1,721,225 research outputs found
Félix Morlion e Roberto Rossellini
No full textFélix Morlion e Roberto Rossellini” (in collaborazione con Tomaso Subini), in Attraverso lo schermo. Cinema e cultura cattolica in Italia, vol. 2, a cura di Ruggero Eugeni e Dario Viganò, Roma, Ente dello Spettacolo, 2006, pp. 257-286. Seconda parte di E. Dagrada: "L’uomo di cinema e il regista Rossellini", pp. 271-286. Prima parte di T. Subini, Félix Andries Morlion, uomo di cinema", pp. 257-271
Quanto la critica si divise : A proposito degli anni Bergman
Full text linkIn the second half of the 1980s, Pietro Pintus published an important essay entitled “Quando la critica si divise” [when criticism divided], in order to evoke the critical battle between Italy and France fighted on the ground of Rossellini’s films of the 1950s. Twenty years later, this study investigates how much criticism was divided. Or, better: how many times and why. Thanks to the progress of research, in fact, it is now possible to better detail the many critical battles, daughters of a unique, ideological war, which were fought on the field of those Rossellini's films. In fact, if part of the Catholic criticism immediately understood that Rossellini was too important to leave him to the communists, finally also part of the Marxist criticism understood that he was too important to leave him to the Catholics. Therefore, the numerous battles fought on the ground of Rossellini's films were mostly battles dictated by the desire to acquire – or delegitimize – a director considered strategic to win the war for the appropriation of neorealism. That is, for the appropriation of the only Italian cinematic phenomenon of international importance, of which Rossellini was – and still is – considered the initiator
Ingrid Bergman, l’italiana
No full textIn May 1952, Unitalia Film-IFE, in collaboration with the prestigious Edizioni d'Arte, published around thirty issues gathered under the title: Volti del cinema italiano. Each issue was dedicated to a "face" of our cinema and was accompanied by a short text written by a leading name in Italian culture. Among the faces of Italian cinema to be promoted abroad, the beautiful one of the Swedish Ingrid Bergman stands out. The accmpaigning text is by Elio Vittorini, who has the merit to capture the essence of what everyone noted, over time, when writing about the actress: a unique combination of exceptionality and naturalness. An only apparent contradiction, which characterized Ingrid Bergman right from the start and made her a frontier actress. For her ability to reconcile opposites. For always succeeding in crossing geographical, professional and personal boundaries, throughout her career and throughout her life. For her capacity of becoming Italian without losing the aura of a foreigner, as the episode Ingrid Bergman in We the Women, released in 1953, admirably shows
Sperduto nel buio
No full textReview of the book Sperduto nel buio, edited by Renzo Renzi in collaboration with Michele Canosa, Gian Luca Farinelli and Nicola Mazzanti
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