Results 211 to 220 of about 1,286 (256)
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The Italianist, 2011
Geoffrey Nowell-Smith is Honorary Professorial Fellow at Queen Mary, University of London. Among other publications he is the author of Making Waves: New Cinemas of the 1960s (Continuum, 2008), Luchino Visconti (British Film Institute, 2003 [orig. 1967]), L’avventura (British Film Institute, 1997), and the editor of The Oxford History of World Cinema ...
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Geoffrey Nowell-Smith is Honorary Professorial Fellow at Queen Mary, University of London. Among other publications he is the author of Making Waves: New Cinemas of the 1960s (Continuum, 2008), Luchino Visconti (British Film Institute, 2003 [orig. 1967]), L’avventura (British Film Institute, 1997), and the editor of The Oxford History of World Cinema ...
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2017
Buku ini memetakan studi sinema Italia dengan menerapkan perspektif baru tentang isu-isu tradisional dan pendekatan teoretis segar pada sejarah dan bidang sinema Italia. Isinya mempresentasikan teori berdasarkan materi sejarah dan arsip dengan melakukan pendekatan kritis terhada film tradisional dan pendekatan teoritis untuk sejarah dan bidang yang ...
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Buku ini memetakan studi sinema Italia dengan menerapkan perspektif baru tentang isu-isu tradisional dan pendekatan teoretis segar pada sejarah dan bidang sinema Italia. Isinya mempresentasikan teori berdasarkan materi sejarah dan arsip dengan melakukan pendekatan kritis terhada film tradisional dan pendekatan teoritis untuk sejarah dan bidang yang ...
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2020
In 1988 Giuseppe Tornatore’s film Nuovo Cinema Paradiso (Cinema Paradiso, Italy) achieved global success with a story that placed Italian cinema audiences at the centre of its narrative. In it, spectators are portrayed attending cinemas, bonding with the stories they saw on the screen and interacting loudly with films such as Visconti’s neorealist ...
O'Rawe, Catherine G +4 more
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In 1988 Giuseppe Tornatore’s film Nuovo Cinema Paradiso (Cinema Paradiso, Italy) achieved global success with a story that placed Italian cinema audiences at the centre of its narrative. In it, spectators are portrayed attending cinemas, bonding with the stories they saw on the screen and interacting loudly with films such as Visconti’s neorealist ...
O'Rawe, Catherine G +4 more
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2013
List of Figures Notes on contributors Acknowledgements The Fair and the Museum: Framing the Popular S.Rigoletto & L.Bayman Italian Cinema, Popular? C.Wagstaff The Prettiness of Italian Cinema R.Galt The Pervasiveness of Song in Italian Cinema R.Dyer Melodrama as Seriousness L.Bayman Moving Masculinity: Incest Narratives in Italian Sex Comedies T ...
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List of Figures Notes on contributors Acknowledgements The Fair and the Museum: Framing the Popular S.Rigoletto & L.Bayman Italian Cinema, Popular? C.Wagstaff The Prettiness of Italian Cinema R.Galt The Pervasiveness of Song in Italian Cinema R.Dyer Melodrama as Seriousness L.Bayman Moving Masculinity: Incest Narratives in Italian Sex Comedies T ...
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Studies in European Cinema, 2018
It would be fair to say that academic histories of horror cinema have traditionally treated the Italian variant on the genre with a certain amount of confusion, snobbishness and disdain.
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It would be fair to say that academic histories of horror cinema have traditionally treated the Italian variant on the genre with a certain amount of confusion, snobbishness and disdain.
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Italian American Gangsterspeak in American Cinema and Italian Dubbing [PDF]
, 2011 New Voices in Translation Studies, 7, 1, -
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2015
Dreamscapes in Italian Cinema explores different representations of dreams, visions, hallucinations, and hypnagogic states in Italian film culture, covering the works of some of the most significant auteurs in the history of Italian cinema (Fellini, Pasolini, Moretti, Bellocchio, among others). Dreams are discussed both in a filmic context, considering
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Dreamscapes in Italian Cinema explores different representations of dreams, visions, hallucinations, and hypnagogic states in Italian film culture, covering the works of some of the most significant auteurs in the history of Italian cinema (Fellini, Pasolini, Moretti, Bellocchio, among others). Dreams are discussed both in a filmic context, considering
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The Italian Colonial Cinema: Agendas and Audiences
Modern Italy, 2003SummaryWhat role has culture played in shaping Italians’ experiences of Italian colonialism before and after the Second World War? How can the tools of cultural analysis be employed to understand the place and space Italian colonialism has had within Italian and European history?
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Italian Horror Cinema and Italian Film Journals of the 1970s
2016This chapter will focus on the domestic reception of Italian horror cinema in journals and magazines during the 1970s in order to begin a process of understanding the ways in which the genre was valued, discussed and (less commonly) analysed by Italian critics of the period.
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2009
The Italian cinema is regarded as one of the great pillars of world cinema. Films like Ladri di biciclette (1948), La dolce vita (1960), and Nuovo cinema Paradiso (1988) attracted unprecedented international acclaim and a reputation, which only continue to grow.
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The Italian cinema is regarded as one of the great pillars of world cinema. Films like Ladri di biciclette (1948), La dolce vita (1960), and Nuovo cinema Paradiso (1988) attracted unprecedented international acclaim and a reputation, which only continue to grow.
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