.pub/img/200x200/historical-dictionary-of-middle-eastern-cinema-0810860902-9780810860902.jpg", "https://dokumen.pub/img/200x200/historical-dictionary-of-african-american-cinema-historical-dictionaries-of-literature-and-the-arts-9781442247017-9781442247024-1442247010.jpg", "https://dokumen.pub/img/200x200/historical-dictionary-of-norway-2nbsped-9781538123119-1538123118.jpg", "https://dokumen.pub/img/200x200/historical-dictionary-of-the-shakers-2nbsped-9781538102312-9781538102305.jpg", "https://dokumen.pub/img/200x200/historical-dictionary-of-mauritius-2-ed-9780810824805-0810824809.jpg", "https://dokumen.pub/img/200x200/historical-dictionary-of-israel-2nbsped-0810855410-9780810855410-9780810864030.jpg", "https://dokumen.pub/img/200x200/historical-dictionary-of-burkina-faso-2nbsped-0810834057.jpg", "https://dokumen.pub/img/200x200/historical-dictionary-of-contemporary-germany-2nbsped-9781442269576-9781442269569.jpg", "https://dokumen.pub/img/200x200/historical-dictionary-of-marxism-2nbsped-9781442237971-9781442237988-2014012606.jpg", "https://dokumen.pub/img/200x200/historical-dictionary-of-ethiopia-2nbsped-0810871947-9780810871946-9780810874572.jpg", "https://dokumen.pub/img/200x200/historical-dictionary-of-italian-cinema-2-ed-9781538119471-9781538119488.jpg", "https://dokumen.pub/dokumenpub/assets/img/dokumenpub_logo.png" ]	[]	[]	[ "" ]	null	[]	null	...	en	https://dokumen.pub/doku…e-icon-57x57.png	dokumen.pub	https://dokumen.pub/historical-dictionary-of-italian-cinema-2-ed-9781538119471-9781538119488.html	Table of contents : Contents Editor’s Foreword Preface to the Second Edition Acknowledgments Reader’s Note Acronyms and Abbreviations Chronology Introduction THE DICTIONARY A B C D E F G H I L M N O P Q R S T U V W Y Z Appendix Bibliography About the Author Citation preview
5438	dbpedia	1	37	https://hollywoodglee.com/2016/08/page/8/	en	HollywoodGlee	https://i0.wp.com/hollyw…928%2C1928&ssl=1	https://i0.wp.com/hollyw…928%2C1928&ssl=1	[ "https://hollywoodglee.com/wp-content/uploads/2020/04/cropped-AFIFest-2019-1.png", "https://i0.wp.com/hollywoodglee.com/wp-content/uploads/2016/08/fb14f7e6e0b95beae324a847cd9d1e87-reutersalessandro-bianchi_si.jpg?resize=650%2C365&ssl=1", "https://i0.wp.com/hollywoodglee.com/wp-content/uploads/2016/08/screen-shot-2016-07-31-at-8-18-52-pm.png?resize=300%2C162&ssl=1", "https://hollywoodglee.com/wp-content/plugins/pdf-generator-for-wp/admin/src/images/PDF_Tray.svg", "https://i0.wp.com/hollywoodglee.com/wp-content/uploads/2016/08/mostra-cinema-sala-grande-766x297-1.jpg?resize=766%2C297&ssl=1", "https://i0.wp.com/hollywoodglee.com/wp-content/uploads/2016/08/gettyimages-119389732_-_h_2016.jpg?resize=474%2C267&ssl=1", "https://i0.wp.com/hollywoodglee.com/wp-content/uploads/2016/08/judd-law-pope-costume.jpg?w=470&h=470&crop=1&ssl=1", 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"https://www.youtube.com/embed/VDMf9m7FXd4?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent", "https://www.youtube.com/embed/kgMGa8ZVNNI?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent", "https://www.youtube.com/embed/YSX-mpsVutQ?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent", "https://www.youtube.com/embed/aOa_A48vPLs?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent", "https://www.youtube.com/embed/mwxXsRafm1o?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent" ]	[]	[ "" ]	null	[]	2016-08-08T14:04:33-07:00	10 posts published by HollywoodGlee during August 2016	en	https://i0.wp.com/hollyw…it=32%2C32&ssl=1	HollywoodGlee	null	Monthly Archives: August 2016 Venice Film Festival 2016: Impressive Line-Up For Golden Lion Nominations The 73rd Venice International Film Festival has been set in motion. The dates are out and the line-up has been released. The festival will pit twenty movies for the top prize named Golden Lion. From dramas to thrillers, the line-up is loaded with some power packed performances. Venice Film Festival will kick start with the world premiere of La La Land. Directed by Damien Chazelle, the musical has already been the talk of the town due to the sizzling chemistry of Ryan Gosling and Emma Stone. The plot of the movie revolves around a jazz pianist who falls in love with an ambitious actress in Los Angeles. Antoine Fuqua’s The Magnificent Seven will be showcased before the curtain closes on the festival. The movie stars Denzel Washington in a plot set for the modern retelling of the 1960 classic about outlaws in the Old West. Talking about the festival, director Alberto Barbera says that the focus of this year’s line-up has been philosophical and existential questions that prevail in films. He says movies which steer away from brutality of reality and every day news are approached. He clarifies that the idea should not be looked upon like a sort of escapism. Venice Film Festival Nomination Line-Up Ana Lily Amirpour, The Bad Batch Stephane Brize, Une Vie Damien Chazelle, La La Land Derek Cianfrance, The Light Between Oceans Mariano Cohn, Gaston Duprat, El ciudadono ilustre Massimo D’Anolfi, Martina Parenti, Spira Mirabilis Lav Diaz, The Women Who Left Amat Escalante, La region salvaje Tom Ford, Nocturnal Animals Roan Johnson, Piuma Andrei Konchalovsky, Paradise Martin Koolhoven, Brimstone Emir Kusturica, On the Milky Road Pablo Larrain, Jackie Terrence Malick, Voyage of Time Christopher Murray, El Cristo ciego Francois Ozon, Frantz Giuseppe Piccioni, Questi giorni Denis Villeneuve, Arrival Wim Wenders, Les beaux jours The popular one among the lot, The Light Between Oceans, to be showcased at Venice Film Festival, is a story about a couple who help a baby that drifts away in a rowboat. The cast of the movie includes Alicia Vikander, Rachel Weisz and Michael Fassbender. The Venice Film Festival will also be remembering the great work by two legendary film directors, Abbas Kiarostami and Michael Cimino, reported Euro News. Both the directors recently passed away. Venice Film Festival comes to a close on Sept. 10 2016. (Source: http://www.movienewsguide.com article by Ancy John) Like this: Like Loading... A Euro-Atlantic twist at the 73rd Venice Film Festival By Federico Grandesso Italian Editor, Journalist If the last edition of the Cannes Film Festival was dominated by important and consolidated “cinema masters,” the red carpet at the 73rd Venice Film Festival will be taken over by marvelous authors. Looking at the lineup recently presented in Rome, next year’s festival could be defined as the best of Alberto Barbera, Venice’s artistic director. If the key challenge is always to combine “cinema d’auteur” with the legitimate tastes of the general public, this “Mostra” will potentially bring a perfect balance to the lagoon city. A closer look at the main competition, with six American films, reveals a strong comeback by the big American players in an edition that can be defined as Euro-Atlantic. On one side of the Atlantic Ocean, there is Malick, Larrain, Villeneuve, Ford and Chazelle. On the other side, there is Konchalovsky, Wenders, Kusturica, Brize and Ozon. In between these two titanic armadas there will be a lonely Asian director, Filipino Lav Diaz (The Woman Who Left), making the 73rd with one of the smallest Asian representations in recent history. But next year’s festival will not only lack Chinese, Japanese, Korean and Iranian filmmakers. Africa, with its vibrant Magreb cinematography, will be also out of the picture. Compared to the recent Berlin and Cannes festivals, the Venice selection goes into another direction – one that prefers films based on literature (novels and theatrical plays) and history over socio-political stories. The world’s immigration and economic crises have been forgotten, at least for now. Instead, there is a more intellectual approach based on the past as source of inspiration and detector of contemporary conflicts. Venice has always been synonymous with innovation. As for the film that will kick off the 73rd Venice International Film Festival, it’s “La La Land” by Damien Chazelle with Ryan Gosling and Emma Stone, as well as two documentaries, Terrence Malick’s “Voyage of Time” and “Spira Mirabilis” by Italian directing duo Massimo D’Anolfi and Martina Parenti. Meanwhile, among the futurist genres there will be 3D films “Les Beaux Jours D’Aranjuez” by Wim Wenders and a UFO story “Arrival” by Denis Villeneuve, another big risk taken by the festival’s art director Barbera. Another unmissable film will be the TV series episodes of “The Young Pope” by the Italian Oscar-winning director Paolo Sorrentino with a stellar cast starring Jude Law, Diane Keaton and Cecile de France. Italy will have several films in competition, such as “Piuma” (Feather) and “Questi Giorni” (These Days). The younger generations will be the protagonists of contemporary stories about the difficulties of growing up. The “European” surprise could come from “Brimstone,” a western thriller film conceived, written and directed by the Dutch film-maker Martin Koolhoven and starring Dakota Fanning, Guy Pearce, Kit Harington and Carice van Houten. It is a triumphant tale of powerful womanhood and resistance against a violent past that refuses to fade. Just like at the Cannes this year, the red carpet in Venice is expected, for the joy of paparazzi and fans, to be one of the best ever, with a stunning Natalie Portman together with Emma Stone, Alicia Vikander and the Italian star Monica Bellucci. Just as impressive will be the “battalion” of male stars such as Jude Law, Mel Gibson, Michael Fassbender, James Franco, Jim Carrey, Keanu Reeves, Jake Gyllenhaal, Denzel Washington and Chris Pratt. As for the international jury that will be awarding the golden lions, its president will be British director Sam Mendes. Also on the jury will be American artist, singer, director and writer Laurie Anderson, British actress Gemma Arterton, Italian magistrate, writer, playwright and screenwriter Giancarlo De Cataldo, German actress Nina Hoss, French actress Chiara Mastroianni, American director Joshua Oppenheimer, Venezuelan Golden Lion director Lorenzo Vigas and the Chinese actress, director and singer Zhao Wei. The Venice International Film Festival runs August 30 through September 10th, 2016. For more information on ticketing click here. (Source material: https://www.neweurope.eu/article/euro-atlantic-twist-73rd-venice-film-festival/, http://www.labiennale.org) Like this: Like Loading... Mia Madre Acclaimed Italian auteur Nanni Moretti finds comedy and pathos in the story of Margherita, a harried film director (Margherita Buy, A Five Star Life) trying to juggle the demands of her latest movie and a personal life in crisis. The star of her film, a charming but hammy American actor (John Turturro) imported for the production, initially presents nothing but headaches and her crew is close to mutiny. Away from the shoot, Margherita tries to hold her life together as her beloved mother’s illness progresses, and her teenage daughter grows ever more distant. Mia Madre premiered in the Main Competition of the 2015 Cannes Film Festival where it won Ecumenical Jury prize while Margherita Buy received the Best Actress prize at Italy’s 2015 Donatello Awards. Characteristically self-reflexive and autobiographical, Moretti’s latest speaks to the poignancy of human transience, how we process loss and how we gain strength through humor. Mia Madre opens in Los Angeles and New York on August 26th with a national roll-out to follow! Shots from Mia Madre Critics Reactions “Beautifully observed and delicately balanced…this is Moretti at his interpersonal best; intimate, empathetic and intensely humane.” – Mark Kermode, The Guardian “Carefully measured and satisfying…the film emerges as a deeply affecting reflection on solitude.” – Ela Bittencourt, Slant Magazine “Fascinating…a rich and incredibly detailed world.” – Oliver Lyttelton, The Playlist INTERVIEW WITH DIRECTOR NANNI MORETTI Is the character played by Margherita Buy in Mia Madre your alter ego? I never considered playing the main role in this movie myself. I stopped doing that quite a while back, and I’m glad I did. I used to enjoy it, but today I am no longer driven by the fixed idea of wanting to compose my character film after film. I always thought this character would be a woman and a director, and that this woman would be played by Margherita Buy for a very simple reason: a film with Margherita Buy in the leading role would be much better than one with me in the leading role! She’s a much better actor than I am. Margherita carried much of the film’s workload on her shoulders. Out of seventy days of shooting, she was only away one day, and that was for a scene I ended up cutting! Still, one has the impression that there is a lot of you in this film… In the scene in front of the Capranichetta movie theater in Rome, during which Margherita’s brother, played by me, asks his sister to break at least one of her two hundred psychological patterns, it was as if I was talking to myself. I always thought that with time I would get used to drawing from the deepest part of me… But on the contrary, the more I move on and continue this way, the more this feeling of malaise arises. This said, the movie is not a personal confession. There are shots and frames, choices, performances – it’s not real life. How would you define your work? As an autobiography? Autofiction? Autofiction is a term I really don’t understand. And as for autobiography… All stories are somewhat autobiographical. I was talking about myself when I spoke about the Pope in Habemus Papam (We Have a Pope), played by Michel Piccoli, who felt he was unfit and likewise when I depicted Silvio Orlando’s work and personal stories in Il caimano (The Caiman). More than the wish to measure how much is autobiographical, what matters is to have a personal approach in relation to every single story. How did you choose John Turturro? Directors who have made far fewer films than I don’t have any qualms about approaching international stars. But I’m not like that. I called on him because I liked him very much and it seemed to me that his acting style wasn’t naturalistic. But also because we were already acquainted, and he already had a connection with Italy – he has even made a beautiful documentary about Neapolitan music called Passione. John had seen some of my films, which reassured me greatly. I admit that it would have been difficult for me to explain who I am, what I want, what my cinematographic expression is like. He also speaks and understands a little Italian. And he is a film director as well. It’s nice to work with actors who are also directors; it makes it easier to understand one another. When did you start thinking up the Mia madre screenplay? I usually allow for a great deal of time between my films. I need to leave behind the psychological and emotional investment of the previous movie. It takes time to recharge my batteries. This time, however, as soon as Habemus Papam (We Have a Pope) was released, I started thinking about my next film. I started writing when the things that I recount in the film happened in my life. And that probably had an influence on the narrative. How did you come up with the different narrative modes, where dream and reality sometimes intermingle? It’s important to tell a story in a non-academic manner, to have a narrative which doesn’t limit itself to fulfilling the basics: a narrative which, although familiar with the rules, can do without them. However, it is also important that it rings true within yourself, and also within what you are in the process of telling. You should never have a flat and ordinary relationship with the material you want to present. I liked the idea that when the audience would see a scene, they wouldn’t immediately understand whether it was a memory, a dream or reality, for they all coexist in Margherita’s character with the same immediacy: her thoughts, her memories of apprehension concerning her mother, the feeling of not being good enough. The narrative time corresponds with Margherita’s various emotional states in which everything coexists with the same urgency. I wanted to recount, from the point of view of a female character, this feeling of not being good enough in relation to her work, her mother, her daughter. Is this the reason why you wrote it with three women, Chiara Valerio, Gaia Manzini and Valia Santella? Perhaps, but those aren’t things that you plan or set up in advance. I hardly knew Gaia Manzini and Chiara Valerio. I had met them during a reading. Each one of us was asked to read an extract from a book by Sandro Veronesi. Shortly after, when I decided to start working on this subject, I called them. Valia, on the other hand, is a friend of mine, and we have been working together for a very long time. What did you imagine would be the film that Margherita was making? There is a scene that I cut where Margherita says to her daughter: “I’m never in my films,” and her daughter answers: “well, you don’t necessarily have to talk about yourself in your films,” and Margherita replies: “no, not necessarily, but I would like to make films that are more personal.” There it is. I wanted Margherita, overwhelmed by her life and her problems, to make a film that was more political than personal. In the press conference scene, a journalist asks her: “In such a delicate moment for our society, do you think that your film will succeed in appealing to the country’s conscience?” Margherita starts to give a formatted answer: “Well, today, the public itself is demanding a different kind of commitment…” But her voice slowly fades and we can hear what she is really thinking: “Yes, of course it’s the role of cinema, but why have I been making repeatedly the same things for years and years? Everybody thinks that I have the knack of understanding what is going on, of interpreting reality. But I don’t understand anything anymore.” I wanted the sturdiness and assertiveness of her film to be in absolute opposition with her emotional state; with what she’s experiencing and how she perceives herself. I wanted there to be a discrepancy between her very structured film and the very delicate moment she is going through. How did you address the theme of mourning? In La stanza del figlio (The Son’s Room), I was exorcising a fear. Here, I am referring to an experience that many people share. The death of one’s mother is an important rite of passage in life, and I wanted to recount it without being sadistic whatsoever towards the audience. This said, when you make a film, you are deeply engrossed in what you are doing: you work on the dialogue, the direction, the editing and as a result the theme you are treating doesn’t strike you with the full extent of its impact. Even when the feeling is very strong, I tend to think that the director doesn’t let himself be fully affected by it. Is it more difficult to shoot, think through and recount a story like this one compared with other films? No, I don’t think so. There was just a moment during the writing process when I decided to reread the journal I kept during the course of my mother’s illness. I did it because I thought that perhaps our exchanges, those lines could add weight and help the scenes between Margherita and her mother to ring true. In fact, the rereading of these journals was painful. What else did you read or what did you watch in preparation for Mia madre? During intense working periods and during a film shoot, I accumulate an array of things. When I finished shooting Mia Madre, I realized that I hadn’t had the time to review the books and the films that I had believed I should read or watch again because they broached the subject of pain, loss or death. It was a great relief for me to understand that I didn’t need them anymore. I saw Woody Allen’s Another Woman again but I didn’t watch Haneke’s Armour, which was on my desk. And especially, I didn’t read Roland Barthes. After my mother’s death, a woman I’m friendly with, offered me Journal de deuil (Mourning Diary), which Barthes had written right after his mother’s death. She told me that it had helped her. I opened a page at random, I read two lines, which felt like a stab in my heart, and I closed it. At the end of the film shoot I took the book off my desk and put it up on the shelf. Fortunately, I no longer felt the need to delve into grief. The mother is played by an actress who is not known in France, Giulia Lazzarini. This actress from the Piccolo Teatro de Strehler has a background which is very different from mine, and meeting her was a delightful experience. Not only was she able to understand me, and enter into my film, but, and I haven’t the faintest idea how, she also thoroughly understood my mother. Your mother was a professor… She taught for thirty-three years at the Visconti High School in Rome: literature in the middle school, then during the last years, Greek and Latin in the high school. At least one person every week would tell me that she was their teacher. Sometimes, there are people who also had my father as a professor at the University (he was a professor of Greek epigraphy). Many of her former students would come to see her years after passing their baccalaureate. I never had with any of my professors the kind of relationship she had with her students. I’m going to confess something that is a little painful, and which upsets me a bit, but I’ll say it: after my mother’s death, through the things that her former students told me, I had the feeling that something very important about her as a person had entirely escaped me, something that her former students had been able to grasp and share with me. Something essential. What have you learned making this film? I can answer this question very specifically. I feel exactly as I did during my first film shoot – the same anxiety, the same confusion, the same utter lack of confidence. I don’t think it’s this way for everybody. I believe for many people with experience, their knowledge of the profession and a certain detachment counts. I, on the other hand, have this very clear impression: it always feels as though I am making my first film. This time, it was with even more anxiety. There are people who say it is my most personal film; perhaps that is the reason why. But I just don’t know. I can say, however, that I have learned something along the way. I’m nicer to the actors, I’m more willing to stand by their side; I stick up for them. And what else have I learned…well indeed, there’s something I learned very quickly: the fact that when a film comes out, it no longer fully belongs to you. The public sees it, transforms it. There are things that have escaped you entirely that the public picks up, reveals and sheds a light upon… “I want to see the actor next to the character.” This is one of Margherita’s lines that she often repeats to her actors. It’s something I say all the time. I don’t know whether the actors understand it, but in the end, I’m able to get what I had in mind out of them. (This interview has been compiled from questions asked in various interviews given by Nanni Moretti to the Italian press in April 2015. Press materials provided by http://www.musicbox.com) Like this: Like Loading... Demon scheduled for openings in US The Orchard is proud to announce the US release of DEMON, Polish director Marcin Wrona’s eerie, richly atmospheric and clever take on the Jewish legend of the dybbuk. Acclaimed at several festivals including New Directors/New Films, the Toronto Film Festival, and Austin Fantastic Fest where it won the Award for Best Horror Feature, DEMON is scheduled to open in New York and Los Angeles on Friday, September 9th followed by a national release. Newly arrived from England to marry his fiancée Zaneta (Agnieszk Zulewska, Chemo), Peter (Israeli actor Itay Tiran, Lebanon) has been given a gift of her family’s ramshackle country house in rural Poland. It’s a total fixer-upper, and while inspecting the premises on the eve of the wedding, he falls into a pile of human remains. The ceremony proceeds, but strange things begin to happen…During the wild reception, Peter begins to come undone, and a dybbuk, the iconic ancient figure from Jewish folklore, takes a toehold in this present-day celebration-for a very particular reason, as it turns out. Based on noted Polish writer Piotr Rowicki’s play Adherence, DEMON is the final work by Marcin Wrona, who died just as DEMON was set to premiere in Poland, is part absurdist comedy, part love story-that scares, amuses, and charms in equal measure. Marcin Wrona was born in Tarnow, Poland in 1973 and studied film at the Jagiellonian University in Krakow. He directed several features for television, as well as the theatrical features My Flesh, My Blood and The Christening, which were selected for the Toronto and San Sebastian Film Festivals. Critics Reactions “Demon” enthralls as an atmospheric ghost story with a cheeky undercurrent of absurdist humor.” — Joe Leydon, Variety “..a unique take on the Jewish legend of the Dybbuk that feels both deeply rooted in cultural nightmares and refreshingly new…“Demon” is stylish and clever from its concept..but it’s the execution that really matters. There’s a great energy to the piece, from the framing of the visual compositions, to the eerie atmosphere created by the lights hanging from the ceiling of what looks like a barn. There’s fantastic costume design as well as a lead performance that engages on every level.” — Brian Tallerico, Rogerebert.com “A darkly humorous reworking of “The Dybbuk,” with a deftly realized switch that turns that familiar tale of love from beyond the grave into a parable of Polish anti-Semitism in the post-war era…. a black comedy in the vein of “The Exterminating Angel.” — George Robinson, The Jewish Week A CONVERSATION WITH DEMON PRODUCER OLGA SZYMANSKA How does DEMON fit into Marcin’s body of work? Are there similar themes or motifs that run through his three features? Marcin’s idea was to make a trilogy, and DEMON is the final installment of this trilogy, with MY FLESH, MY BLOOD (2009) and THE CHRISTENING (2010) being the first and second. All of his movies contain similar themes and motifs, including growing up, the nature of evil and the fate or destiny each protagonist must cope with in each story. None of Marcin’s films contained a happy ending. MY FLESH, MY BLOOD’s protagonist is a boxer who discovers he will die soon following a savage blow to his head. He wants to leave something in the world, which is a child. THE CHRISTENING is the story of a gangster who’s been sentenced to death by the Mafia. He’s coping with his feelings for his family during his seven remaining days alive, during which time he asks his best friend to take care of his family when he’s gone. The theme of family and destiny — the idea that you can’t cheat death — rings strongest in these two works. DEMON’s protagonist, Piotr, is fated to reveal the truth about the film’s mysterious setting after becoming possessed by a ghostly figure, and it also features a fatal ending. All three works feature rituals of some sort, from christenings to weddings. What are the roots of DEMON and what drew Marcin towards this specific story? It’s based on a play called The Clinging, but the only thing that remains from that story is the names of the characters and the phenomenon of the dybbuk (from Jewish folklore). It’s a very theatrical piece so it took some time to transform the story elements to movie language in the screenplay. Marcin and the co-writer Pawel Maslona rewrote almost everything and made the story their own. What was Marcin’s specific interest in the traditional ghost story of the dybbuk? It’s a story that has almost been forgotten in Poland. The Dybbuk was a play written by Shimon Ansky in 1914 and then made into a film by Michal Waszynski in 1937 right before he tried to launch a career in Hollywood. It was the first Yiddish-Hasidic movie made in Poland and it’s considered the Hasidic Romeo & Juliet. The protagonist in the play — who is possessed by the dybbuk (a malicious colonizing spirit) — wants to reveal an uncomfortable truth about the past, and Marcin found that concept exciting. We had seen the play together and both of us thought it would make a good movie. At that point, we had decided to launch a production company together. Our first thought was that it would be easy to translate into film because it was set in a single location. But we wound up doing a lot of research into the history of the story, not to mention Jewish-Polish history in general. If you read the studies on the dybbuk, those who became possessed by the spirit find themselves unable to speak. It originated in a very orthodox society of Jews, so it was the idea of this voice that could never have been heard which was longing to be heard. We thought it would be interesting to take the character of Piotr in our story and tell something specific through the demon that possessed him. This is a unique co-production with Israel — how did this affect the story in any way? Marcin’s previous movie, THE CHRISTENING, was screened at the Haifa Film Festival, where we met our future co-producer Marek Rosenbaum. We had seen (lead actor) Itay Tiran in a few movies and thought he could play characters from anywhere, because he has a universal look about him — like he could hail from Israel or Poland or elsewhere. He’s a great actor with a big theatrical background, but he’s been in movies like LEBANON, AFTERTHOUGHT and THE DEBT as well. He’s required to give a very physical performance in this movie. Can you describe how Marcin worked with Itay Tiran to obtain such a raw, affective performance? Marcin didn’t want to use any special effects in the movie — he wanted to rely solely on actors. All the rehearsals for the wedding dance scene, where the dybbuk takes possession of Piotr, took a long time, even before the actual shooting took place. Two choreographers rehearsed it with the actors, then another choreographer came in, who worked for the Jewish Theater in Warsaw as well as a pantomime group. The third choreographer worked with Itay directly, instructing him how to breathe and how to use the muscles and tension in his body to make the possession look more effective. Physical demands aside, Itay was already very well prepared for DEMON. For our first meeting in Warsaw a few years ago, he arrived with photographs from a version of The Dybbuk play, which had been produced in Tel Aviv in the ’50s. So he was already fascinated with the dance at the heart of that performance. The movie is constructed around a Polish wedding. Can you explain why weddings are so prominent in his work? In his first feature, MY FLESH, MY BLOOD, there is a wedding in the final scene, so he was no stranger to having weddings in his movies. He was very interested in rituals in general — which are important to Polish people in general because we are a predominantly Catholic country and so much of daily life revolves around ritual here. Marcin was not Catholic, but the idea with the wedding in DEMON is to show a glimpse of Polish society, showing different people in different roles, and how those roles change over the course over the wedding. DEMON features a unique island-like setting. Where exactly did you film? Marcin knew exactly how he wanted the house and the location to look. Our production designer, Anna Wunderlich, would go out on scouting missions and return with pictures, but nothing was right. We were so disappointed with what we saw that we decided to build our own sets. Two or three weeks before a final decision was supposed to be made on locations, she came back from the Malopolska region near Krakow with this terrific location near a town called Bochnia featuring an abandoned house from the early 20th century. It sat on a river with an old shed next to it, and no neighboring structures in its vicinity. The only structure the art department fabricated was the shed used in the wedding sequence — the existing house was how they found it, and how it appeared in the movie. All the mist and fog you see in the movie is also natural because our set was so close to the river. Digging is a recurring motif in the story. The story plays out near a construction site, and human remains are discovered early in the story. What is the significance of so much digging in DEMON? It’s a reflection of the past — the notion of unearthing the past or digging in the dirt and finding something unknown or scary, but the digging is more metaphoric than anything else. What do you think were some of Marcin’s most potent gifts as a filmmaker? He was very good with actors. He discovered some of the biggest Polish actors of his generation and many of them appear in DEMON, including Tomasz Schuchardt The actor who plays the brother in law won Best Actor at the Polish Film Festival for his work in Marcin’s previous film, THE CHRISTENING. And Agnieska Zulewska, our lead actress, appears in her first major starring role in this film. He rehearsed with actors a lot before going on set and he always gave them freedom — he trusted them immensely, so there was always a strong element of collaboration on his sets. On the visual side, he had a long relationship with his cinematographer, Pawel Flis, who shot all three of his features. Each of them is different from one another visually. Why do you think Marcin and Pawel worked together so well as Director and Cinematographer? They were very good friends in school, for one thing. They made Marcin’s first short together, “Magnet Man,” which screened at the Tribeca Film Festival in 2002. They shared a cinematic language and worked together very well together, which precluded them from having to talk much about what they wanted to do. They just did it and it worked. What would you say is the overall visual style of DEMON? Marcin and Pawel wanted it to look like old photographs from the early 20th century, and the costumes in the movie also look like they came from eras past. Although the movie is set in the 21st century, you get the sense from watching DEMON that it could be set during any time. They wanted it to look universal, as though it existed both in and out of time. What were some of your own duties on this production — and what were some of the biggest challenges for you as a producer on DEMON? I was involved with the project from the beginning — Marcin and I had seen The Dybbuk play together and we wanted to turn it into a movie. I read each version of the script he wrote, and helped organize the budget. I also helped with pre-production. During the shoot itself, the production manager took over and I came back to the game when shooting wrapped. Marcin and I were a couple, so I didn’t want to interfere during the 22-day shoot, which was a challenge in itself because we were mainly shooting at night during early October, amid heavy rains and low temperatures. Why do you think ghost stories are so powerful cinematically? And what did this particular ghost story have for you that made it stand out from a crowded pack? I think people like to be scared, but DEMON cuts much deeper than a conventional scary movie — the ghost story in this case is used as a way to soften heavy subject matter for the viewer. It’s a movie about erasing the past, forgetting about who we are and where we come from, who we lived with, and how we are all essentially strangers to one another. Piotr is an outsider or “other” — and in this case the movie tracks how much we are separated by our differences, or remain intolerant in the face of otherness. Marcin wanted to play with different genres in this movie, incorporating elements of horror, comedy, thriller, melodrama, while at the same time expressing something thematically important about the past in general. An interesting part of this story is the collision of science, religion, family and industry (in the form of the patriarch) — it contributes to the tension of the story in an interesting way… Marcin and the screenwriter wanted to bring out this element in the story — it’s something they brought to the existing Dybbuk legend. They wanted to show a wide section of society, including different people from all walks of life. None of the characters stay the same over the course of DEMON — the doctor comes to believe in ghosts, the priest becomes more atheistic, etc. They change roles, their viewpoints shift. What for you was the most compelling aspect of making DEMON? The idea of making this movie so different from Marcin’s other works was very exciting to me — to blend so many genres in one movie made the form intriguing and challenging. We also haven’t seen The Dybbuk story on screen in many years in Poland, so that was another compelling factor. The story itself is an important reminder that the Jewish and Polish cultures co-existed for hundreds of years together — but in this era we remember very little about the two cultures co-mingling. Polish Romanticism was one of the most important periods in our national literature, and a lot of writers during that period were interested in Jewish mysticism. The fusion of Romanticism and mysticism appealed to me in particular. What do you think DEMON is trying to say, thematically? It’s very much a story about the past, but it’s also about how we are living today — how it’s difficult for an outsider to come in and infiltrate a very small section of society, Polish or otherwise. People are not very open in Poland in terms of not wanting immigrants or “the other” living in their neighborhoods, so the story very much reflects contemporary values and mores. ABOUT THE PRODUCTION Visual Style Pawel Flis / Director of Photography ―The visual idea for this film was that we shoot it like old photographs, we wanted the shots to look like stills and tell the story using wide lenses and make the shots look wide. We didn’t want the camera to move a lot. I like to keep a very small distance between the actor and the camera, but at the same time the camera is an observer, it doesn’t interfere. We used one Alexa camera only, it’s my first film on this digital camera and I was so amazed at how it works with the picture, I loved it! You can take out so much from it in post –production too and as Marcin said, the scenes look like they were shot for a Western.‖ The Location Zuza Hencz / Post Production Mgr. ―I wanted the time and place of the film to be universal. Twentieth century, somewhere in Poland, without being precise‖ said Marcin Wrona.―The film was meant to draw us back to classic cinema. I wanted to make it look traditional in composition and not to have any special effects or super modern technologies used. A lot of photographic style, as if someone with great taste had been taking photos (static takes) from the wedding. Finding the perfect location, where 90% of the shooting was supposed to take place was extremely hard. Together with Anna Wunderlich – our production designer- we drove through three different regions of Poland for three months, based on our own knowledge and also photo albums with old monuments. Unfortunately most of the buildings we found were either in a sorry state or renovated in a very kitschy way. What was equally hard was finding the space of the house that was needed for us to fit a whole wedding. After about two and a half months we stopped looking for a house and we found a great place where we could build it instead. And then totally out of the blue we found the perfect place – a house from 1890 with a huge barn from back then. Renovating the entire thing cost us a lot of money and work but gave the film a unique character and made the entire team feel special working for months in the mud and rain. The Look of the Film In March of 2015 the filmmakers consulted with Justine Wright, renowned editor and recipient of the European Film Award for Best Editor on the film “Locke.‖ DEMON was one of a very few projects invited to take part in editing workshops, organized by the European Film Academy and the Polish Film Academy. The event consisted of a lecture by Ms. Wright and then individual consultations with authors of selected projects, which gave Marcin Wrona and Piotr Kmiecik, the editor, a rare opportunity to enhance the film. Justine’s remarks were included in the final cut. ‖The editing of “Demon” began two weeks after we finished shooting and with small breaks it took five months,‖ Marcin Wrona said. ―The whole process of working on the picture and the sound began right after we had the first version of the film edited. In sound it gave the creators wider possibilities of thinking through the concept of how they wanted to use it in the film. We edited within the frame and shot with wide lenses to make the scenes look wide in picture. The camera was not supposed to move a lot. As we shot the film and saw how beautiful the production set was and the great costumes the actors had and the choreography they used we knew that it was impossible to keep the camera still. So we changed our original idea so that the film would become better. I like when the camera is very close to the actor but at the same time it must be just an observer from aside. We shot the film on one camera only – on Alexa, it’s my first film on digital and I am fascinated by this equipment. The picture that it gives, the possibilities that it gives in post-production, the lenses make everything look soft, as if in a Western movie.‖ The Cast “As an actor I always look for projects that are authentic, truthful and of course interesting‖ says Itay Tiran, (who portrays the lead character ―Python‖). ―I feel that DEMON is all the above. It’s an incredible opportunity for an actor to be able to play two characters in one and to be working on such a well written screenplay. Of course it’s also a story that I particularly cherish because, as with many people coming from Israel, it’s important to me on a very personal mystical level. It’s a complicated character to play, from the beginning Python is a multi-layered person. He comes to Poland because of love, but as it turns out he’s got a mission to complete, and becomes much more about him finding his roots, than about his bride to be. We worked very hard to express the dybbuk inside his body in a very unconventional way. We worked with choreographers and therapists to get the credible effect. Any actor would be thrilled to get a character like that to play.” Official selection: New Directors/New Films (2016 Film Society of Lincoln Center and MoMA) Official selection: Toronto International Film Festival, Vanguard Section, 2015 Winner: Austin Fantastic Fest, Best Horror Feature, 2015 Winner: Haifa Film Festival, Tobias Spencer Award, 2015 (Press materials courtesy of The Orchard) Like this: Like Loading... Four Fun Facts About Venice73 Pre-opening event (Tuesday August 30th 2016) of the 73rd Venice International Film Festival Dedicated to the great director Luigi Comencini (1916 – 2007) on the centennial of his birth, the Pre-opening event of the 73rd Venice International Film Festival will be held on Tuesday August 30th at the Sala Darsena (Palazzo del Cinema) on the Lido. Featured will be the screening of Comencini’s masterpiece Tutti a casa (Everybody Go Home, Italy/France, 1960) in the copy digitally restored by Filmauro and CSC – Cineteca Nazionale di Roma, starring Alberto Sordi, Serge Reggiani, Carla Gravina and Eduardo De Filippo, produced by Dino De Laurentiis, with screenplay by Age and Scarpelli, winner at the time of two David di Donatello awards and one Nastro d’argento. The restored version will be presented in its world premiere screening, remastered in 4K on the basis of the original negatives provided by Filmauro. The digital processing was performed in the laboratories of Cinecittà Digital Factory in Rome. The transfer to 35mm film was done in the laboratories of Augustus Color in Rome. The 73rd Venice International Film Festival will take place on the Lido from August 31st to September 10th 2016, directed by Alberto Barbera and organized by the Biennale chaired by Paolo Baratta. Tutti a casa by Luigi Comencini is one of the most famous and successful examples of what made the “commedia all’italiana” immortal: the blend of comedy and drama, of real and grotesque, of courage and determination to survive. Comencini, with the autobiographical complicity of the two great screenwriters Age and Scarpelli and the bitter laughs provoked by the remarkable performance of Alberto Sordi, tells the story of the chaos that ensued on September 8th 1943, when Badoglio signed the armistice and the soldiers loyal to the King and Mussolini were abandoned to their own destinies, to face many dangers alone. In the film, Alberto Sordi, on the phone under German gunfire, asks his superiors: “Colonel, Sir, this is Lieutenant Innocenzi, something amazing just happened, the Germans have become allies of the Americans. What are we supposed to do?” Tutti a casa is a film “on the road” across the ruins and confusion reigning in Italy at that time, when the soldiers had no one to give them orders and one after another they decided to head back home: tutti a casa, everybody go home. In the story, Second Lieutenant Alberto Innocenzi (Sordi), who is used to obeying and not answering back, is abandoned by his soldiers and flees from north to south with his friend, the Neapolitan military engineer Ceccarelli (Serge Reggiani). He runs into German soldiers eager for retaliation who shoot at them, witnesses the odyssey of an Jewish girl attempting to escape (for whom a young Venetian soldier gives his life), meets an American prisoner hiding in an attic, is united with his father (Eduardo De Filippo) who wants to send him back to the Fascist army, until the final redemption during the 4 days of Naples. At the time Comencini stated: “On the 8th of September, people were abandoned to themselves, and that is what I wanted to describe”. The film was a box office hit, bringing in over a billion lire in ticket sales. Luigi Comencini (1916-2007) who was awarded a Golden Lion for Lifetime Achievement in 1987 by the Biennale di Venezia, is considered one of the greatest masters of Italian-style comedy, as well as “the children’s director“. Among his comedies, his first masterpiece was Pane, amore e fantasia (Bread, Love and Dreams, 1953), with Gina Lollobrigida and Vittorio De Sica, winner of the Silver Bear in Berlin, the prototype for what is known “neorealismo rosa” and one of the highest-grossing films in the history of Italian cinema, followed over the years by other hit comedies such as Pane, amore e gelosia (Bread, Love and Jealousy, 1954), Mariti in città (Husbands in the City, 1957), Lo scopone scientifico (The Scientific Cardplayer, 1957) and Mio Dio, come sono caduta in basso! (Till Marriage Do Us Part, 1974). Comencini addressed the theme of childhood early on in 1946 with Bambini in città, his first short documentary (which won an award in Venice and a Nastro d’argento), while Proibito rubare (Hey Boy, 1948), set among the street children in Naples, was his first feature-length film. His significant production of films on the theme of “childhood” continued with La finestra sul Luna Park (The Window to Luna Park, 1956), Incompreso (Misunderstood, 1966, in competition at Cannes and winner of a David di Donatello), Voltati Eugenio (1980, presented at the Venice Film Festival), Un ragazzo di Calabria (A Boy from Calabria, 1987, in competition in Venice) and Marcellino pane e vino (1991) his last film directed with his daughter Francesca. Also worthy of note are his versions of two classics of children’s literature, such as Le avventure di Pinocchio (The Adventures of Pinocchio, 1972) and Cuore (1984). A co-founder in 1935 with Alberto Lattuada and Mario Ferrari of the Cineteca italiana di Milano, Comencini directed a total of forty feature-length films, without counting his documentaries, screenplays, and investigative reports for Rai television. He experimented with many genres other than comedy, such as murder mysteries (La donna della domenica, The Sunday Woman, 1975), melodrama (Incompreso, 1966), literary films (La ragazza di Bube, 1963), period films (Infanzia, vocazione e prime esperienze di Giacomo Casanova veneziano, 1974), film-operas (La Bohème, 1987), but also experimented with more particular films (Cercasi Gesù, 1982, winner of a Nastro d’argento). In an interview he granted in the early 1980s, Comencini declared that he was willing to defend ten of his films, that “would never have seen the light of day if I had not made other flawed films, wholly or in part. But I have never made a film in bad faith”. Like this: Like Loading... Zero Days: More or Less Zero Days, the latest film by acclaimed documentarian, Alex Gibney, details claims that the US and Israeli governments conducted covert cyber warfare operations against the Iranian government and the Iranians’ nuclear enrichment program. Zero Days, a fitting Opening Night Film for AFI DOCS, served as a catalyst for conversation in the Q & A immediately followed its screening at the Newseum in Washington D.C. AFI President & CEO Bob Gazzale introduced the film and commented on the importance of Director Gibney’s work in line with “dreams for a better world. Dreams that demand debate!” In addition, Gazzele stated how honored he was to be partnering with this year’s presenting sponsor AT & T. AT & T spokesperson, Jennifer Coons, took stage and expressed what a privilege it was for AT & T to bring together politics, business and investment to learn from one another while connecting people. Zero Days opened with a 2010 clip from an Iranian television station with the Iranian leader Mahmoud Ahmadinejad vehemently denouncing Western and Zionist regimes interference in the Iranian nuclear enrichment program. Throughout the film, Gibney intersperses narrative voice overs and archival footage as the spokespersons for the US government repeatedly delivered “I can’t comment” when asked about the existence of a cyber warfare super virus, soon to be revealed as Stuxnet. Two malware, computer programming specialists from internet security behemoths Symantec and Kaspersky, uncover Stuxnet and both reach a professional conclusion after engaging in deep analytic data processing that the virus they are uncovering is more than just the work of an at-large hacker. The sophistication and the virus’ ability to replicate itself without a user doing anything and its ability to mutate undetected is known in malware jargon as ‘zero-day exploitation’ without any protection against it and was undoubtedly the work of a nation-state. The effect the virus had on the Iranian infrastructure as it attacked power plants, energy grids, gas pipelines and industrial sites resulted in deaths and severe repercussions for scientists and line operators alike. The Symantec and Kaspersky experts estimated 500,000 attacks were unleashed over the course of its deployment. A former employee of the US Nuclear Regulatory Agency went on camera to say that he knew of one or two nation-states that were using cyber weapons for offensive purposes. However, when asked who the states were and were the states involved using Stuxnet, a dance of denial ensued with the former employee back peddling while reiterating he did not mention names of the existence of Stuxnet often uttering “I can’t comment on that.” In Zero Days Gibney has upped the ante from previous works with heightened production values utilizing CGI and textual overlays to convey the genesis of a new era and a medium of espionage at the highest governmental levels and has done his homework as he provides a historical backdrop of the Iranian nuclear program disclosing the US gave Iran its first nuclear reactor under the Shah of Iran’s rule. In addition, he shows the pride the Iranian people have in their nuclear program demonstrated by their national celebrations for Nuclear Enrichment Day, a national nuclear day that has galvanized the republic of Iran. Throughout the remainder of Zero Days Gibney delves deeply into Homeland Security and the arsenal of the US Cyber Command apparatus with probing interviews and expose investigative reporting concluding with speculation on where this new game of global cyber warfare may lead. Zero Days is one of this year’s most important films in light of recent accusations a foreign power hacked the Democratic National Committee’s computer system as well as Democratic Presidential Nominee, Hillary Clinton’s campaign system. New York Times columnist David E. Sanger reports on this in the July 30th edition with his article “U.S. Wrestles With How to Fight Back Against Cyberattacks.” Gibney’s other works, no less confrontational, include Going Clear: Scientology and the Prison of Belief (2015), Enron: The Smartest Guys in the Room (2005) and We Steal Secrets: The Story of WikiLeaks (2013). Like this: Like Loading... Venice Production Bridge In the context of the 73rd Venice Film Festival, an important new project titled Venice Production Bridge has been introduced to ensure continuity, but also to surpass and fine-tune the Venice Film Market first held in 2012. The Venice Production Bridge will take place from September 1 to 5 on the third floor of the Excelsior Hotel of the Lido di Venezia. It will join and reinforce the Industry Office, which will continue to work, as it has in past years, throughout the entire Venice Film Festival, offering many services to its guests (August 31 to September 10). The new Venice Production Bridge is established to foster the development and production of international and European projects across a range of audio-visual forms. This is the direction also pursued by the Venice Film Market, which since its very first edition has served as a light market, featuring programmes such as the Venice Gap-Financing Market and Final Cut in Venice, with the aim of helping to complete films and works in progress. The new Venice Production Bridge will also build on the experience of the Biennale College – Cinema, an innovative workshop for the development and production of micro-budget feature films, which over a four-year period has led to the production of 13 films that have earned prestigious international results and acknowledgments. The image of the bridge expresses perfectly well the philosophy of this new Venetian market. The idea consists in building an opportunity of encountering and networking for all the professionals involved in production. Indeed the producers but also the multiple categories of financiers who are participating in the creation of the necessary financial package to create a film. Distributors, sales agents, banks, private and public investment funds, regions and film commissions, broadcasters, video aggregators and Internet platforms, are also, in their own way, contributing in financing, buying or co-producing a film. The Venice Production Bridge will also focus on one of the major new trends in contemporary production, which is the co-existence of a diversity of platforms fostered by the digital revolution: television series, web-series and, above all, the new frontier represented by VR/Virtual Reality, which are currently attracting major investment and the most advanced technological research. The Venice Production Bridge intends to attract industry professionals active in these fields. The 2-day Venice Gap-Financing Market event (September 2-3, 2016) will take place during the forthcoming 73rd Venice Film Festival and will offer the 40 selected European and International projects, the opportunity to close their international financing. The Venice Gap Financing Market presents 40 projects from around the world in the final stages of development and funding, divided as follows: 25 projects for feature-length fiction films and feature documentaries, 15 projects for Virtual Reality & Interactive, Web Series and TV Series. The two-day Venice Gap Financing Market is thus setting up one-to-one meetings between the teams (producer and director) of the 40 projects and top industry decision-makers (producers, private and public financiers, banks, distributors, sales agents, TV Commissioners, Internet and video Platforms, Institutions, post-production companies…). 25 SELECTED PROJECTS – Films: 18 projects (9 from Europe and 9 from outside of Europe) for feature-length fiction films from around the world that need to complete their funding package with minority shares in the co-production, having at least 70% of the funding in place – Documentaries: 7 projects (6 from Europe and 1 from outside of Europe) for narrative or creative documentaries (to be presented like the films) FICTION Europe 1 – “Alien Food” by Giorgio Cugno (Italy, Denmark, France) 2 – “Birth” by Jessica Krummacher (Germany, Turkey) 3 – “Funan, the new people” by Denis Do (France, Luxembourg, Belgium) 4 – “God Exists, Her Name is Petrunija” by Teona Sturgar Mitevska (Macedonia) 5 – “Luxembourg” by Myroslav Slaboshpytskiy (Germany, Ukraine, France, Norway) 6- “The Intruder” by Leonardo Di Costanzo (Italy, Switzerland, France) 7 – “The Nature of Time” by Karim Moussaoui (France) 8 – “The Song of Scorpions” by Anup Singh (Switzerland) 9 – “Touch Me Not” by Adina Pintilie (Romania, France, Bulgaria) + Outside of Europe 10 – “A Worthy Companion” by Carlos & Jason Sanchez (Canada) 11 – “Brief Story from the Green Planet” by Santiago Loza (Argentina, Germany) 12 – “Dolores” by Gonzalo Tobal (Argentina, France, Spain) 13 – “Let it be Morning” by Eran Kolirin (Israel, France) 14 – “Lily and the Dragonflies” by René Guerra (Brazil, Denmark) 15 – “Los Perros” by Marcela Said (Chile, Germany, Argentina) 16 – “Sollers Point” by Matt Porterfield (USA, France) 17 – “The Seen and Unseen” by Kamila Andini (Indonesia) 18 – “Wajib” by Annemarie Jacir (Palestine, France, Germany, Norway, Denmark) DOCUMENTARIES Europe 19 – “Apolonia, Apolonia” by Lea Glob (Denmark) 20 – “Cain, Abel and the Cowgirl” by Dina Salah Amer (UK, France, USA) 21 – “Gold Mine” by Ben Russell (France) 22 – ‘’Latifa’’ by Olivier Peyon and Cyril Brody (France) 23 – “The Real Estate” by Axel Petersén and Måns Månsson (Sweden, Denmark) 24 – “Tierra del mal” by Daniele Incalcaterra and Fausta Quattrini (Italy, Argentina) + Outside of Europe 25 – “Impeachment” by Petra Costa (Brazil) 15 VIRTUAL REALITY & INTERACTIVE, WEB SERIES AND TV SERIES PROJECTS – TV Series and Web series: 7 projects – Virtual Reality and Interactive Projects: 8 projects for short to medium-length artistic-narrative films to be produced as virtual reality experiences 1 – ‘’Ashes to Ashes’’ (Netherlands) VR Submarine Channel 2 – ‘‘Exode’’ by Gabo Arora (USA) VR Un/Verse, Lightshed 3 – ‘’Nomads’’ (Canada) VR Felix & Paul Studios 4 – ‘’Our baby’’ by Simon Bouisson (France) VR La Générale de production 5 – ‘’The Future of Forever: Welcome to the Other Side’ by Annna Brezezinska (Poland) VR Unlimited Film Operations 6 – ‘‘Trinity’’ by Patrick Boivin (Canada) VR Unlimited Vr 7 – ‘‘Oh Moscow’’ by Sally Potter (UK) Interactive/Multimedia Experience Adventure Pictures 8 – ‘’The Boy in the Book’’ by Fernando De Jesus (UK) Interactive/Web series CYOD Ltd., Thinking Violets 9 – ‘‘Difficult Second Coming’’ by Dylan Edwards (UK) Web series Electric Sandbox 10 – ‘’Music on the road’’ by Benoit Pergent (France) Web series Les Films du Poisson 11 – ‘‘Referees’’ by Giampiero Judica (Italy) Web series 3Zero2 SpA 12 – ‘‘Aurora’’ (Italy) TV series Publispei Srl 13 – ‘‘Bullfinch’’ (Germany) TV series Zentropa Hamburg GmbH 14 – ‘’Nemesi’’ (Italy) TV series Indigo Film 15 – ‘‘School Of Champions’’ by Clemens Aufderklamm (Germany, Switzerland) TV series Catpics Ltd A tailor-made initiative of this kind requests a real confidentiality for the producers and the partners already in place and a first Project line-up will therefore be sent to selected potential financiers and professionals in order to allow them to register to this co-production market. The Book of Projects detailing each film project is sent to the registered professionals in July 2016 to entitle them to request 30-minute one-to-one meeting with the producers of the selected projects. The Venice Gap-Financing Market will set up these meetings in accordance with the availability of the participants and meetings slots. Each participant will receive a personalised meeting schedule a few days before the event. FINAL CUT IN VENICE The Venice Production Bridge will again organize the 4th edition of its workshop program, the Final Cut in Venice which will take place from September 3 to 5 in collaboration with Laser Film, Mactari Mixing Auditorium, Titra Film, Sub-Tu Ltd, Sub-Ti ACCESS Srl, Rai Cinema, Organisation Internationale de la Francophonie (OIF), Festival International du Film d’Amiens, Festival International de Films de Fribourg, MAD Solutions, Institut Français. The Festival’s purpose is to provide concrete assistance in the completion of films from Africa and from Iraq, Jordan, Lebanon, Palestine and Syria; and to offer producers and directors an opportunity to present films still in the production phase to international film professionals and distributors in order to facilitate post-production and promote co-production partnerships and market access. The workshop consists in three days of activities, in which the working copies of a maximum of the six selected films are screened to producers, buyers, distributors and film festival programmers. Networking, encounters and meetings will allow directors and producers to interact directly with the workshop participants. The workshop will conclude with the awarding of prizes, in kind or in cash, for the financial support of the films in their post-production phase: . € 15,000 for the color correction of a feature-length film offered by Laser Film (Rome) for up to 50 hours of work (technician included); . Up to € 15,000 for the sound mixing offered by Mactari Mixing Auditorium (Paris); . Up to € 10,000 for digital color correction, for the production of a DCP master and French or English subtitles, offered by Titra Film (Paris) . Up to € 7,000 for the production of the DCP master and Italian or English subtitles, offered by Sub-Ti Ltd. (London); . Up to € 7,000 for the accessible contents of the film for audiences with sensory disabilities: subtitles for the deaf and hearing impaired and audio description for the blind and visually impaired, with audio subtitles, in Italian or English, offered by SUB-TI ACCESS Srl (Turin) (the SDH file and the audio described soundtrack for DCP will be provided) . € 5,000 for the purchase of two-year broadcasting rights by Rai Cinema; . € 5,000 offered by the Organisation Internationale de la Francophonie (OIF) to an African or Arabian film from a member-country of La Francophonie . A 35mm print (without subtitles) or the participation in the production costs of a DCP (€ 1,500), offered by the Festival International du Film d’Amiens; . A 35mm print (without subtitles) or the participation in the production costs of a DCP (€ 1,500), offered by the Festival International de Films de Fribourg; . Marketing and distribution in the Arab World for one Arab project is offered by MAD Solutions (except for projects already attached to MAD Solutions). The 6 Selected projects of FINAL CUT IN VENICE 2016 are: – ‘Felicity’ by Alain Gomis (France, Senegal, Belgium) – ‘Ghost Hunting’ by Raed Andoni (Palestine, France, Switzerland) – ‘Obscure’ by Soudade Kaadan (Syria, Lebanon) – ‘Poisonous Roses’ by Ahmed Fawzi Saleh (Egypt, France, Qatar) – ‘One of these days’ by Nadim Tabet (Lebanon) – ‘The Wound’ by John Trengove (South Africa, Germany, Netherlands, France) The Venice Production Bridge is also launching a new initiative this year with the Book Adaptation Rights Area. This two-day event (September 2 and 3) allows International renowned Publishers to propose the adaptation rights of their new titles as well as their libraries (novels, series, graphic novels, essays…) to International top producers in a dedicated area within the VPB. The 15 invited publishers of the Book Adaptation Rights Area are: – Andrew Nurnberg Associates (United Kingdom) – De Agostini (Italy) – De Bezige Bij (Netherlands) – Diogenes (Switzerland) – Elisabeth Ruge Agentur (Germany) – Flammarion (France) – Gallimard (France) – Glénat (France) – Lannoo (Belgium) – Les Éditions de l’Homme Sans Nom (France) – Média-Participations (France) – Oetinger Filmrechte-Agentur (Germany) – Place des Editeurs (France) – Planeta (Spain) – Ullstein Buchverlage (Germany) European Film Forum events – Saturday 3 and Sunday 4 September In the framework of the European Film Forum, the European Commission organises two workshops on access to finance (3 September from 3:00 pm to 5:15 pm – Sala Stucchi) and on the future of cinemas (4 September from 10:00 am to 1:00 pm – Spazio Incontri). The first event will be the occasion to discuss the new guarantee facility for the cultural and creative sector recently launched with the European Investment Fund (press release), as well as new modes of investments. The second event, which will be opened by European Commissioner Oettinger, in charge of the Digital Economy and Society, will focus on how cinemas can fully reap the benefits of digital technologies. The Venice International Film Festival is also an opportunity to celebrate the 25th anniversary of the Creative Europe MEDIA programme (press release) and to discuss the recent update of EU audiovisual rules (press release) as well as the upcoming proposals on the modernisation of EU copyright rules to be presented in the autumn. Next initiatives will aim at further increasing the circulation of European works across borders and supporting the audiovisual sector. Finally, the Venice Production Bridge offers all traditional services such as the Industry Club, to support networking among the participants, the Digital Video Library, an Exhibition Area, VPB Market Screenings, a Business Centre, equipped with secretarial services, computers, copy machines, Internet access and Wi-Fi, and numerous international panels and networking events with some of them in partnership with the European Producers Club. Like this: Like Loading...
5438	dbpedia	2	19	https://www.filmauro.it/static/client/Aurelio-De-Laurentiis-438.aspx	en	Benvenuti sul sito Filmauro			[ "https://www.filmauro.it/web/img/logo.png", "https://www.filmauro.it/web/img/logo_cityplex.png", "https://www.filmauro.it/web/img/Ita.png", "https://www.filmauro.it/web/img/fb.png", "https://www.filmauro.it/web/img/tw.png", "https://www.filmauro.it/web/img/yt.png", "https://www.filmauro.it/web/img/ig.png", "https://www.filmauro.it/web/img/pr.png", "https://www.filmauro.it/web/img/adl.jpg", "https://www.filmauro.it/web/img/logo_footer.jpg", "https://www.filmauro.it/web/img/logo_homevideo.png", "https://www.filmauro.it/web/img/social_footer.png" ]	[]	[]	[ "" ]	null	[]	null	La Filmauro Ã¨ una delle piÃ¹ importanti casa di produzione del cinema italiano. Fondata nel 1975 da Aurelio De Laurentiis con il padre Luigi, la FILMAURO vede nel suo listino circa 400 film tra produzione e distribuzione.				null	In his career, Aurelio De Laurentiis produced and distributed more than 400 films directed by such filmmakers as Mario Monicelli, Carlo Verdone, Ettore Scola, Ridley Scott, David Cronenberg, Luc Besson, Paul Haggis, Joel and Ethan Coen, David Lynch, Roberto Benigni. Aurelio De Laurentiis won 50 Golden Movie Theatre Tickets (the awards given to the most successful movies at the Italian box office), 15 David di Donatello (the Italian Academy Award), 7 Italian Golden Globes assigned by the Foreign Press, and 7 Nastri d’Argento, given by the Italian Film Journalists Association. 2010, he was awarded with the “Variety Profile in Excellence”, given by the prestigious magazine Variety with the following motivation: “Aurelio De Laurentiis has always been able to stay in touch with the taste of the audience. He is really the only Italian producer with an authentic grandeur that results from his symbiotic relationship with a wide audience. Aurelio has an innate radar for pop culture, he has business acumen and a real willingness to take risks”. In the United States, the Guinness World Records introduced the Christmas comedies (a movie franchise invented by De Laurentiis) in the category of longest-running movie franchise. 1995 “Commander of the Order of Merit of the Italian Republic”, given by the Presidency of the Council of Ministers. 2002 “Officier de l’Ordre des Arts et des Lettres”, because of his important relationship with the French film industry. 2004 “Grand Officer of the Italian Republic” given by the President of italian Republic. 2008 “Knight of Labor” (Cavaliere del Lavoro) given by the President of italian Republic. 2008 “Premio Leonardo Qualità Italia” given by the President of italian Republic. 2010 he received the prestigious “United States-Italy Friendship Award” in Washington. 2012 in the United Kingdom, the British Minister of Commerce and Investments, gave him the “Career recognition Award”. 1993 - 2003: President of the International Federation of Film Producers Associations. 2001 - 2006: President of the Italian Film Producers Association. 2008: he became a shareholder of Italian Entertainment Group a holding company that includes the best companies of the advertising, cultural entertainment, creative and events industries: Filmaster, Civita, Cinecittà World. In May 2014, Aurelio De Laurentiis set up a new working team in Los Angeles, to develop and produce series for International TV and Digital Platforms. Besides the movie business, he has another love: in 2004, he began a new career as sports entrepreneur. He won the auction to buy the Naples Football Club directly from a bankruptcy sale at the Naples Court, and set the goal for himself of getting the team back to success. Now the team is one of the most important Club in the First Division (Serie A).
5438	dbpedia	3	14	https://www.penguinrandomhouse.com/authors/2268470/leo-benvenuti/	en	Penguin Random House	https://www.penguinrando…s/prh-social.jpg	https://www.penguinrando…s/prh-social.jpg	[ "https://assets.penguinrandomhouse.com/wp-content/uploads/2024/02/05171820/Let-Kids-Read_600x314-nav.jpg", "https://assets.penguinrandomhouse.com/wp-content/uploads/2024/07/31102421/PRH_Site_600x314-AUG.jpg", "https://assets.penguinrandomhouse.com/wp-content/uploads/2024/07/18161743/audiobooks-for-kids-readdown-1200x628-1.jpg", "https://www.penguinrandomhouse.com/wp-content/themes/penguinrandomhouse/images/nav-account-icon.svg", "https://www.penguinrandomhouse.com/wp-content/themes/penguinrandomhouse/images/prh-logo.svg?v=2", "https://assets.penguinrandomhouse.com/wp-content/uploads/2024/07/31102421/PRH_Site_600x314-AUG.jpg", "https://assets.penguinrandomhouse.com/wp-content/uploads/2024/07/23161906/YA-Romantasy-DMcMurdie-850x607-1.jpg", "https://assets.penguinrandomhouse.com/wp-content/uploads/2024/02/05171820/Let-Kids-Read_600x314-nav.jpg", "https://assets.penguinrandomhouse.com/wp-content/uploads/2024/02/26151938/ReadMore_1200x628_600x314-nav.jpg", "https://assets.penguinrandomhouse.com/wp-content/uploads/2024/02/05171722/Author-Events-Module_600x314-nav.jpg", "https://assets.penguinrandomhouse.com/wp-content/uploads/2024/02/05171902/content-archive-Homepage_600x314-nav.jpg", "https://assets.penguinrandomhouse.com/wp-content/uploads/2024/05/16153839/PRH_Summer-Site_Social-Share-1200x628-watermelon.jpg", "https://assets.penguinrandomhouse.com/wp-content/uploads/2024/07/29131619/PRH_New-in-Audio-August-600x314-1.jpg", "https://assets.penguinrandomhouse.com/wp-content/uploads/2024/07/18161743/audiobooks-for-kids-readdown-1200x628-1.jpg", "https://www.penguinrandomhouse.com/wp-content/themes/penguinrandomhouse/images/nav-search.svg", "https://www.penguinrandomhouse.com/wp-content/themes/penguinrandomhouse/images/prh-logo.svg?v=2", "https://www.penguinrandomhouse.com/wp-content/themes/penguinrandomhouse/images/prh-logo.svg?v=2", "https://www.penguinrandomhouse.com/wp-content/themes/penguinrandomhouse/images/nav-account-icon.svg", "https://www.penguinrandomhouse.com/wp-content/themes/penguinrandomhouse/images/nav-search.svg", "https://www.penguinrandomhouse.com/wp-content/themes/penguinrandomhouse/images/search-close.svg", "https://www.penguinrandomhouse.com/wp-content/themes/penguinrandomhouse/images/search-close.svg", "https://www.penguinrandomhouse.com/wp-content/themes/penguinrandomhouse/images/prh-logo-sm.png", "https://images4.penguinrandomhouse.com/cover/9781984885289?height=250", "https://assets.penguinrandomhouse.com/wp-content/uploads/2015/04/01075801/thumbnail.png", "https://assets.penguinrandomhouse.com/wp-content/uploads/2021/06/23171719/TTB-Footer-Logo-Color.png", "https://assets.penguinrandomhouse.com/wp-content/uploads/2017/03/03173807/tastelogo1.png" ]	[]	[]	[ "" ]	null	[]	null	Buy books online written by Leo Benvenuti and sign up for author alerts for new book email notifications.	en	https://www.penguinrando…avicon-16x16.png	PenguinRandomhouse.com	https://www.penguinrandomhouse.com/authors/2268470/leo-benvenuti/
5438	dbpedia	0	16	https://www.galleriabazzanti.it/en/author/galleriabazzanti/page/3/	en	galleriabazzanti, Autore presso Bazzanti Art Gallery Florence	https://secure.gravatar.com/avatar/9ed8c08efacde72fb1abdef447f72121?s=500&d=mm&r=g	https://secure.gravatar.com/avatar/9ed8c08efacde72fb1abdef447f72121?s=500&d=mm&r=g	[ "https://www.galleriabazzanti.it/wp-content/uploads/2015/02/logo-orizzontale-centered-389x70.png", "https://www.galleriabazzanti.it/wp-content/uploads/2022/11/blog-donatello-putti-p7-01-1140x500.jpg", "https://www.galleriabazzanti.it/wp-content/uploads/2022/11/blog-donatello-putti-p7-02-1140x500.jpg", "https://www.galleriabazzanti.it/wp-content/uploads/2022/11/blog-donatello-putti-p7-03-1140x500.jpg", "https://www.galleriabazzanti.it/wp-content/uploads/2022/11/blog-donatello-putti-p7-04-1140x500.jpg", "https://www.galleriabazzanti.it/wp-content/uploads/2022/11/blog-donatello-putti-p7-05-1140x500.jpg", 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"https://www.galleriabazzanti.it/wp-content/uploads/2022/01/blog-benvenuti-broncos-22-1140x500.jpg", "https://www.galleriabazzanti.it/wp-content/uploads/2015/02/logo-orizzontale-centered-389x70.png", "https://www.galleriabazzanti.it/wp-content/plugins/woocommerce-email-inquiry-cart-options/assets/images/loading.gif" ]	[]	[]	[ "" ]	null	[ "galleriabazzanti" ]	null		en	https://www.galleriabazz…ANTI-favicon.png	Bazzanti Art Gallery Florence	https://www.galleriabazzanti.it/author/galleriabazzanti/page/3/	On the pillow in which Oloferne is seated there is the signature of Donatello OPVS – DONATELLI – FLO, and also the writing EXEMPLUM – SAL – PVB – CIVES – POS- MCCCCXCV, a writing that was added when the statue was placed outside the Palazzo della Signoria in 1495. But by August 1464, when it was still in the Medici palace, there were two other writings on the basement that had been lost: “Regna cadunt luxu surgent virtutibus urbes caesa vides humili with superb manu”, that is: “The kingdoms fall by lust, rise again thanks to the virtues: here is the neck of pride cut from the hand of humility “. And between the years 1464 and 1469 Piero de ’Medici added a second inscription: Regna Cadunt / Salus Publica / Petrus Medices Cos. Fi. Libertati simul et fortitudini hanc mulieris statuam quo cives invicto constantique animo ad rem pub. redderunt dedicavit, that is “Piero son of Cosimo dedicated the statue of this woman to that freedom and fortitude conferred on the republic by the unconstrained and constant spirit of the citizens.” Everything suggests that for Donatello and his peers Giuditta, heavily clothed and covered, represented continence that overcomes pride and lust symbolized by Holofernes limply seated on a pillow. And, by definition, the republic, like Florence and Venice, was compared to ancient Greece and Rome and opposed to tyrannical states like Milan, the enemy of Florence. Holofernes was the general of a totalitarian monarch. Giuditta, savior of the freedom of Israel, was related to the resistance of the Florentine Republic against the tyranny of the Visconti of Milan. On the triangular base of the statue there are three bas-reliefs based on the cherubs. On the first one winged, naked or semi-naked putti of different ages, they harvest and carry the grapes in the baskets; below is a lying drunk figure, wearing a mask and holding a jug. It is a Bacchic scene, as in the feast in honor of Dionysus in ancient Greece, where they acted masked actors. Unlike those of the bas-reliefs, the cherubs on Judith’s dress symbolize her victory. Donatello’s last masterpieces are the two lost wax bronze pulpits for the church of San Lorenzo in Florence, executed after 1460. It is likely that at the time of his death in 1466 they were completed by his helpers Bartolomeo Bellano and Bertoldo of Giovanni, the latter also a friend of Lorenzo the Magnificent. They have suffered various vicissitudes including the arrangement on the columns at the beginning of the ‘500 and a subsequent reassembly in the middle of the’ 500. In both of them Donatello created a narrow trabeation band in which the small putti appear, and it is the first time that this type of decoration reappears after the classical era, in fact Donatello was inspired by the Roman sarcophagi. In these two pulpits the putti return to be secondary elements that comment on the scenes below, with Bacchic dances and references to the grape harvest and wine. The Pulpit of the Passion Alexander VI Borgia proclaimed the Jubilee of 1500. The master of the papal chapel since 1484 Giovanni Burcardo (Johannes Burckardus) who wrote the “Libri Caeremoniales”, a chronicle of the Vatican ceremonies, tells us that the Holy Door was created for the first time in St. Peter’s Basilica by Pope Alexander VI Borgia on the occasion of the Jubilee of 1500, which he proclaimed in March 1499 with the Inter Multiples bubble; for the occasion he also had a new road opened, the Via Alessandrina (destroyed in the 1930s). And in fact with the bull “Inter curas multiplices” Alexander VI announced the Jubilee for Christmas and ordered the simultaneous opening of the Holy Door of St. Peter’s and of the other three patriarchal basilicas: San Paolo, Lateranense, Santa Maria Maggiore. And he added “… with our hands we will open the Door of the Basilica of Blessed Peter…”. A new masonry door was built in St. Peter’s Basilica, but prepared so that during the Jubilee ceremony it would be easy for the pope to break a small central part with three hammer blows. The rest of the gate was demolished by the masons. The first to enter the church was to be the pope. Although Alexander VI perhaps did not create the ceremony of opening and closing the Holy Door from scratch, he gave it first order and uniformity by establishing a solemn and rigid ritual in the rules to be observed. It was Alexander VI who also called the Jubilee the Holy Year. In this way he placed the Holy Door at the center of the jubilee rites, making this purely architectural element a profound spiritual value full of symbolic meanings. And the hammer with which the pope struck the door took on a symbolic-religious meaning, finding an ideal affinity with the rod with which Moses struck a rock in the desert from which water flowed for his people. Clement VII, in the following Jubilee of 1525, had the mason’s hammer used by Alexander VI replaced with one of solid gold or gilded silver, as Giorgio Vasari also confirms in his sixteenth-century “Ragionamenti”. The sculptures were originally to be made in bronze but the AMBC had specified instead that the statues were to be made of white granite. Fraser’s two statuary groups were titled “Music and Harvest” and “Aspiration and Literature”. known as The Arts of Peace. Both modeled in a modern neoclassical style. The contracts (probably for the full-size models) were made shortly after the CFA meeting on 11 December 1930. In January 1931 the positioning of the 4 sculptures was again discussed. Finally, on October 24, 1932, the Commission visited Fraser’s studio in Westport, Connecticut and approved his designs. When the models half the size of the originals were about to be completed in 1933, the CFA put the project on hold. By now, the United States was in the midst of the Great Depression. The bridge was finished and cost more than budget and the funds available for the 4 granite statues were seized under the 1933 Economy Act. However, the CFA, with the full-size models already paid for, asked the sculptors to finish the their work. The CFA visited Friedlander’s studio in White Plains, New York, on October 14, 1933, and approved his designs. In October 1933, the CFA approved the height of the statues (each would be 16 feet (4.9 m) high), the pedestals 13 feet (4.0 m) high, and the height of the plinth under the statues would be 1 foot tall (0.30m). Granite from Mount Airy, from North Carolina, would have been used for the bases. Applications for partial funding for the four monuments in 1935, 1937, 1938 and 1939 were unsuccessful. However, in 1939 Fraser and Friedlander completed the full-size models. James Earle Fraser suggested that the statues be cast in bronze, which allowed for considerable savings over granite sculpture; Friedlander and the CFA agreed with this suggestion, and in August 1941 both sculptors signed contracts to redesign their models for bronze casting. But during the Second World War, the money for the project was no longer available. In January 1948, the National Park Service informed the CFA that $ 1 million in authorized funds existed to complete the Arlington Memorial Bridge. Fraser reported on the foundry quotes he had received in the summer of 1947 and, at the request of the Park Service, the CFA asked Congress for an initial grant of $ 185,000 to start the work, but did not get it. At the CFA meeting on September 13, 1948, the commission again discussed how to obtain an appropriation to perform the groups of statues. American foundries had not been converted from war work to art fusion. In addition, only one foundry in America was large enough to handle the work, and its contract required a sliding scale clause, a clause not accepted by federal budget officials. Congressmen thought of asking a European nation to consider statues, for the payment of castings, as part of the Marshall Plan, with broad consensus from the CFA and sculptors. In 1949, the Italian government agreed to use funds from the Marshall Plan to cast the four statues of the Arlington Memorial Bridge. In October, officials of the National Park Service and the sculptors Fraser and Friedlander came to Italy to inspect various foundries and found a work agreement: and in 1950 the work began. The plaster models arrived in Italy in January. However, customs officials kept them for several weeks outdoors, in the cold, in the rain and snow. Fraser’s student, Edward Minazolli, traveled to Italy to help supervise the casting process and found that the models had deteriorated. With the permission of Fraser and Friedlander, he had them repaired and restored. The Bruni Foundry in Rome and the Lagana Foundry in Naples cast the sculptures assigned to them. and intended to use fire gilding. But the quality of the samples was not satisfactory, as was the color of the gilding. Fraser then asked to apply for part of the casting work to the Battaglia foundry in Milan and the Ferdinando Marinelli Artistic Foundry in Florence. The work of the Milanese foundry was as discreet as that carried out by the Neapolitan foundry. The Florentine foundry, on the other hand, did an excellent job of casting but did not like the color of the gilding: it was then made in Milan. The four statuary groups were assembled at the end of April 1951. Across from the Arlington Memorial Bridge from the District of Columbia, the Sacrifice sculpture is on the right. A bearded and muscular male nude, a symbol of Mars, holds a small child in his arms, with his head bowed. The half-naked woman is to her right, from behind with her head turned back to look at the knight, while with her outstretched right arm she touches his right elbow. Each monument weighed approximately 80,000 pounds (36,000 kg). Each was 19 feet (5.8 m) tall, 16 feet (4.9 m) long and 8 feet (2.4 m) wide. While the pieces of the Sacrifice were all welded together, those of James Earle Fraser’s “Music and Harvest” were bolted together cold. The total cost of transporting, casting, and gilding the four groups was $ 300,000. Fraser and Friedlander were each paid $ 107,000. Each pedestal has 36 equally spaced gilt bronze stars at the top, representing the number of states in the United States at the time of the American Civil War. At the front of each pedestal is a classic flower crown, designed and sculpted by Vincent Tonelli (who also sculpted the Trylon of Freedom in front of E. Barrett Prettyman’s US courthouse). According to art curator Susan Menconi The Arts of War and The Arts of Peace were the largest equestrian sculptures in the United States. The Second World War began a period of great difficulty which did not spare even the Pietro Bazzanti Gallery. No brightening appeared on the horizon when in 1960 the Gallery passed to the Marinelli family, owners since 1905 of the Ferdinando Marinelli Artistic Foundry in Florence. The new management was able to exploit the years of economic recovery by also reopening its own sculpture studio, and giving greater vigor to its very popular Foundry. For the historic Gallery, all this meant a new course, marked by a more managerial direction able to control the artistic quality of the works more rigorously and to organize more extensive assistance in exporting. In addition to the nineteenth-century plaster models inherited from the old property, those from the gipsoteca of the Foundry were added, all casts made on the originals by Ferdinando Marinelli Sr., creator of the homonymous Foundry, made in the 1930s. The already attractive catalog of the Bazzanti gallery has grown with a vast and highly qualified collection of bronzes, known throughout the world since the early 1900s. In 1976 the reins of the Gallery and the Foundry passed into the hands of Ferdinando Marinelli Jr., who still today feeds the two souls of Bazzanti: that of the marble sculpted in his studio, and that of the bronzes cast in the Foundry with the ancient Renaissance techniques of lost wax casting learned from grandfather Ferdinando Marinelli Sr. The meaning of this scene has been much discussed, since the sword of David wants to indicate precisely the small bas-relief that therefore probably symbolizes the “moral” of the entire sculpture. There is represented a chariot drawn by two winged and naked putti; on the cart a figure without wings is enthroned and receives gifts from two other winged putti; behind the throne appears a naked and fat character with no wings behind, with at his feet, an amphora. The scene seems to be taken from an ancient Roman gem, probably from the Medici collection; it is very probable that the seated figure is Bacchus accompanied by Silenus, and that the winged putto is offering him a cup of wine. Being on the Goliath helmet, it could be the representation of incontinence, pride and arrogance, vices associated with Goliath (and with the tyrannical enemies of Florence) won by the virtue of David (the Republic of Florence). Attis It is a bronze statue in all-round, about 104 centimetres high. Although with various attributes, it is a putto standing up, and it is the first time that in the Renaissance a putto is sculpted in all-round in this size, without being an accessory or secondary character. It is absolutely in classic pagan style, so much so that in the 17th century it was taken for an ancient Roman work. Besides being beautiful, it is also enigmatic, there is no sculpture in antiquity with all its features and attributes: it seems that Donatello has invented a new type of creature. He is standing, in a relaxed chiasmus, with both arms raised. He joyfully looks at his left hand where the thumb and middle finger are closed, probably holding something that was lost; he has tangled hair tied by a string that holds a flower in his forehead, he wears a belt around his waist with sculpted poppy caps that supports a sort of stocking-pants that leave his buttocks and genitals exposed; at his feet he has two squat and undefined pairs of wings, he wears sandals with which he tramples a snake. On his shoulders he has two beautiful wings, and at the beginning of his buttocks a small tail. the belt of Hypnos, the wings at the feet of Mercury. For Erwin Panofsky (Renaissance and Renaissance in Western art) it is the allegory of Time that rolls the dice; and in fact Pan’s tail is the symbol of the association of Pan with the universe of which Time holds the fate. The wings on the shoulders and feet, and the snake, are symbols of Time. The barbaric pants are those of Aion, the demon of time of Iranian origin. The poppies of the belt, emblems of sleep and death, represent its dual nature as creator and destroyer. And the missing object that probably had between his fingers was just a dice. Time is a destroyer who plays dice with humanity, our destiny is in his hands. In a fragment of Heraclius found in the “Refutatio omnium haeresium” (book IX, chapters 3 and 4) of Hippolytus of Rome the Demon of Time is defined as a frivolous child who plays with dice with humanity and our destiny is in his hands. There is this phrase also in Carmina LXXXXV of the Byzantine Gergorio Nazanzieno. When Lorenzo the Magnificent succeeded in 1349 to bring the Council between the Roman and Oriental church in Florence, the emperor of Byzantium John VIII Palaeologus and his numerous court he turned to the binomial Ferdinando Marinelli-Sergio Benvenuti. The calls between the three of us followed each other along with the faxes, exchanges of drawings, sketches, notes. The new stadium projects included around it an embankment that Dudi wanted covered with grass, shrubs, trees, with various grazing bronze horses. It was then that Pat Bowlen decided to give the citizens of Denver a monument with a strong symbolic content: a group of seven horses that climbed the embankment near the entrance stairway of the new stadium. The horses had to be seven because this was the number of the champion of the Broncos team, John Elway, (and also the lucky number in the life of Dudi Berretti). At the invitation of the “Stadium Management Co. Denver Broncos” I flew with Sergio Benvenuti to Denver to present the project to Stadium Management and the various artistic commissions in the District. The monument received the full approval and applause of all. Upon returning to Florence Benvenuti immediately set to work performing the models ad 1/5 of the size of the final sculpture. Shortly afterwards Dudi Beretti together with the landscape architect Lanson Nichols came to Florence to see the models and to discuss with us the best setting for the fund on which the seven horses would be run.
5438	dbpedia	3	34	https://www.isherwoodfoundation.org/news	en	News — The Christopher Isherwood Foundation	https://images.squarespace-cdn.com/content/v1/60c878199946206b1ba2a9c9/ae056a1f-fdc2-491d-abe4-8ac60c68e37f/favicon.ico?format=100w	https://images.squarespace-cdn.com/content/v1/60c878199946206b1ba2a9c9/ae056a1f-fdc2-491d-abe4-8ac60c68e37f/favicon.ico?format=100w	[ "https://images.squarespace-cdn.com/content/v1/60c878199946206b1ba2a9c9/1623750904353-VDZGZME90XU9J2NP0K0A/TCIF_Logo_320x170.png?format=1500w", "https://images.squarespace-cdn.com/content/v1/60c878199946206b1ba2a9c9/1623750904353-VDZGZME90XU9J2NP0K0A/TCIF_Logo_320x170.png?format=1500w", "https://images.squarespace-cdn.com/content/v1/60c878199946206b1ba2a9c9/1625656323038-Z147SZS1RM1PVLUSWEZH/Dots+border.png", "https://images.squarespace-cdn.com/content/v1/60c878199946206b1ba2a9c9/47c04c10-7555-4d8b-9e87-0674ec05fa20/CIIO+USA+cover.png", "https://images.squarespace-cdn.com/content/v1/60c878199946206b1ba2a9c9/1625656323038-Z147SZS1RM1PVLUSWEZH/Dots+border.png", "https://images.squarespace-cdn.com/content/v1/60c878199946206b1ba2a9c9/2dc10473-8e26-4887-b5e3-33262b1f0c7f/opera+duo+and+don-fotor-20240518133143.png", "https://images.squarespace-cdn.com/content/v1/60c878199946206b1ba2a9c9/1625656323038-Z147SZS1RM1PVLUSWEZH/Dots+border.png", "https://images.squarespace-cdn.com/content/v1/60c878199946206b1ba2a9c9/9dfff3d2-e286-480d-afa5-ed74124751e7/Maurice+cover.jpg", "https://images.squarespace-cdn.com/content/v1/60c878199946206b1ba2a9c9/1625656323038-Z147SZS1RM1PVLUSWEZH/Dots+border.png", "https://images.squarespace-cdn.com/content/v1/60c878199946206b1ba2a9c9/1623840646427-FP454HPAJLYTGWUX88UE/Dots+border.png", "https://images.squarespace-cdn.com/content/v1/60c878199946206b1ba2a9c9/1625655274576-3J5DC3M1X4TIWV8LHXDQ/img_portrait-of-guidosanti.jpg", "https://images.squarespace-cdn.com/content/v1/60c878199946206b1ba2a9c9/1623765221915-30SLJNGIQ37L27MS5JVD/img_guido_santi.jpg", "https://images.squarespace-cdn.com/content/v1/60c878199946206b1ba2a9c9/1623840670904-HLUGEQLZFFAQS0VSCAM9/Dots+border.png", "https://images.squarespace-cdn.com/content/v1/60c878199946206b1ba2a9c9/1625656323038-Z147SZS1RM1PVLUSWEZH/Dots+border.png", "https://images.squarespace-cdn.com/content/v1/60c878199946206b1ba2a9c9/1623765517087-81R5KDCP0FY504I7XN60/Photo+-+Alan+and+Angus+at+Tate+Britain.jpg", "https://images.squarespace-cdn.com/content/v1/60c878199946206b1ba2a9c9/1623840706380-RX8WQFN0IDAQHDKK4M5E/Dots+border.png", "https://images.squarespace-cdn.com/content/v1/60c878199946206b1ba2a9c9/1623840727299-5X2P03L2O99TVEFKH2O2/Dots+border.png", "https://images.squarespace-cdn.com/content/v1/60c878199946206b1ba2a9c9/1623840749013-G0FJWVU8GJO1X9Y4TZDX/Dots+border.png", "https://images.squarespace-cdn.com/content/v1/60c878199946206b1ba2a9c9/1625656323038-Z147SZS1RM1PVLUSWEZH/Dots+border.png" ]	[]	[]	[ "" ]	null	[]	null		en	https://images.squarespace-cdn.com/content/v1/60c878199946206b1ba2a9c9/ae056a1f-fdc2-491d-abe4-8ac60c68e37f/favicon.ico?format=100w	The Christopher Isherwood Foundation	https://www.isherwoodfoundation.org/news	August 30, 2024 Nantucket Atheneum Illustrated lecture by Katherine Bucknell, 6:30 pm. Book signing. Free admission. September 9, 2024 The New York Society Library, 53 East 79th Street Katherine Bucknell in conversation with Edward Mendelson, biographer and editor of W.H. Auden, 6pm. Members’ Room $15 \| Livestream $10. September 15, 2024 Craig Krull Gallery, Bergamot Station, Santa Monica Reading by Katherine Bucknell and conversation with Don Bachardy, 4pm. Book signing. September 16, 2024 Huntington Library, San Marino Katherine Bucknell in conversation with novelist and travel writer Pico Iyer, 7:30-9:30pm. Free admission with advance registration. September 17, 2024 Diesel Books, West Side Country Mart, Brentwood Katherine Bucknell in conversation with Matt Brennan, Deputy Editor, Entertainment and Arts, Los Angeles Times. Book signing. September 20, 2024 Nationale Art Space, 15 SE 22nd Avenue, Portland, Oregon. Reading by Katherine Bucknell and book signing. October 8, 2024 Women’s Athletic Club, Chicago Illustrated lecture by Katherine Bucknell and book signing, 6pm. October 9, 2024 Seminary Co-op Bookstore, 5751 S. Woodlawn Avenue, Chicago Katherine Bucknell in conversation with Bill Brown, Karla Scherer Distinguished Service Professor in American Culture, University of Chicago, 6pm. Book signing. October 24, 2024 The International Anthony Burgess Foundation, Manchester, UK lllustrated lecture by Katherine Bucknell and book signing. Tickets £5 advance, £7 on the door. November 2, 2024 The Charleston Literary Festival, South Carolina Katherine Bucknell in conversation with Bill Goldstein, critic at large and author of The World Broke in Two: Virginia Woolf, T. S. Eliot, D. H. Lawrence, E. M. Forster and the Year that Changed Literature. Isherwood and Bachardy in Berlin The exhibition My Dearest Sweet Love: Christopher Isherwood and Don Bachardy was on display at Berlin's Schwules Museum from June 14 to August 26, 2019. Conceived and co-curated by Joseph Rodota along with Kevin Clarke of the Schwules Museum and Katherine Bucknell, the show considered Isherwood and Bachardy’s thirty-three year partnership as well as Isherwood’s earlier years in Berlin and Bachardy’s later career. It included nudes by Bachardy (generously loaned by Suzelle Smith and Don Howarth), portraits by Bachardy and David Hockney, photographs by Wayne Shimabukuro, and pieces from the museum's archive. The opening was marked by a conversation among Katherine Bucknell, Kevin Clarke, and Edmund White, followed by a reception at the museum attended by Suzelle Smith and Don Howarth, Kevin Clarke, Peter Rehberg and Chris Paxton of the Schwules Museum, and members of the Isherwood Foundation. On June 13, 2019, Chris & Don: A Love Story, the documentary by Guido Santi and Tina Mascara, had its first Berlin screening at Village Berlin. Mascara answered questions from Peter Rehberg, head of collections and archives at the Schwules Museum. In affiliation with the Isherwood Foundation and the Schwules Museum, the art organisation Instinct.Berlin invited artists to respond to Isherwood and Bachardy's legacy in The Cat and the Horse, an exhibition at Village Berlin (September 12-15, 2019). The opening featured a performance drawing by Gareth Ernst, based on drawings Bachardy made of Ernst. As a man Guido was sophisticated, intuitive and gentle. As a filmmaker, he was determined, driven by a curiosity that although intensely passionate was never intrusive or predatory. After long courtship, his subjects always yielded their inmost secrets. The subjects were unconventional, the secrets arresting and inspiring. Guido searched through his camera lens for a storyline that was both true and compelling. Like all great documentary filmmakers, he knew the right questions to ask. He was an obsessive recorder, accumulating enough footage to permit him to narrate with conviction. He knew how to get down to the nerve, to the heart of things. He was a master of his art. Much of Guido’s best work was done in collaboration with his wife, Tina. In her he found a filmmaker whose talent and sensibility complemented his own. Together they made another prize-winning film, Monk with a Camera, and the company they founded, Asphalt Stars, is currently in production on The Muslim Other and Don Bachardy: License to Look. Guido Santi, born Genoa, Italy, May 9, 1962; died Los Angeles, California, February 4, 2019. In Italy, he earned a B.A. in Philosophy, summa cum laude, at the Università degli Studi di Urbino, apprenticed with Ipotesi Cinema, a film laboratory coordinated by Cannes and Venice award-winning director Ermanno Olmi (The Tree of the Wooden Clogs), and produced and directed hundreds of reports about technology, entertainment and social issues for Italy’s national TV, RAI. At RAI, he also produced and directed his first documentary biographies, about Luciano Pavarotti and about the Academy Award-winning director, Vittoria De Sica (The Bicycle Thief), and he wrote and directed Concertino, produced by Monica Vitti and Leo Benvenuti, about four teenagers living in the suburbs of Rome. In Los Angeles, he earned an M.A. in Film and Television Production at USC, where he won a Tom Bush Scholarship Award for Excellence in Cinematography and a Phi Beta Kappa International Distinguished Student Scholarship Award. Later, he won a Pendleton Research and Production Grant. He produced and directed many more documentaries and TV specials about illegal immigration, gangs in Los Angeles, 9/11, and other topical subjects. He was an assistant professor in the Department of Cinema, Photography, and Media Arts at Ithaca College in New York State, and he taught at USC, the Studio School, UCLA Extension and Columbia College, Hollywood, in Los Angeles, as well as contributing as a guest artist at workshops and seminars around the country. Since 2002, he lectured in Film Aesthetics and History of Cinema and taught cinematography and directing at College of the Canyons in Santa Clarita, California, where he was Professor and Co-Chair of the Cinema Department at the time of his death. Chris & Don: A Love Story premiered at the Telluride Film Festival in 2008. It won best documentary at the Miami LGBT Festival, the Spokane Film Festival, and the Sulmona International Film Festival, and it was nominated for best documentary by the Gotham Film Award and GLAAD Media Award. It is now available on iTunes and Prime. Monk with a Camera (2013) won Best Feature at the 2017 Rishikesh Art and Film Festival and was nominated for Best Documentary Feature at the Palm Springs International Film Festival in 2014. https://www.hometownstation.com/santa-clarita-news/education/college-of-the-canyons/college-of-the-canyons-professor-guido-santi-remembered-as-genuine-caring-265705 The Animals & A Meeting by the River, The Podcast The love story of Christopher Isherwood and Don Bachardy is told through their letters, followed by an audio performance of A Meeting by the River, the play they adapted together from Isherwood’s last novel. The Animals is based on the book, The Animals: Love Letters Between Christopher Isherwood and Don Bachardy. The series is presented by Katherine Bucknell. Simon Callow is Christopher Isherwood and Alan Cumming is Don Bachardy. Anthony Page directs A Meeting by the River, starring Dominic West, Kyle Soller, Penelope Wilton and Annabel Mullion. The original music is composed by Edmund Jolliffe. The eleven thirty-five minute episodes are available free. Listen on line at www.TheAnimalsPodcast.com or on iTunes or wherever you listen to podcasts. In May 2017, during the David Hockney retrospective at Tate Britain, Alan Cumming and Angus Wright staged a dramatic reading from The Animals and from Isherwood’s diaries in front of David Hockney’s double portrait of Isherwood and Bachardy. Alan Cumming and Simon Callow re-staged the reading in February 2018 to a sold-out auditorium at the Metropolitan Museum of Art in New York to coincide with the display of the double portrait in the Hockney retrospective there.
5438	dbpedia	1	95	https://www.findagrave.com/memorial/255359795/francesco-nuti	en	2023) – Find a Grave Gedenkstätte	https://images.findagrav…72648bd4e63.jpeg	https://images.findagrav…72648bd4e63.jpeg	[ "https://www.findagrave.com/assets/images/logo-fff.png", "https://images.findagrave.com/photos/2023/163/255359795_171667ba-83eb-4db1-a0d5-c72648bd4e63.jpeg?size=photos250", "https://images.findagrave.com/default-image.png", "https://images.findagrave.com/photos/2023/163/255359795_171667ba-83eb-4db1-a0d5-c72648bd4e63.jpeg", "https://images.findagrave.com/photos/2023/163/255359795_228b00d1-15d9-4f36-ba6b-a1f7507d5deb.jpeg", "https://images.findagrave.com/photos/2023/340/255359795_82a4fd3e-2eb7-4857-946b-18950eec402e.jpeg" ]	[]	[]	[ "" ]	null	[]	null	Actor and Film Director. As a boy, he delighted in being an actor and was noticed by Alessandro Benvenuti and Athina Cenci, who had formed I Giancattivi and with them he participated in successful television programs such as Non Stop and Black Out. In 1981, the trio made their film debut with AdOvest di Paperino. The...	de	/assets/images/fg-icon.svg		https://de.findagrave.com/memorial/255359795/francesco-nuti	Es gibt ein Problem mit Ihrer E-Mail bzw. Ihrem Passwort. Es gibt ein Problem mit Ihrer E-Mail bzw. Ihrem Passwort. Es gibt ein Problem mit Ihrer E-Mail bzw. Ihrem Passwort. Wir sind auf ein unbekanntes Problem gestoßen. Warten Sie einige Minuten und versuchen Sie es noch einmal. Wenn das Problem weiterhin besteht, kontaktieren Sie Find a Grave. Wir haben die Sicherheit auf der Seite aktualisiert. Sie müssen Ihr Passwort zurücksetzen. Ihr Konto wurde wegen zu vieler fehlgeschlagener Anmeldeversuche für 30 Minuten gesperrt. Bitte kontaktieren Sie Find a Grave unter [email protected], wenn Sie Hilfe beim Zurücksetzen Ihres Passworts benötigen. Dieses Konto wurde deaktiviert. Bei Fragen kontaktieren Sie bitte [email protected] Dieses Konto wurde deaktiviert. Bei Fragen kontaktieren Sie bitte [email protected] E-Mail nicht gefunden. Bitte füllen Sie das Captcha aus, damit wir wissen, dass Sie eine echte Person sind. Mehr als einen Datensatz für eingegebene E-Mail gefunden. Wir haben Ihnen zur Aktivierung eine E-Mail geschickt. Sign in to your existing Find a Grave account. You’ll only have to do this once—after your accounts are connected, you can sign in using your Ancestry sign in or your Find a Grave sign in. We found an existing Find a Grave account associated with your email address. Sign in below with your Find a Grave credentials to link your Ancestry account. After your accounts are connected you can sign in using either account. Geben Sie zum Anmelden Ihre E-Mail-Adresse ein. Geben Sie zum Anmelden Ihr Passwort ein. Geben Sie zum Anmelden Ihre E-Mail-Adresse und Ihr Passwort ein. Es gibt ein Problem mit Ihrer E-Mail bzw. Ihrem Passwort. Es ist ein Systemfehler aufgetreten. Bitte versuchen Sie es später erneut. Eine E-Mail zum Zurücksetzen des Passworts wurde an Email-ID gesendet. Wenn Sie keine E-Mail erhalten haben, durchsuchen Sie bitte Ihren Spam-Ordner. Wir sind auf ein unbekanntes Problem gestoßen. Warten Sie einige Minuten und versuchen Sie es noch einmal. Wenn das Problem weiterhin besteht, kontaktieren Sie Find a Grave.
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Writer: Hoffen wir, dass es ein Mädchen wird. Leonardo Benvenuti was born on 8 September 1923 in Florence, Tuscany, Italy. He was a writer and assistant director, known for Hoffen wir, dass es ein Mädchen wird (1986), Ein irres Klassentreffen (1975) and Der schielende Heilige (1971). He was married to Christiana Di Vita. He died on 3 November 2000 in Rome, Lazio, Italy.	en	https://m.media-amazon.c…B1582158068_.png	IMDb	https://www.imdb.com/name/nm0073053/	Leonardo Benvenuti was born on 8 September 1923 in Florence, Tuscany, Italy. He was a writer and assistant director, known for Hoffen wir, dass es ein Mädchen wird (1986), Ein irres Klassentreffen (1975) and Der schielende Heilige (1971). He was married to Christiana Di Vita. He died on 3 November 2000 in Rome, Lazio, Italy.

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